Pete Townshend

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For people with similar names, see Peter Townsend (disambiguation) and Peter Townend (disambiguation).
Pete Townshend
Pete Townshend (2012).jpg
Townshend in 2012
Background information
Birth name Peter Dennis Blandford Townshend
Also known as Bijou Drains
Born (1945-05-19) 19 May 1945 (age 69)
Chiswick, London, England
Genres Rock, art rock, hard rock, power pop, progressive rock, British beat, jazz
Occupations Musician, singer-songwriter, composer, musical arranger, author
Instruments Vocals, guitar, bass, harmonica, keyboards, banjo, tin whistle, mandolin, ukulele, violin, accordion, drums
Years active 1962–present
Labels Track, Polydor, Atlantic, Atco, Decca, Rykodisc, Warner Bros.
Associated acts The Who, Deep End, Ronnie Lane, Thunderclap Newman
Website The Who's official webpage
Notable instruments
Rickenbacker 330
Fender Stratocaster
Fender Telecaster
Gibson SG Special
Gibson Les Paul
Gretsch 6120
Gibson J-200
from the BBC programme Front Row, 26 December 2012.[1]

Peter Dennis Blandford "Pete" Townshend (born 19 May 1945) is an English musician, singer-songwriter, and multi-instrumentalist, known principally as the guitarist and songwriter for the rock group the Who. His career with the Who spans 50 years, during which time the band grew to be considered one of the most influential bands of the 1960s and 1970s.[2]

Townshend is the primary songwriter for the Who, having written well over 100 songs for the band's 11 studio albums, including concept albums and the rock operas Tommy and Quadrophenia, plus popular rock and roll radio staples such as Who's Next, and dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilations such as Odds & Sods. He has also written over 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs. Although known primarily as a guitarist, he also plays other instruments such as keyboards, banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bass guitar and drums, on his own solo albums, several Who albums, and as a guest contributor to a wide array of other artists' recordings. He is self-taught on all of the instruments he plays and has never had any formal training.

Townshend has also been a contributor and author of newspaper and magazine articles, book reviews, essays, books, and scripts, as well as collaborating as a lyricist (and composer) for many other musical acts. Townshend was ranked No. 3 in Dave Marsh's list of Best Guitarists in The New Book of Rock Lists,[3] No. 10 in Gibson.com's list of the top 50 guitarists,[4] and No. 10 again in Rolling Stone magazine's updated 2011 list of the 100 greatest guitarists of all time.[5] Townshend was inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990.

Early life and education[edit]

Peter Dennis Blandford Townshend was born on 19 May 1945 at Chiswick Hospital, West London, ten days after Nazi Germany surrendered in World War II. He came from a musical family: his father Cliff Townshend was a professional alto saxophonist in the Royal Air Force's dance band The Squadronaires and his mother Betty (née Dennis) was a singer with the Sydney Torch and Les Douglass Orchestras.[6] The Townshends had a volatile marriage, as both drank heavily and possessed fiery tempers. Cliff Townshend was often away from his family touring with his band away while Betty carried on affairs with other men. The two split when Pete was a toddler and he was sent to live with his maternal grandmother Emma Dennis, whom Pete later described as "clinically insane". The two-year separation ended when Cliff and Betty purchased a house together on Woodgrange Avenue in middle-class Acton, London, and the young Pete was happily reunited with his parents.[7]

Townshend did not have many friends growing up, so he spent much of his boyhood reading adventure novels like Gullivers Travels and Treasure Island.[8] He enjoyed his family's frequent excursions to the English sea coast and the Isle of Man. It was on one of these trips in the summer of 1956 that he repeatedly watched the 1956 film Rock Around the Clock, sparking his fascination with American rock and roll.[9] Not long thereafter, he went to see Bill Haley perform in London, Townshend's first concert.[10] At the time, he did not see himself pursuing a career as a professional musician; instead, he wanted to become a journalist.[11]

Upon passing the Eleven Plus exam, Townshend was enrolled at Acton County Grammar School.[12] At Acton County, he was frequently bullied because he had a large nose, an experience that profoundly affected him.[13] His grandmother Emma purchased his first guitar for Christmas in 1956, an inexpensive Spanish model.[14] Though his father taught him a couple of chords, Townshend was largely self-taught on the instrument and never learned to read music.[15] Townshend and school friend John Entwistle formed a short-lived trad jazz group, the Confederates, featuring Townshend on banjo and Entwistle on horns.[16] The Confederates played gigs at the Congo Club, a youth club run by the Acton Congregational Church, and covered Acker Bilk, Kenny Ball, and Lonnie Donegan.[17] However, both became influenced by the increasing popularity of rock 'n' roll, with Townshend particularly admiring Cliff Richard's debut single, "Move It".[18] Townshend left the Confederates after getting into a fight with the group's drummer, Chris Sherwin, and purchased a "reasonably good Czechoslovakian guitar" at his mother's antique shop.[19]

Townshend's brothers Paul and Simon were born in 1957 and 1960, respectively.[20] Lacking the requisite test scores to attend university, Pete was faced with the decision of art school, music school, or getting a job.[21] He ultimately chose to study graphic design at Ealing Art College, enrolling in 1961. At Ealing, Townshend studied alongside future Rolling Stones guitarist Ronnie Wood and future Queen singer Freddie Mercury. Notable artists and designers gave lectures at the college like auto-destructive art pioneer Gustav Metzger.[22] Townshend's roommate at Ealing, Tom Wright, had a large record collection, and Townshend listened to and became influenced by R&B artists like Howlin' Wolf, John Lee Hooker, Bo Diddley, Booker T. & the MGs, Little Walter, and Chuck Berry.[23] Townshend dropped out in 1964 to focus on music full-time.[24]

Musical career[edit]

1961–1964: the Detours[edit]

In the summer of 1961, Entwistle invited Townshend to join The Detours, a skiffle/rock and roll band, as an additional guitarist.[25] In the early days of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers. Their line-up coalesced around Roger Daltrey on lead guitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums and Colin Dawson as vocalist.[26] Daltrey was considered the leader of the group and, according to Townshend, "ran things the way he wanted them."[27] Dawson quit in 1962 after arguing too much with Daltrey, who subsequently moved to lead vocalist. As a result, Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce,[28] who started booking the band as a support act for bands like Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates.[29] In 1963, Townshend's father arranged an amateur recording of "It Was You", the first song his son ever wrote.[30] The Detours became aware of a group of the same name in February 1964, forcing them to change their name.[31] Townshend's room-mate came up with "The Who", and Daltrey decided it was the best choice.[32]

1964–1982: the Who[edit]

Main article: The Who
Townshend (with Moon, rear right) backstage before a gig in Ludwigshafen, Germany in 1967

Not long after the name change, drummer Doug Sandom was replaced by Keith Moon, who had been drumming semi-professionally with the Beachcombers for several years.[33] The band was soon taken on by a mod publicist named Peter Meaden who convinced them to change their name to The High Numbers to give the band more of a mod feel. After bringing out one failed single ("I'm the Face/Zoot Suit"), they dropped Meaden and were signed on by two new managers, Chris Stamp and Kit Lambert, who had paired up with the intention of finding new talent and creating a documentary about them.[34] The band anguished over a name that all felt represented the band best, and dropped The High Numbers name, reverting to the Who.[35] In June 1964, during a performance at the Railway Tavern, Townshend accidentally broke the top of his guitar on the low ceiling and proceeded to destroy the entire instrument.[36] The on-stage destruction of instruments soon became a regular part of The Who's live shows.[37]

With the assistance of Lambert, the Who caught the ear of American record producer Shel Talmy, who had the band signed to a record contract. Townshend wrote a song, "I Can't Explain", as a deliberate sound-alike of the Kinks, another group Talmy produced. Released as a single in January 1965, "I Can't Explain" was the Who's first hit, reaching number eight on the British charts.[38] A follow-up single ("Anyway, Anyhow, Anywhere"), credited to both Townshend and Daltrey, also reached the top 10 in the UK.[39] However, it was the release of the Who's third single, "My Generation", in November that, according to Who biographer Mark Wilkerson, "cemented their reputation as a hard-nosed band who reflected the feelings of thousands of pissed-off adolescents at the time.[40] The Townshend-penned single reached number two on the UK charts, becoming the Who's biggest hit. The song and its famous line – "I hope I die before I get old" – was "very much about trying to find a place in society," Townshend stated in an interview with David Fricke.[41]

To capitalise of their recent single success, the Who's debut album My Generation (The Who Sings My Generation in the US) was released in late 1965, containing original material written by Townshend and several James Brown covers that Daltrey favoured.[42] Townshend continued to write several successful singles for the band, including "Pictures of Lily", "Substitute", "I'm a Boy", and "Happy Jack".[43] Lambert encouraged Townshend to write longer pieces of music for the next album, which became the "A Quick One, While He's Away". The album was subsequently titled A Quick One[44] and reached number 4 in the charts upon its release in December 1966.[45] In their stage shows, Townshend developed a signature move in which he would swing his right arm against the guitar strings in a style reminiscent of the vanes of a windmill.[46] He developed this style after watching Rolling Stones guitarist, Keith Richards, warm up before a show.[47]

Townshend's "windmill" technique

The Who commenced their first US tour on 22 March 1967.[48] It did not start well, as Townshend and Daltrey were briefly jailed for assaulting a police officer they mistook for a heckler. Townshend took to trashing his hotel suites, though not to the extent of his bandmate Moon.[49] He also began experimenting with LSD, though stopped taking the drug after receiving a potent hit before the Monterey Pop Festival on 18 June.[50] Released in December, their next album was The Who Sell Out—a concept album based on pirate radio, which had been instrumental in raising the Who's popularity. It included several humorous jingles and mock commercials between songs,[51] and the Who's biggest US single, "I Can See for Miles".[52] Despite the success of "I Can See for Miles", which reached number 9 on the American charts, Townshend was surprised it was not a smash hit, as he considered it the best song he'd written up to that point.[53]

By 1968, Townshend became interested in the teachings of Meher Baba.[54] He began to develop a musical piece about a deaf, dumb, and blind boy who would experience sensations musically.[55] The piece would explore the tenets of Baba's philosophy.[56] The result was the rock opera Tommy, released on 23 May 1969 to critical and commercial success. Leonard Bernstein praised the album, saying its "sheer power, invention and brilliance of performance outstrips anything which has ever come out of a recording studio."[57] In support of Tommy, the Who launched a tour that included a memorable appearance at the Woodstock Festival on 17 August. While the Who were playing, Yippie leader Abbie Hoffman jumped the stage to complain about the arrest of John Sinclair. Townshend promptly knocked him offstage with his guitar, shouting "Fuck off my fucking stage!"[58]

In 1970, the Who released Live at Leeds, which several music critics cite as the best live album of all time.[59] Townshend began writing material for another rock opera. Dubbed Lifehouse, it was designed to be a multi-media project that symbolised the relationship between a musician and his audience.[60] The rest of the band were confused by its convoluted plot and simply wanted another album. Townshend began to feel alienated, and the project was abandoned after he suffered a nervous breakdown.[61] Much of the material for Lifehouse was released as a traditional studio album, Who's Next. It became a commercial smash, reaching number one in the UK, and spawned two successful hit singles, "Baba O'Riley" and "Won't Get Fooled Again", that featured pioneering use of the synthesizer.[62] "Baba O'Riley" in particular was written as Townshend's ode to his two heroes at the time, Meher Baba and composer Terry Riley.[63]

Pete Townshend performing in Hamburg, Germany in August 1972

Townshend began writing songs for another rock opera in 1973. He decided it would explore the mod subculture and its clashes with Rockers in the early 1960s in the UK.[64] Entitled Quadrophenia, it was the only Who album written entirely by Townshend, and he produced the album as well due to the souring of relations with Lambert.[65] It was released in November, and became their highest charting cross-Atlantic success, reaching number two in the UK and US.[66] NME reviewer Charles Shaar Murray called it "prime cut Who" and "the most rewarding musical experience of the year."[67] On tour, the band played the album along to pre-recorded backing tapes, causing much friction. The tapes malfunctioned during a performance in Newcastle, prompting Townshend to drag soundman Bob Pridden onstage, scream at him, kick over all the amplifiers and partially destroyed the malfunctioning tapes.[68] On 14 April 1974, Townshend played his first solo concert, a benefit to raise funds for a London community center.[69]

A film version of Tommy, starring Ann-Margret, Tina Turner, Elton John, and Jack Nicholson, premiered on 18 March 1975.[70][71] Townshend was nominated for an Academy Award for scoring and adapting the music in the film.[72] The Who by Numbers came out in November of that year and peaked at number seven in the UK and eight in the US. It featured introspective songs, often with a negative slant.[73] The album spawned one hit single, "Squeeze Box", that was written after Townshend learned how to play the accordion.[73] After a 1976 tour, Townshend took a year-long break from the band to focus on spending time with his family.[74]

The Who thrived, and continue to thrive, despite the deaths of two of the original members. They are regarded by many rock critics as one of the best[75][76] live bands[77][78] from a period of time that stretched from the mid-1960s to the 2000s, the result of a unique combination of high volume, showmanship, a wide variety of rock beats, and a high-energy sound that alternated between tight and free-form. The Who continue to perform critically acclaimed sets in the 21st century, including highly regarded performances at The Concert For New York City in 2001, the 2004 Isle of Wight Festival, Live 8 in 2005 and the 2007 Glastonbury Festival.

Townshend remained the primary songwriter and leader of the group, writing over one hundred songs which appeared on the band's eleven studio albums. Among his most well-known accomplishments are the creation of a second pioneering rock opera, Quadrophenia; his dramatic stage persona; his use of guitar feedback as sonic technique; and the introduction of the synthesiser as a rock instrument. Townshend revisited album-length storytelling throughout his career and remains the musician most associated with the rock opera form. Many studio recordings also feature Townshend on piano or keyboards, though keyboard-heavy tracks increasingly featured guest artists in the studio, such as Nicky Hopkins, John Bundrick or Chris Stainton.[79]

Townshend is one of the key figures in the development of feedback in rock guitar. When asked who first used feedback, Deep Purple guitarist Ritchie Blackmore said, "Pete Townshend was definitely the first. But not being that good a guitarist, he used to just sort of crash chords and let the guitar feedback. He didn't get into twiddling with the dials on the amplifier until much later. He's overrated in England, but at the same time you find a lot of people like Jeff Beck and Hendrix getting credit for things he started. Townshend was the first to break his guitar, and he was the first to do a lot of things. He's very good at his chord scene, too."[80] Similarly, when Jimmy Page was asked about the development of guitar feedback, he said, "I don't know who really did feedback first; it just sort of happened. I don't think anybody consciously nicked it from anybody else. It was just going on. But Pete Townshend obviously was the one, through the music of his group, who made the use of feedback more his style, and so it's related to him. Whereas the other players like Jeff Beck and myself were playing more single note things than chords."[81]

Many rock guitarists have cited Townshend as an influence, among them Slash,[82] Alex Lifeson[83] and Steve Jones.[84]

1972–2002: solo career[edit]

In addition to his work with the Who, Townshend has been sporadically active as a solo recording artist. Between 1969 and 1971 Townshend, along with other devotees to Meher Baba, recorded a trio of albums devoted to his teachings: Happy Birthday, I Am, and With Love. In response to bootlegging of these, he compiled his personal highlights (and "Evolution", a collaboration with Ronnie Lane), and released his first major-label solo title, 1972's Who Came First. It was a moderate success and featured demos of Who songs as well as a showcase of his acoustic guitar talents. He collaborated with The Faces' bassist and fellow Meher Baba devotee Ronnie Lane on a duet album (1977's Rough Mix). Townshend's solo breakthrough, following the death of Who drummer Keith Moon, was the 1980 release Empty Glass, which included a top-10 single, "Let My Love Open the Door" and "Rough Boys". This release was followed in 1982 by All the Best Cowboys Have Chinese Eyes, which included the popular radio track "Slit Skirts". While not a huge commercial success, noted music critic Timothy Duggan listed it as "Townshend's most honest and introspective work since Quadrophenia." Through the rest of the 1980s and early 1990s Townshend would again experiment with the rock opera and related formats, releasing several story-based albums including White City: A Novel (1985), The Iron Man: A Musical (1989), and Psychoderelict (1993). Townshend also got the chance to play with his hero Hank Marvin for Paul McCartney's "Rockestra" sessions, along with other respected rock musicians such as David Gilmour, John Bonham and Ronnie Lane.

Townshend has also recorded several concert albums, including one featuring a supergroup he assembled called Deep End, who performed just three concerts and a television show session for The Tube, to raise money for a charity supporting drug addicts. In 1993 he and Des McAnuff wrote and directed the Broadway adaptation of the Who album Tommy, as well as a less successful stage musical based on his solo album The Iron Man, based upon the book by Ted Hughes. McAnuff and Townshend later co-produced the animated film The Iron Giant, also based on the Hughes story.

A production described as a Townshend rock-opera and titled The Boy Who Heard Music debuted as part of Vassar College's Powerhouse Summer Theater program in July 2007.

Recent Who work[edit]

Pete Townshend in concert, 2008.

From the mid-1990s through the present, Townshend has participated in a series of tours with the surviving members of the Who, including a 2002 tour that continued despite Entwistle's death.[85]

In February 2006, a major world tour by the Who was announced to promote their first new album since 1982. Townshend published a semi-autobiographical story The Boy Who Heard Music as a serial on a blog beginning in September 2005.[86] The blog closed in October 2006, as noted on Townshend's website. It is now owned by a different user and does not relate to Townshend's work in any way. On 25 February 2006, he announced the issue of a mini-opera inspired by the novella for June 2006. In October 2006 the Who released their first album in 26 years, Endless Wire.

The Who performed at the Super Bowl XLIV half-time show on 7 February 2010, playing a medley of songs that included "Pinball Wizard", "Who Are You", "Baba O'Riley", "See Me Feel Me" and "Won't Get Fooled Again".[87] In 2012, the Who announced they would tour the rock opera Quadrophenia.

The Who were the final performers at the 2012 Summer Olympics closing ceremony in London, performing a medley of "Baba O'Riley", "See Me, Feel Me" and "My Generation".[88]

Townshend leaping into air in concert

Musicianship[edit]

Guitar[edit]

Throughout his solo career and his career with the Who, Townshend has played (and destroyed) a large variety of guitars – mostly various Gibson and Fender models. He has also used Guild, Takamine and Gibson J-200 acoustic models, with the J-200 providing his signature recorded acoustic sound in such songs as "Pinball Wizard".

In the early days with the Who, Townshend played an Emile Grimshaw SS De Luxe and 6-string and 12-string Rickenbacker semi-hollow electric guitars primarily (particularly the Rose-Morris UK-imported models with special f-holes). However, as instrument-smashing became increasingly integrated into the Who's concert sets, he switched to more durable and resilient (and sometimes cheaper) guitars for smashing, such as the Fender Stratocaster, Fender Telecaster and various Danelectro models. On the Who's famous The Smothers Brothers Comedy Hour appearance in 1967, Townshend used a Vox Cheetah guitar, which he only used for that performance; and the guitar was smashed to smithereens by Townshend and Moon's drum explosion. In the late 1960s, Townshend began playing Gibson SG models almost exclusively, specifically the Special models. He used this guitar at the Woodstock and Isle of Wight shows in 1969 and 1970, as well as the Live at Leeds performance in 1970.

By 1970, Gibson changed the design of the SG Special which Townshend had been using previously, and thus he began using other guitars. For much of the 1970s, he used a Gibson Les Paul DeLuxe, some with only two mini-humbucker pick-ups and others modified with a third pick-up in the "middle position" (a DiMarzio Superdistortion / Dual Sound). He can be seen using several of these guitars in the documentary The Kids Are Alright, although in the studio he often played a '59 Gretsch 6120 guitar (given to him by Joe Walsh), most notably on the albums Who's Next and Quadrophenia.

During the 1980s, Townshend mainly used Fenders, Rickenbackers and Telecaster-style models built for him by Schecter and various other luthiers. Since the late-1980s, Townshend has used the Fender Eric Clapton Signature Stratocaster, with Lace Sensor pick-ups, both in the studio and on tour. Some of his Stratocaster guitars feature a Fishman PowerBridge piezo pick-up system to simulate acoustic guitar tones. This piezo system is controlled by an extra volume control behind the guitar's bridge.

During the Who's 1989 Tour Townshend played a Rickenbacker guitar that was ironically smashed accidentally when he tripped over it. Instead of throwing the smashed parts away, Townshend reassembled the pieces as a sculpture. The sculpture was featured at the Rock Stars, Cars And Guitars 2 exhibit during the summer of 2009 at The Henry Ford museum.

Townshend playing a Fender Eric Clapton Signature Stratocaster.

There are several Gibson Pete Townshend signature guitars, such as the Pete Townshend SG, the Pete Townshend J-200, and three different Pete Townshend Les Paul Deluxes. The SG was clearly marked as a Pete Townshend limited edition model and came with a special case and certificate of authenticity, signed by Townshend himself. There has also been a Pete Townshend signature Rickenbacker limited edition guitar of the model 1998, which was his main 6-string guitar in the Who's early days. The run featured 250 guitars which were made between July 1987 – March 1988, and according to Rickenbacker CEO John Hall, the entire run sold out before serious advertising could be done.

He also used the Gibson ES-335, one of which he donated to the Hard Rock Cafe. Townshend also used a Gibson EDS-1275 double neck very briefly circa late 1967, and both a Harmony Sovereign H1270[89] and a Fender Electric XII for the studio sessions for Tommy for the 12-string guitar parts. He also occasionally used Fender Jazzmasters on stage in 1967 and 1968 and in the studio for Tommy.

In 2006, Townshend had a pedal board designed by long-time gear guru Pete Cornish. The board apparently is composed with a compressor, an old Boss OD-1 overdrive pedal, as well as a T-Rex Replica delay pedal.

Over the years, Pete Townshend has used many types of amplifiers, including Vox, Fender, Marshall, Hiwatt etc., sticking to using Hiwatt amps for most of four decades. Around the time of Who's Next, he used a tweed Fender Bandmaster amp, which he also used for Quadrophenia and The Who by Numbers. While recording Face Dances and the collaborative album Rough Mix, Townshend made use of a Peavey Vintage 4X10 amplifier in the studio. Since 1989, his rig consisted of four Fender Vibro-King stacks and a Hiwatt head driving two custom made 2x12" Hiwatt/Mesa Boogie speaker cabinets. However, since 2006, he has only three Vibro-King stacks, one of which is a backup.

Townshend figured prominently in the development of what is widely known in rock circles as the "Marshall Stack". It has been recounted by others during the start of popularity of Jim Marshall's guitar amplifiers, that Townshend became a user of these amps.

He also ordered several speaker cabinets that contained eight speakers in a housing standing nearly six feet in height with the top half of the cabinet slanted slightly upward. These became hard to move and were incredibly heavy.

Jim Marshall then cut the massive speaker cabinet into two separate speaker cabinets, at the suggestion of Townshend, with each cabinet containing four 12-inch speakers. One of the cabinets had half of the speaker baffle slanted upwards and Marshall made these two cabinets stackable. The Marshall stack was born, and Townshend used these as well as Hiwatt stacks.

He has always regarded his instruments as being merely tools of the trade and has, in latter years, determinedly kept his most prized instruments well away from the concert stage. These instruments include a few vintage and reissue Rickenbackers, the Gretsch 6120, an original 1952 Fender Telecaster, Gibson Custom Shop's artist limited edition reissues of Townshend's Les Paul DeLuxe models 1, 3 and 9 as well his signature SG Special reissue.

Keyboards[edit]

Townshend played keyboards on several Who songs. On Who's Next, he began to work with analogue synthesizers, using the ARP 2600 model that he first encountered at Cambridge University.[90] He had this to say about the instrument: "I like synthesizers because they bring into my hands things that aren't in my hands: the sound of an orchestra, French horns, strings. There are gadgets on synthesizers that enable one to become a virtuoso on the keyboard. You can play something slowly and you press a switch and it plays it back at double speed. Whereas on the guitar you're stuck with as fast as you can play and I don't play fast, I just play hard. So when it goes to playing something fast I go to the synth."[91]

These include the EMS VCS3, the ARP Instruments, Inc. ARP 2600, some of which modified a Lowrey TBO Berkshire organ. Current photos of his home studio also show an ARP 2500. Townshend was featured in ARP promotional materials in the early 1970s.

Since the late 1980s Townshend has predominantly used Synclavier Digital Audio systems for keyboard composition, particularly solo albums and projects. He currently owns three systems, one large Synclavier 9600 Tapeless Studio system, originally installed in his riverside Oceanic Studio, later transferred to a seagoing barge moored alongside the studio on the River Thames, and currently based in his home studio. He also uses a special adapted smaller Synclavier 3200 system which can be transported, enabling him to carry on working away from his main studio. This 3200 system was modified to be of similar specification to the 9600, including the addition internally of FM voices, stereo Poly voices and with the large VPK keyboard. This is the only Synclavier 3200 system of this specification in existence, custom designed and built for Townshend by Steve Hills. The third system Townshend owns is one of the first Synclavier II systems ever built. The ORK (original smaller) keyboard of which is on display in his company's head office alongside a pink Vespa scooter.

Literary work[edit]

Although known for his musical compositions and musicianship, Pete Townshend has been extensively involved in the literary world for more than three decades, writing newspaper and magazine articles, book reviews, essays, books, and scripts.

An early example of Townshend's writing came in August 1970 with the first of nine instalments of "The Pete Townshend Page", a monthly column written by Townshend for the British music paper Melody Maker. The column provided Townshend's perspective on an array of subjects, such as the media and the state of US concert halls and public address systems, as well as providing valuable insight into Townshend's mindset during the evolution of his Lifehouse project.

Townshend also wrote three sizeable essays for Rolling Stone magazine, the first of which appeared in November 1970. In Love With Meher Baba described Townshend's spiritual leanings. "Meaty, Beaty, Big and Bouncy", a blow-by-blow account of the Who compilation album of the same name, followed in December 1971. The third article, "The Punk Meets the Godmother", appeared in November 1977.

Also in 1977, Townshend founded Eel Pie Publishing, which specialised in children's titles, music books, and several Meher Baba-related publications. A bookstore named Magic Bus (after the popular Who song) was opened in London. The Story of Tommy, a book written by Townshend and his art school friend Richard Barnes (now the Who's official biographer) about the writing of Townshend's 1969 rock opera and the making of the 1975 Ken Russell-directed film, was published by Eel Pie the same year.

In July 1983, Townshend took a position as an acquisitions editor for London publisher Faber and Faber. Notable projects included editing Animals frontman Eric Burdon's autobiography, Charles Shaar Murray's award-winning Crosstown Traffic: Jimi Hendrix and Post-War Pop, Brian Eno and Russell Mills's More Dark Than Shark, and working with Prince Charles on a volume of his collected speeches. Townshend commissioned Dave Rimmer's Like Punk Never Happened, and was commissioning editor for radical playwright Steven Berkoff.

Two years after joining Faber and Faber, Townshend decided to publish a book of his own. Horse's Neck, published in May 1985, was a collection of short stories he'd written between 1979 and 1984, tackling subjects such as childhood, stardom and spirituality. As a result of his position with Faber and Faber, Townshend developed friendships with both Nobel prize-winning author of Lord of the Flies, Sir William Golding, and British Poet Laureate Ted Hughes. His friendship with Hughes led to Townshend's musical interpretation of Hughes's children's story The Iron Man, six years later, as The Iron Man: The Musical by Pete Townshend, released in 1989.

Townshend has written several scripts spanning the breadth of his career, including numerous drafts of his elusive Lifehouse project, the last of which, co-written with radio playwright Jeff Young, was published in 1999. In 1978, Townshend wrote a script for Fish Shop, a play commissioned but not completed by London Weekend Television, and in mid-1984 he wrote a script for White City: A Novel which led to a short film.

In 1989, Townshend began work on a novel entitled Ray High & The Glass Household, a draft of which was later submitted to his editor. While the original novel remains unpublished, elements from this story were used in Townshend's 1993 solo album Psychoderelict. In 1993, Townshend authored another book, The Who's Tommy, a chronicle of the development of the award-winning Broadway version of his rock opera.

The opening of his personal website and his commerce site Eelpie.com, both in 2000, gave Townshend another outlet for literary work. Several of Townshend's essays have been posted online, including "Meher Baba—The Silent Master: My Own Silence" in 2001, and "A Different Bomb", an indictment of the child pornography industry, the following year.

In September 2005, Townshend began posting a novella online entitled The Boy Who Heard Music as background for a musical of the same name. He posted a chapter each week until it was completed, and novella was available to read at his website for several months. Like Psychoderelict, it was yet another extrapolation of Lifehouse and Ray High & The Glass Household.

In 1997 Townshend signed a deal with Little, Brown and Company publishing to write his autobiography, reportedly titled Pete Townshend: Who He? Townshend's creative vagaries and conceptual machinations have been chronicled by Larry David Smith in his book The Minstrel's Dilemma (Praeger 1999). After a lengthy delay, Townshend's autobiography, now titled Who I Am, was released 8 October 2012.[92] The book ranked in the top 5 of the New York Times best seller list in October 2012.[93]

Religion[edit]

Townshend showed no predilection for religious belief in the first years of the Who's career. By the beginning of 1968, however, Townshend had begun to explore spiritual ideas. In January 1968, The Who recorded his song "Faith in Something Bigger" (Odds & Sods). Townshend's art school friend Mike McInnerney gave him a copy of C. B. Purdom's book The God-Man, introducing him to the writings of the Indian "perfect master" Meher Baba, who blended elements of Vedantic, Sufi, and Mystic schools.

Townshend swiftly absorbed all of Baba's writings that he could find; by April 1968, he announced himself Baba's disciple. At about this time, Townshend, who had been searching the past two years for a basis for a rock opera, created a story inspired by the teachings of Baba and other writings and expressing the enlightenment he believed that he had received from them, which ultimately became Tommy.[94] Tommy did more than revitalise the Who's career (which was moderately successful at this point but had reached a plateau); it also marked a renewal of Townshend's songwriting and his spiritual studies infused most of his work from Tommy forward, including the unfinished Who project Lifehouse. The Who song "Baba O'Riley", written for Lifehouse and eventually appearing on the album Who's Next, was named for Meher Baba and minimalist composer Terry Riley. His newfound passion was not shared by his bandmates, whose attitude was tolerant, but who were unwilling to become the spokesmen for a particular religion. Few of the thousands of fans who packed stadiums across Europe and the US to see the Who noticed the religious message in the songs: that "Bargain" and the middle section of "Behind Blue Eyes" from Who's Next and "Listening To You" from Tommy were all originally written as prayers, that "Drowned" from Quadrophenia and "Don't Let Go The Coat" from Face Dances were based on Baba's sayings, that the "who are you, who, who, who, who" chorus from the song "Who Are You" was based on Sufi chants, or that "Let My Love Open The Door" was not a message from a lover but from God.

In interviews Townshend was more open about his beliefs, penning an article on Baba for Rolling Stone in 1970 and stating that following Baba's teachings, he was opposed to the use of all psychedelic drugs, making him one of the first rock stars with counterculture credibility to turn against their use.[95]

His stardom quickly made him the world's most notable follower of Baba. Having missed out on meeting his guru with Baba's death 31 January 1969 (work on Tommy kept him from making the pilgrimage), Townshend made several trips to visit Baba's tomb in India as well as becoming a frequent visitor to the Meher Baba Spiritual Center in Myrtle Beach, South Carolina. At home he recorded and released his most overtly spiritual songs on records assembled, pressed and sold by Baba organisations. When these records became widely bootlegged, Townshend put together a selection of the tracks for release as the solo album Who Came First. In 1976 he opened the Oceanic Centre in London, using it as a haven for English Baba followers and Americans making a pilgrimage to Baba's tomb in Meherabad, India as well as a place for small concerts (one such in 1979 was released on CD in 2001 as Pete Townshend & Raphael Rudd—The Oceanic Concerts) and a repository for films made of Baba.

Townshend became a lower-profile follower after 1982, having felt that his former addictions to cocaine and heroin made him a poor candidate for spokesman. Nevertheless, his discipleship continues to the current day.

Personal life[edit]

Relationships[edit]

Townshend met Karen Astley, daughter of film composer Edwin Astley, while in art school. They married on 20 May 1968, and moved into a three-bedroom townhome in Twickenham, Middlesex that overlooked the River Thames.[96] They have three children: Emma (born 1969), who is a gardening columnist, Aminta (born 1971), and Joseph (born 1990).[97] The couple separated in 1994 and divorced in 2009.[98] Townshend currently lives with his long-time girlfriend, musician Rachel Fuller, in The Wick, Richmond, England. He also owns a house in Churt, Surrey, England, and in 2010 purchased a lease on the historic National Trust property Ashdown House in Oxfordshire.[99] According to The Sunday Times Rich List his assets were worth £40 million as of 2009.[100]

Sexuality[edit]

In a 1989 interview with radio host Timothy White, Townshend apparently acknowledged his bisexuality, referencing the song "Rough Boys" on his 1980 album, Empty Glass. He called the song a "coming out, an acknowledgment of the fact that I'd had a gay life, and that I understood what gay sex was about."[101] However, in a 1994 interview for Playboy, he said, "I did an interview about it, saying that "Rough Boys" was about being gay, and in the interview I also talked about my "gay life," which—I meant—was actually about the friends I've had who are gay. So the interviewer kind of dotted the t's and crossed the i's and assumed that this was a coming out, which it wasn't at all."[102] Townshend later wrote in his 2012 autobiography Who I Am that he at one point felt as if he was "probably bisexual". Townshend also stated jokingly that he once felt sexually attracted to The Rolling Stones frontman, Mick Jagger.[103]

Legal troubles[edit]

Main article: Operation Ore

Besides his arrest for assaulting a police officer in 1967 and issues with destruction of property, Townshend was cautioned by British police as part of Operation Ore, a major investigation on child pornography conducted in 2002–2003.[104]

Hearing loss[edit]

Townshend suffers from partial deafness and tinnitus believed to be the result of noise-induced hearing loss from his extensive exposure to loud music. Some such incidents include a Who concert at the Charlton Athletic Football Club, London, on 31 May 1976 that was listed as the "Loudest Concert Ever" by the Guinness Book of Records, where the volume level was measured at 126 decibels 32 metres from the stage. Townshend has also attributed the start of his hearing loss to Keith Moon's famous exploding drum set during the Who's 1967 appearance on The Smothers Brothers Comedy Hour.

What I want to do is sophisticate our sound a little. One of the troubles is Moon. He's so deafening.

—Pete Townshend, NME – April 1970[105]

In 1989, Townshend gave the initial funding to allow the formation of the non-profit hearing advocacy group H.E.A.R. (Hearing Education and Awareness for Rockers). After the Who performed at half-time at the Super Bowl XLIV, Townshend stated that he is concerned that his tinnitus has grown to such a point that he might be forced to discontinue performing with the band altogether. He told Rolling Stone, "If my hearing is going to be a problem, we're not delaying shows. We're finished. I can't really see any way around the issue." Neil Young introduced him to an audiologist who suggested he use an in-ear monitor, and although they cancelled their spring 2010 touring schedule, Townshend used the device at their one remaining London concert on 30 March 2010, to ascertain the feasibility of Townshend continuing to perform with the Who.[106]

In March 2011, Roger Daltrey said in an interview with the BBC that Townshend had recently experienced gradual but severe hearing loss and was now trying to save what remained of his hearing.

"Pete's having terrible trouble with his hearing. He's got really, really bad problems with it...not tinnitus, it's deterioration and he's seriously now worried about actually losing his hearing."

Referring to that, in July 2011, Townshend wrote at his blog: "My hearing is actually better than ever because after a feedback scare at the indigO2 in December 2008 I am taking good care of it. I have computer systems in my studio that have helped me do my engineering work on the forthcoming Quadrophenia release. I have had assistance from younger forensic engineers and mastering engineers to help me clean up the high frequencies that are out of my range. The same computer systems work wonderfully well on stage, proving to be perfect for me when the Who performed at the Super Bowl and doing Quadrophenia for TCT at the Royal Albert Hall in 2010. I'm 66, I don't have perfect hearing, and if I listen to loud music or go to gigs I do tend to get tinnitus."

Political views[edit]

In 1998, Townshend was named in a list of the biggest private financial donors to the UK Labour Party.[107] He refused to let Michael Moore use "Won't Get Fooled Again" in Fahrenheit 9/11, saying that he watched Bowling for Columbine and was not convinced.[108] In 1961 while in art school, Townshend joined the Young Communist League (UK) and was a prominent figure in their 1966 "Trend" recruitment campaign. In a 1974 Penthouse interview he stated that in practice he was a capitalist rewarded well for his work but his ideals were communist.[109] On several other occasions he identified himself to the press as a communist.

Charity work[edit]

Performing in Austin, Texas as a supporting guest of friend and former Small Faces/Faces musician, Ian McLagan in 2007

Pete Townshend has woven a long history of involvement with various charities and other philanthropic efforts throughout his career, both as a solo artist and with the Who. His first solo concert, for example, was a 1974 benefit show which was organised to raise funds for the Camden Square Community Play Center.

The earliest public example of Townshend's involvement with charitable causes was in 1968, when Townshend donated the use of his former Wardour Street apartment to the Meher Baba Association. The following year, the association was moved to another Townshend-owned apartment, the Eccleston Square former residence of wife Karen. Townshend sat on a committee which oversaw the operation and finances of the centre. "The committee sees to it that it is open a couple of days a week, and keeps the bills paid and the library full", he wrote in a 1970 Rolling Stone article.

In 1969 and 1972 Townshend produced two limited-release albums, Happy Birthday and I Am, for the London-based Baba association. This led to 1972's Who Came First, a more widespread release, 15 percent of the revenue of which went to the Baba association. A further limited release, With Love, was released in 1976. A limited-edition boxed set of all three limited releases on CD, Avatar, was released in 2000, with all profits going to the Avatar Meher Baba Trust in India, which provided funds to a dispensary, school, hospital and pilgrimage centre.

In July 1976, Townshend opened Meher Baba Oceanic, a London activity centre for Baba followers which featured film dubbing and editing facilities, a cinema and a recording studio. In addition, the centre served as a regular meeting place for Baba followers. Townshend offered very economical (reportedly £1 per night) lodging for American followers who needed an overnight stay on their pilgrimages to India. "For a few years, I had toyed with the idea of opening a London house dedicated to Meher Baba", he wrote in a 1977 Rolling Stone article. "In the eight years I had followed him, I had donated only coppers to foundations set up around the world to carry out the Master's wishes and decided it was about time I put myself on the line. The Who had set up a strong charitable trust of its own which appeased, to an extent, the feeling I had that Meher Baba would rather have seen me give to the poor than to the establishment of yet another so-called 'spiritual center'." Townshend also embarked on a project dedicated to the collection, restoration and maintenance of Meher Baba-related films. The project was known as MEFA, or Meher Baba European Film Archive.

Children's charities[edit]

Townshend has been an active champion of children's charities. The debut of Pete Townshend's stage version of Tommy took place at San Diego's La Jolla Playhouse in July 1992. The show was earmarked as a benefit for the London-based Nordoff-Robbins Music Therapy Foundation, an organisation which helps children with autism and intellectual disability.

Townshend performed at a 1995 benefit organised by Paul Simon at Madison Square Garden's Paramount Theatre, for The Children's Health Fund. The following year, Townshend performed at a benefit for the annual Bridge School Benefit, a California facility for children with severe speech and physical impairments with concerts organised by Neil and Pegi Young. In 1997, Townshend established a relationship with Maryville Academy, a Chicago area children's charity. Between 1997 and 2002, Townshend played five benefit shows for Maryville Academy, raising at least $1,600,000. His 1998 album A Benefit for Maryville Academy was made to support their activities and proceeds from the sales of his release were donated to them.

As a member of the Who, Pete Townshend has also performed a series of concerts, beginning in 2000, benefiting the Teenage Cancer Trust in the UK, raising several million pounds. In 2005, Townshend performed at New York's Gotham Hall for Samsung's Four Seasons of Hope, an annual children's charity fundraiser, and donated a smashed guitar to the Pediatric Epilepsy Project.[110]

On 4 November 2011, Roger Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Program at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by the Who's charity Who Cares. The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[111]

Drug rehabilitation[edit]

Townshend has also advocated for drug rehabilitation. In a 1985 radio interview, he said:

What I'm most active in doing is raising money to provide beds in clinics to help people that have become victims of drug abuse. In Britain, the facilities are very, very, very lean indeed ... although we have a national health service, a free medical system, it does nothing particularly for class A drug addicts – cocaine abusers, heroin abusers ... we're making a lot of progress ... the British government embarked on an anti-heroin campaign with advertising, and I was co-opted by them as a kind of figurehead, and then the various other people co-opted me into their own campaigns, but my main work is raising money to try and open a large clinic.

The "large clinic" Townshend was referring to was a plan he and drug rehabilitation experimenter Meg Patterson had devised to open a drug treatment facility in London; however, the plan failed to come to fruition. Two early 1979 concerts by the Who raised £20,000 for Patterson's Pharmakon Clinic in Sussex.

Further examples of Townshend's drug rehabilitation activism took place in the form of a 1984 benefit concert (incidentally the first live performance of Manchester band, The Stone Roses), an article he wrote a few days later for Britain's Mail on Sunday urging better care for the nation's growing number of drug addicts, and the formation of a charitable organisation, Double-O Charities, to raise funds for the causes he'd recently championed. Townshend also personally sold fund-raising anti-heroin T-shirts at a series of UK Bruce Springsteen concerts, and reportedly financed a trip for former Clash drummer Topper Headon to undergo drug rehabilitation treatment. Townshend's 1985–86 band, Deep End, played two benefits at Brixton Academy in 1985 for Double-O Charities.

Amnesty International[edit]

In 1979, Townshend donated his services to the human rights organisation Amnesty International when he performed three songs for its benefit show The Secret Policeman's Ball – performances that were released on record and seen in the film of the show. Townshend's acoustic performances of three of his songs ("Pinball Wizard", "Drowned", and "Won't Get Fooled Again") were subsequently cited as having been the forerunner and inspiration for the "unplugged" phenomenon in the 1990s.[112] Townshend had been invited to perform for Amnesty by Martin Lewis, the producer of The Secret Policeman's Ball who stated later that Townshend's participation had been the key to his securing the subsequent participation for Amnesty (in the 1981 sequel show) of Sting, Eric Clapton, Jeff Beck, Phil Collins and Bob Geldof. Other performers inspired to support Amnesty International in future Secret Policeman's Ball shows and other benefits because of Townshend's early commitment to the organisation include Peter Gabriel, Bruce Springsteen, David Gilmour and U2 singer Bono who in 1986 told Rolling Stone magazine: "I saw The Secret Policeman's Ball and it became a part of me. It sowed a seed...."

Discography[edit]

Solo albums[edit]

Townshend also released several albums dedicated to his spiritual mentor Meher Baba, listed on the discography page.

Guest appearances[edit]

In 1968 Townshend helped assemble a band called Thunderclap Newman consisting of three musicians he knew. Pianist Andy Newman (an old art school friend), drummer John "Speedy" Keen (who had written "Armenia City in the Sky" for the Who to record for their 1967 album The Who Sell Out) and teenage guitarist Jimmy McCulloch (later to join Wings). Townshend produced the band and played bass on their recordings under the tongue-in-cheek pseudonym "Bijou Drains". Their first recording was the single "Something in the Air", which became a number one hit in the UK and a substantial hit elsewhere in the world. This was the only number one hit in the UK that Townshend performed on. (The Who had none.)[113] Following this success, Townshend produced their sole album, Hollywood Dream.

Townshend also produced "Fire" by The Crazy World of Arthur Brown in 1968 that was No. 1 in the UK and No. 2 in the US.[113]

In 1971, Townshend, along with Keith Moon and Ronnie Lane, backed Mike Heron (of the Incredible String Band) on one song "Warm Heart Pastry" from Heron's first solo LP, Smiling Men with Bad Reputations. On the album notes, they are listed as "Tommy and the Bijoux". Also present on the track was John Cale on viola.

In 1984, Townshend contributed lyrics to the track "I'm the Answer" on his brother Simon's debut solo album Sweet Sound which was released as a single and features Townshend and Simon on an interview that wrongly names that the track was by "Peter Townshend".

In 1984, Townshend contributed lyrics to two songs ("Love on The Air" and "All Lovers are Deranged") on David Gilmour's solo album About Face.

Through much of 2005, Pete Townshend recorded and performed alongside his girlfriend Rachel Fuller, a classically trained pianist and singer-songwriter.

In 2006, Townshend opened a website for implementation of The Lifehouse Method based on his 1971 Lifehouse concept. This website was in collaboration with composer Lawrence Ball and software developer David Snowden, with instrumentation by Steve Hills. Applicants at the website could input data to compose a musical "portrait" which the musical team could then develop into larger compositions for a planned concert or series of concerts.

Other appearances include:

Bibliography[edit]

Awards[edit]

See also[edit]

Notes[edit]

  1. ^ "Pete Townshend". Front Row. 26 December 2012. BBC Radio 4. http://bbc.co.uk/programmes/b01pg54v. Retrieved 18 January 2014.
  2. ^ The Who. Encyclopædia Britannica
  3. ^ The New Book of Rock Lists page 344. Google Books. Retrieved 15 May 2011. 
  4. ^ "Top 50 Guitarists". Gibson.com. Retrieved 15 May 2011. 
  5. ^ "Rolling Stone 100 Greatest Guitarists of All Time". 
  6. ^ Giuliano 2002, p. 2.
  7. ^ Wilkerson 2006, p. 6.
  8. ^ Giuliano 2002, p. 8.
  9. ^ Giuliano 2002, p. 12.
  10. ^ Wilkerson 2006, p. 8.
  11. ^ Giuliano 2002, p. 7.
  12. ^ Marsh 1983, p. 19.
  13. ^ Wilkerson 2006, p. 9.
  14. ^ Wilkerson 2006, p. 10.
  15. ^ Giuliano 2002, p. 13.
  16. ^ Marsh 1983, p. 26.
  17. ^ Giuliano 2002, p. 15.
  18. ^ Neill & Kent 2009, p. 17.
  19. ^ Wilkerson 2006, p. 12.
  20. ^ Wilkerson 2006, p. 7.
  21. ^ Giuliano 2002, p. 19.
  22. ^ Wilkerson 2006, p. 14.
  23. ^ Wilkerson 2006, p. 16.
  24. ^ Wooldridge 2002, p. 136.
  25. ^ Neill & Kent 2009, p. 18.
  26. ^ Giuliano 2002, p. 22.
  27. ^ Neill & Kent 2009, p. 22.
  28. ^ Neill & Kent 2009, p. 21.
  29. ^ Neill & Kent 2009, p. 24.
  30. ^ Giuliano 2002, p. 40.
  31. ^ Neill & Kent 2009, p. 26.
  32. ^ Marsh 1983, p. 66.
  33. ^ Marsh 1983, p. 80.
  34. ^ Neill & Kent 2009, p. 55.
  35. ^ Neill & Kent 2009, p. 60.
  36. ^ Marsh 1983, p. 125.
  37. ^ Marsh 1983, p. 126.
  38. ^ Wilkerson 2006, p. 40.
  39. ^ Howard 2004, pp. 107–108.
  40. ^ Wilkerson 2006, p. 52.
  41. ^ Wilkerson 2006, p. 53.
  42. ^ Unterberger, Richie. "My Generation – review". AllMusic. Retrieved 19 September 2013. 
  43. ^ Giuliano 2002, p. 63.
  44. ^ Marsh 1983, p. 227.
  45. ^ Marsh 1983, p. 229.
  46. ^ Giuliano 2002, p. 37.
  47. ^ Daly, Sean (4 November 2012). "Review: Pete Townshend memoir 'Who I Am' gloomy yet addictive". Tampa Bay Times. Retrieved 5 March 2014. 
  48. ^ Wilkerson 2006, p. 76.
  49. ^ Giuliano 2002, p. 76.
  50. ^ Giuliano 2002, p. 77.
  51. ^ Neill & Kent 2009, p. 148.
  52. ^ Neill & Kent 2009, p. 149.
  53. ^ Wilkerson 2006, p. 93.
  54. ^ Marsh 1983, p. 294.
  55. ^ Wilkerson 2006, p. 113.
  56. ^ Giuliano 2002, p. 89.
  57. ^ Giuliano 2002, p. 90.
  58. ^ Neill & Kent 2009, p. 224.
  59. ^ "Hope I don't have a heart attack". The Telegraph. 22 June 2006. Retrieved 22 January 2014. 
  60. ^ Marsh 1983, p. 368.
  61. ^ Marsh 1983, p. 378.
  62. ^ Neill & Kent 2009, p. 275.
  63. ^ Suddath, Claire (21 October 2011). "'Baba O'Riley'". Time. Retrieved 22 January 2014. 
  64. ^ Marsh 1983, p. 412.
  65. ^ Wilkerson 2006, p. 211.
  66. ^ Neill & Kent 2009, p. 428.
  67. ^ Wilkerson 2006, p. 213.
  68. ^ Neill & Kent 2009, p. 336.
  69. ^ Wilkerson 2006, p. 222.
  70. ^ Neil & Kent 2009, p. 369.
  71. ^ Marsh 1983, p. 439.
  72. ^ Marsh 1983, p. 451.
  73. ^ a b Wilkerson 2006, p. 240.
  74. ^ Neill & Kent 2009, p. 394.
  75. ^ "The Who Biography". Rock and Roll Hall of Fame. Retrieved 3 October 2013. 
  76. ^ "the Who". Encyclopædia Britannica. Retrieved 15 May 2011. 
  77. ^ Vedder, Eddie. "The Immortals – The Greatest Artists of All Time: 29) The Who" Rolling Stone, 15 April 2004.
  78. ^ "First Annual Lifetime Achievement Award in Live Music". Vodafonemusic.co.uk. Retrieved 15 May 2011. 
  79. ^ "The Who liner notes". Thewho.net. 16 October 2007. Retrieved 15 May 2011. 
  80. ^ "Ritchie Blackmore interview". Thehighwaystar.com. Retrieved 15 May 2011. 
  81. ^ "Steven Rosen's Jimmy Page Interview". Zepagain.com. 1977. Retrieved 15 May 2011. 
  82. ^ "Slash Interview". Snakepit.org. Retrieved 15 August 2011. 
  83. ^ "Alex Lifeson interview". Epiphone.com. 29 July 2004. Retrieved 15 May 2011. 
  84. ^ The Sex Pistols’ Steve Jones: 'I lost everything, hit bottom, and had to work my way back up'. Gibson.[dead link]
  85. ^ Heath, Chris (July 2002). "Pete Townshend: The Rolling Stone Interview". Rolling Stone. 
  86. ^ "The Who Official Band Website – Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon, Home". Petetownshend.co.uk. Retrieved 15 May 2011. 
  87. ^ Belson, Ken (2 February 2010). "The Who, and the Super Bowl's Evolving Halftime Show". The New York Times. Retrieved 8 February 2010. 
  88. ^ "Closing Ceremony". London 2012. Retrieved 20 July 2012. 
  89. ^ "Pete's Equipment, Harmony Sovereign H-1270 12-string acoustic guitar, Whotabs, Pete Townshend". Thewho.net. Retrieved 15 May 2011. 
  90. ^ Giuliano 2002, p. 95.
  91. ^ Giuliano 2002, p. 96.
  92. ^ Townshend, Pete. (2012) Who I Am: A Memoir, New York City: Harper Collins Publishers. ISBN 978-0-06-212724-2
  93. ^ "Best Sellers". The New York Times. 28 October 2012. Retrieved 10 January 2013. 
  94. ^ Richard Barnes, liner notes from 1996 CD release
  95. ^ Pete Townshend: "In Love With Meher Baba", Rolling Stone No. 71 (26 November 1970)
  96. ^ Giuliano 1983, p. 81.
  97. ^ Seigel, Jessica (2 October 1994). "Pete Townshend: So Why Did a Guy Who Hates Pinball Write A Rock Opera About it?". Chicago Tribune. Retrieved 12 March 2013. 
  98. ^ McKinney, K. (7 April 2009). "Pete Townshend to Divorce 15 Years After Separation". MyFamilyLaw. Retrieved 13 August 2011. 
  99. ^ Mikhailova, Anna (30 May 2010). "Talkin' ’bout my National Trust generation". The Times (London). Retrieved 4 June 2010. 
  100. ^ "Rich List 2009". The Times (London). Retrieved 22 May 2010. [dead link]
  101. ^ "Pete Townshend Says He Is Bisexual". Orlando Sentinel. 8 November 1990. Retrieved 3 December 2012. 
  102. ^ Sheff, David (1994), "Interview: Pete Townshend", Playboy 
  103. ^ Lynskey, Dorian (9 October 2012). "Who I Am: A Memoir by Pete Townshend". The Guardian. Retrieved 4 January 2013. 
  104. ^ Wilson, Jamie (8 May 2003). "Pete Townshend put on sex offenders register". The Guardian (London). Retrieved 22 May 2010. 
  105. ^ Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p. 211. CN 5585. 
  106. ^ Kreps, Daniel (8 February 2010). "The Who's Future Uncertain as Townshend's Tinnitus Returns". Rolling Stone. Retrieved 21 February 2010. 
  107. ^ "'Luvvies' for Labour". BBC News. 30 August 1998. Retrieved 22 May 2010. 
  108. ^ Rashbaum, Alyssa. "Pete Townshend Says Don't Be 'Fooled' By Michael Moore". MTV. Retrieved 8 December 2012. 
  109. ^ "The Hypertext Who › Article Archive › Penthouse Interview (1974)". Thewho.net. Retrieved 2014-07-04. 
  110. ^ "Pete Townshend Smashes Guitar... for Charity". Modern Guitars. 12 August 2005. Archived from the original on 19 November 2005. 
  111. ^ "The Who launch teen cancer program at LA hospital". The Sacramento Bee. 4 November 2011. Retrieved 4 November 2011. [dead link]
  112. ^ "The Secret Policeman's Film Festival". 2009. Archived from the original on 18 June 2009. 
  113. ^ a b "Something in the Air by Thunderclap Newman Songfacts". Songfacts.com. Retrieved 15 May 2011. 
  114. ^ Miller, Cheryl (8 December 2008). "Six Artists Are Honored at Kennedy Center". The New York Times. Retrieved 13 December 2009. 
  115. ^ Townshend, Pete (31 October 2011). Can John Peelism Survive The Internet? (Speech). BBC Radio 6 Inaugural John Peel Lecture. Radio Academy Radio Festival, Salford's Lowry Theatre, Manchester. 

References[edit]

  • Giuliano, Geoffrey (2002). Behind Blue Eyes: The Life of Pete Townshend. Cooper Square Press. ISBN 978-1-46173-196-2. 
  • Howard, David (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings. Hal Leonard Corporation. ISBN 978-0-634-05560-7. 
  • Marsh, Dave (1983). Before I Get Old: The Story of The Who. Plexus Publishing Ltd. ISBN 978-0-85965-083-0. 
  • Neill, Andrew; Kent, Matthew (2009). Anyway Anyhow Anywhere: The Complete Chronicle of The Who 1958–1978. Sterling Publishing. ISBN 978-0-7535-1217-3. 
  • Wilkerson, Mark (2006). Amazing Journey: The Life of Pete Townshend. Lulu.com. ISBN 978-1-411-67700-5. 
  • Wooldridge, Max (2002). Rock 'n' Roll London. Macmillan. ISBN 978-0-312-30442-3. 

Further reading[edit]

External links[edit]