1962 – James Brown’s “Shout and Shimmy,” later covered by The Who, hits the U.S. pop charts. It peaks at #61 Listen to James Browns’s version here
Compare it to The Who here
1963 – The Detours play the White Hart Hotel in Acton.
1964 – The Who play the Railway Hotel in Wealdstone
1965 – The Who play the “Gala Opening” of The Manor House in London. Due to extreme heat, Keith collapses and has to be carried outside to be revived
1966 – The Who play the Locorno Ballroom in Streatham
1967 – The Who play the Malibu Shore Club on Lido Beach, Long Island, New York. It was at this show that Keith first used his specially made “Pictures of Lily” Premier Drums kit.
1970 – The Who headline at the Tanglewood Music Amphitheater in Lenox, Massachusetts with Jethro Tull and It’s a Beautiful Day opening. It is one of The Who’s very best performances and is projected on a 15′ X 21′ television screen on the lawn outside the venue. The show is videotaped and intended for use on a “Fillmore at Tanglewood” television special that never airs. “Heaven and Hell”, “I Can’t Explain” and “Water” are later released on the first video edition of 30 Years Of Maximum R&B and the surviving section of the concert on YouTube in 2014
1971 – The Who mime a performance of “Won’t Get Fooled Again” for Top of the Pops. It airs on the 15th
1972 – New Musical Express has an interview conducted by Roy Carr with Keith called “The Loon in Moon.” It is accompanied by pictures of Keith with his wife Kim and daughter Mandy that, in less liberal times, would have sparked an immediate call to Child Welfare.
1975 – Keith Moon has “Happy Birthday Ringo” written in the sky above Los Angeles in honor of his fellow drummer’s 35th birthday. He then sends the bill to Ringo
1979 – “Long Live Rock” from The Kids Are Alright soundtrack backed with “My Wife (live)” hits the U.S. charts, reaching #54 in Billboard and #66 in Cash Box.
1980 – The Who play the L.S.U. Assembly Center in Baton Rouge, Louisiana
1988 – John continues his third North American solo tour at The Riviera in Chicago
1989 – The Who play the Robert F. Kennedy Memorial Stadium in Washington, DC
1995 – The punk-revival band Clowns For Progress release a CD with a cover of “The Kids Are Alright.” You can listen to a sample of the song on Amazon here
1999 – The John Entwistle Band play Cubby Bear in Chicago, Illinois
2000 – The Who play the Blockbuster-Sony Music Entertainment Centre at the Waterfront in Camden, New Jersey
2001 – “A Walk Down Abbey Road: A Tribute To The Beatles” featuring John on bass plays Summer Stage in Big Flats, New York
2004 – Pete posts on his website (referring to the previous days interview with Michael Moore): “I have never hidden the fact that at the beginning of the war in Iraq I was a supporter. But now, like millions of others, I am less sure we did the right thing…I have nothing against Michael Moore personally, and I know Roger Daltrey is a friend and fan of his, but I greatly resent being bullied and slurred by him in interviews just because he didn’t get what he wanted from me.”
Full Transcript below:
Fahrenheit Moore or Less
“Michael Moore has been making some claims – mentioning me by name – which I believe distort the truth.
He says – among other things – that I refused to allow him to use my song WON’T GET FOOLED AGAIN in his latest film, because I support the war, and that at the last minute I recanted, but he turned me down. I have never hidden the fact that at the beginning of the war in Iraq I was a supporter. But now, like millions of others, I am less sure we did the right thing.
When first approached I knew nothing about the content of his film FAHRENHEIT 911. My publisher informed me they had already refused the use of my song in principle because MIRAMAX the producers offered well below what the song normally commands for use in a movie. They asked me if I wanted to ask for more money, I told them no.
Nevertheless, as a result of my refusal to consider the use, Harvey Weinstein – a good friend of mine, and my manager Bill Curbishley – interceded personally, explained in more detail to Bill what the movie was about, and offered to raise the bid very substantially indeed. This brought the issue directly to me for the first time. Bill emailed me and told me how keen Harvey and Michael Moore were to use my song.
At this point I emailed Bill (and he may have passed the essence of what I said to Harvey Weinstein) that I had not really been convinced by BOWLING FOR COLUMBINE, and had been worried about its accuracy; it felt to me like a bullying film. Out of courtesy to Harvey I suggested that if he and Moore were determined to have me reconsider, I should at least get a chance to see a copy of the new film. I knew that with Cannes on the horizon, time was running short for them, and this might not be possible. I never received a copy of the film to view. At no time did I ask Moore or Miramax to reconsider anything. Once I had an idea what the film was about I was 90% certain my song was not right for them.
I believe that in the same email to my publisher and manager that contained this request to see the film I pointed out that WGFA is not an unconditionally anti-war song, or a song for or against revolution. It actually questions the heart of democracy: we vote heartily for leaders who we subsequently always seem to find wanting. (WGFA is a song sung by a fictional character from my 1971 script called LIFEHOUSE. The character is someone who is frightened by the slick way in which truth can be twisted by clever politicians and revolutionaries alike). I suggested in the email that they might use something by Neil Young, who I knew had written several songs of a more precise political nature, and is as accessible as I am. Moore himself takes credit for this idea, and I have no idea whether my suggestion reached him, but it was the right thing to do.
I have nothing against Michael Moore personally, and I know Roger Daltrey is a friend and fan of his, but I greatly resent being bullied and slurred by him in interviews just because he didn’t get what he wanted from me. It seems to me that this aspect of his nature is not unlike that of the powerful and wilful man at the centre of his new documentary. I wish him all the best with the movie, which I know is popular, and which I still haven’t seen. But he’ll have to work very, very hard to convince me that a man with a camera is going to change the world more effectively than a man with a guitar.
2006 – The Times (London) reviews the Who’s new mini-opera EP Wire and Glass: “It’s all faintly preposterous. But there’s something great about it too; something noble in Townshend’s belligerent insistence that there’s nothing the novel, say, can achieve that rock music can’t. The only shame is that it’s taken him so long to come up with new songs for The Who – despite the best efforts of the session bassist Pino Palladino, you miss the rococo rumble of Entwistle, who died in 2002. And while Townshend’s playing is incendiary, 62-year-old Roger Daltrey’s voice has inevitably lost some of its range and power. Beggars can’t be choosers, though, and whatever the limitations of Wire & Glass, it’s still way better than anyone had a right to expect.”
2007 – The Who play the Roskilde Festival in Roskilde, Denmark
2011 – Roger plays the Bridgewater Hall in Manchester