|
|
| justinkurian |
From Billboard:
The Who Not Rushing First New Album Since 1982
March 17, 2006, 3:35 PM ET
Jill Kipnis, L.A.
Surviving Who principals Pete Townshend and Roger Daltrey are making progress on the first new album under the group name since 1982's "It's Hard," but Daltrey says there is no timetable to finish the project.
"It will come out when it is ready," he tells Billboard. "What's the point of trying to give yourself deadlines that aren't really important? I think we have to get it good before we can finish it."
Describing the process of developing material, Daltrey admits, "We are doing it in a very different way. All the time that [the late bassist] John [Entwistle] was in the band, we kind of felt we had to go in as a group. Now, it is really only Pete and I, and Pete wants to do all the guitars and some of the bass playing. Whether we will end up going into the studio with a band and recording it all again, I don't know. These are all the kinds of bridges that we need to cross."
Daltrey says he has three tracks written for the project. "One of them is particularly fantastic in the older Who-type vain," he enthuses. "Another is particularly fantastic in a completely different way. These songs are all about the spirit and the emotion. Whether or not they are successful in today's world, who knows? The business is totally different now."
The artist says he's particularly excited about the Townshend song "Black Widow's Eyes," which concerns Stockholm syndrome. "The fact that he's done that in music and words, and he completely sums up Stockholm syndrome in this song, is so haunting," he says. "Imagine how difficult it is for Pete. He doesn't need to write another song. God almighty, all that music out of one head. But he seems driven at the moment, which is great because I've always felt that he was the kind of writer who would write his best stuff at the age he is now. His skills have caught up with his intellect."
As previously reported, the Who will tour Europe this summer, with additional international dates to follow later in the year. "If we can go out and play festival spots and play our hits, we can relight the fire," Daltrey says. "It's amazing when young people see the band. We've had an incredible resurgence with young people.
Daltrey is also involved in a long-in-the-works biopic about late Who drummer Keith Moon, but declined to reveal details. "We've had three or four scripts written, and we've never quite nailed what we wanted to do," he admits. "We've got a new writer. A very famous writer, a Pulitzer Prize winner indeed. I can't name him because I don't know the situation at the moment. You can't tell someone's life story in two hours on film. If I can do it, I hope to make a real rock'n'roll film that will be funny, poignant, sad, celebratory, all the things that Moon was. But if I can't, I'm very glad that I'm holding the reins and stopping any bad films of Keith Moon being made." |
|
|
| pdog |
At least they're not rushing recording and releasing like The Stones did with Bang... |
|
|
| IanBillen |
[quote]pdog wrote:
At least they're not rushing recording and releasing like The Stones did with Bang...
___________________________________________________________________________
PDog,
You can't compare The Who's studio work and The Stones studio work within the past twenty five years. The Stones have been there. The Who have not.
I'll take an eight year lull over twenty four or twenty five (as it now is a possibility) any day....
Bang speaks for itself. The songs were already written and rehearsed. They just banged them out a little late is all. Cutting too close for my taste but hey, I am no Production Supervisor for them. the album is still great and that is the bottum line.
Ian |
|
|
| RollingstonesUSA |
LONG LIVE ROCK!!!! |
|
|
| keefjunkie |
quote:
RollingstonesUSA wrote:
LONG LIVE ROCK!!!!
WORD! |
|
|
| HardKnoxDurtySox |
quote:
justinkurian wrote:
...Daltrey says he has three tracks written for the project...
Joey: "not pleased" |
|
|
| MRD8 |
Got the from Pete's website yesterday...sounds promising!
Recording The Who's Mini-Opera
The weekend. I’ve managed to get a little ahead of schedule on recording so I get a chance to post an update on how the sessions are going.
Sometime around the middle of January I had to make a firm decision whether to commit to European shows that would begin in June. I had about twelve tracks that I would have been happy to release – if I’d been working on a solo album. But more than half the songs were intense, slow tempo and very mature in tone. Roger had already ‘passed’ on In the Ether, suggesting I sing it myself or reserve it for a solo record. Bill Curbishley, the Who’s manager, told me that I needed to make a decision quickly. My stance was that I would not tour again with the Who without new music.
For four months I had been posting on the internet the free serialization of my story The Boy Who Heard Music. I called the piece a ‘Novella’. This was an inspiring and affirming period for me. It concentrated my mind on what was after all my central focus, and had been since 2001, the creation of a series of songs that would provide the backbone for some kind of large theatrical music event. However, Roger had seen an early script of my story, and declined an involvement in it. So the principle focus of my creative output seemed closed to me when it came to writing music for the Who album. I managed a few songs that stood alone, but even those seemed to have sprung from whatever was going on in my heart as I worked on TBWHM.
On January 10th I had a sudden flash. Nick Goderson who is the manager of Eel Pie, has been ill with cancer for quite some time, and is often on my mind. I remembered that he had once suggested I turn TBWHM into a ‘Mini-Opera’ rather than a Magnum-Opus. This was what I needed. With the story fresh in my mind, and with hundreds of useful comments from those who had responded as I had published the chapters one by one, I was able to quickly scratch out a lyrical synopsis of The Boy Who Heard Music. This comprised seven or eight short lyric-poems. I took into account none of the depth, background or complexity of the story. In a way, I deliberately skipped over what I had explored and elaborated in my Novella, and just grabbed at whatever came into my mind as I sat with pen and paper. I had the benefit of my notes from the Lifehouse script and lyric-guides from as far back as1971, one of which – Sound Round – I used to start the collection. I also used some of the lyrics I had written especially for the Novella. Quickly I found I had enough coherent lyrics to comprise a short song-cycle or ‘Mini-Opera’. I did a couple of quick demos and by January 17th knew I had about 30 minutes of music that would create a vigorous backbone for the Who album, but allow me to continue to draw on the bloodline of The Boy Who Heard Music.
On this basis I committed to the tour and everything else has happened too quickly to contemplate. I completed ten songs, two of which were full length and quite complex, the rest shorter, punchier or simple and ballad-like. I played all the parts myself, as is my habit while I’m composing. I moved into Oceanic, my large studio, and began work with other musicians on February 28th, three days after the last posting of the Novella on the internet.
I decided I would like to release a record prior to the European shows, even if only on the internet. However, Polydor has agreed in principle to release something plastic prior to the main album. So I am completing six songs (as excerpts from the Mini-Opera) for delivery at the end of this month, that will facilitate a June release of what we are now calling a ‘Maxi-single’. It’s an EP really. It will run about 11 minutes.
I’ve used Pino on bass, and he’s playing with terrific energy. Rabbit has played some old-school Hammond. My brother Simon and Billy Nicholls have assisted me with backing vocals. The drums are played brilliantly by Rachel Fuller’s drummer Peter Huntington (Zak Starkey our usual drummer is still in South America with Oasis). Roger starts putting down his vocals on Monday.
I am producing the recordings with help from engineers Bob Pridden and Myles Clarke.
The Mini-Opera is entitled The Glass Household.
|
|
|
| Zack |
What's Stockholm syndrome? |
|
|
| Zack |
The Stockholm syndrome is a psychological response sometimes seen in a hostage, in which the hostage exhibits seeming loyalty to the hostage-taker, in spite of the danger (or at least risk) the hostage has been put in. Stockholm syndrome is also sometimes discussed in reference to other situations with similar tensions, such as battered woman syndrome, child abuse cases, and bride kidnapping.
|
|
|
| Jumacfly |
quote:
pdog wrote:
At least they're not rushing recording and releasing like The Stones did with Bang...
100% correct Sir! |
|
|
| corgi37 |
I'll take "Streets of love" over "Red, red wine" any damn bloody fucking day.
They are thinking too much. It will be a total, boring self indulgent disaster. No sense of urgency. No fire. Just waiting, waiting, waiting to be inspired.
P.S. "Real good looking boy". Say no more! |
|
|
| Break The Spell |
quote:
corgi37 wrote:
I'll take "Streets of love" over "Red, red wine" any damn bloody fucking day.
Actually, it was called "Old Red Wine" but close enough. Sounds very promising, after 24 years I'm expecting big things, hopefully the near quarter century studio lay-off will result in some killer music. The title "Black Widow's Eyes" sounds very haunting, can't wait to hear it!! |
|
|
| corgi37 |
Old red wine. Sorry. Now, i think i will have some new red wine. Straight from the cask. |
|
|
| Joey |
quote:
MRD8 wrote:
Got the from Pete's website yesterday...sounds promising!
Recording The Who's Mini-Opera
The weekend. I’ve managed to get a little ahead of schedule on recording so I get a chance to post an update on how the sessions are going.
Sometime around the middle of January I had to make a firm decision whether to commit to European shows that would begin in June. I had about twelve tracks that I would have been happy to release – if I’d been working on a solo album. But more than half the songs were intense, slow tempo and very mature in tone. Roger had already ‘passed’ on In the Ether, suggesting I sing it myself or reserve it for a solo record. Bill Curbishley, the Who’s manager, told me that I needed to make a decision quickly. My stance was that I would not tour again with the Who without new music.
For four months I had been posting on the internet the free serialization of my story The Boy Who Heard Music. I called the piece a ‘Novella’. This was an inspiring and affirming period for me. It concentrated my mind on what was after all my central focus, and had been since 2001, the creation of a series of songs that would provide the backbone for some kind of large theatrical music event. However, Roger had seen an early script of my story, and declined an involvement in it. So the principle focus of my creative output seemed closed to me when it came to writing music for the Who album. I managed a few songs that stood alone, but even those seemed to have sprung from whatever was going on in my heart as I worked on TBWHM.
On January 10th I had a sudden flash. Nick Goderson who is the manager of Eel Pie, has been ill with cancer for quite some time, and is often on my mind. I remembered that he had once suggested I turn TBWHM into a ‘Mini-Opera’ rather than a Magnum-Opus. This was what I needed. With the story fresh in my mind, and with hundreds of useful comments from those who had responded as I had published the chapters one by one, I was able to quickly scratch out a lyrical synopsis of The Boy Who Heard Music. This comprised seven or eight short lyric-poems. I took into account none of the depth, background or complexity of the story. In a way, I deliberately skipped over what I had explored and elaborated in my Novella, and just grabbed at whatever came into my mind as I sat with pen and paper. I had the benefit of my notes from the Lifehouse script and lyric-guides from as far back as1971, one of which – Sound Round – I used to start the collection. I also used some of the lyrics I had written especially for the Novella. Quickly I found I had enough coherent lyrics to comprise a short song-cycle or ‘Mini-Opera’. I did a couple of quick demos and by January 17th knew I had about 30 minutes of music that would create a vigorous backbone for the Who album, but allow me to continue to draw on the bloodline of The Boy Who Heard Music.
On this basis I committed to the tour and everything else has happened too quickly to contemplate. I completed ten songs, two of which were full length and quite complex, the rest shorter, punchier or simple and ballad-like. I played all the parts myself, as is my habit while I’m composing. I moved into Oceanic, my large studio, and began work with other musicians on February 28th, three days after the last posting of the Novella on the internet.
I decided I would like to release a record prior to the European shows, even if only on the internet. However, Polydor has agreed in principle to release something plastic prior to the main album. So I am completing six songs (as excerpts from the Mini-Opera) for delivery at the end of this month, that will facilitate a June release of what we are now calling a ‘Maxi-single’. It’s an EP really. It will run about 11 minutes.
I’ve used Pino on bass, and he’s playing with terrific energy. Rabbit has played some old-school Hammond. My brother Simon and Billy Nicholls have assisted me with backing vocals. The drums are played brilliantly by Rachel Fuller’s drummer Peter Huntington (Zak Starkey our usual drummer is still in South America with Oasis). Roger starts putting down his vocals on Monday.
I am producing the recordings with help from engineers Bob Pridden and Myles Clarke.
The Mini-Opera is entitled The Glass Household.
Bless You MRD8 !!!!!!
Joey Townshend
|
|
|
| Joey |
" that will facilitate a June release of what we are now calling a ‘Maxi-single’. "
Maxi ... ?!?!
MAXI .. ?!?!
|
|
