Original subtitles

- Where do you want it? - Right there.

They look after us on this show.

You know, you guys are really too much. And I want to introduce you...

to the guys individually in The Who.

Because you never get to know their names. You know them as The Who.

Everybody says, "Who?" And you say, "You know."

- What's your... So what's your name? - Pete Townshend.

- Pete. And where are you from, Pete? - London.

- From London? London where? - London, England.

Hey, where did you learn to play... You know, that's a wild style of playing.

Where did you learn to play the guitar like that?

That was bowling. Bowling.

Bowling. Yeah, I could tell.

Now we move right along...

right over...

- Right over here. And you're... - John.

- You're John. And you're from... - London too.

From London too? And you must be Roger.

- I must be. - Well, are you? You're Roger?

- And where are you from? - Oz.

Roger... Here's Roger from Oz.

And over here is the guy who plays the sloppy drums.

You follow the Yellow Brick Road. What's your name?

- Keith. - Keith.

My friends call me Keith. You can call me John.

Okay, John. I'm gonna...

I'd just as soon call you Roger.

Roger from Oz, what's the next song you're gonna do?

- "My Generation." - Your generation.

I can identify with that, because I really identify with these guys.

I dig them. And this is...

You got sloppy stagehands around here.

Okay, that's enough! They're gonna sing "My Generation."

This song really goes. And you're gonna be surprised what happens.

Because this is excitement. And hit it. "My Generation."

People try to put us

- Down - Talking about my generation

- Just because we get around - Talking about my generation

Things they do look awful cold

Talking about my generation

I hope I die before I get old

- Talking about my generation - This is my generation

This is my generation, baby

- Why don't you all fade away - Talking about my generation

I said don't try and dig what we all

- Talking about my generation - Say

I'm not trying to cause a

- Big sensation - Talking about my generation

- I'm just talking about my generation - Talking about my generation

My generation It's my generation, baby

Why don't you all

- Fade away - Talking about my generation

I said ya don't try and dig what we all

- Talking about my generation - Say

I'm not trying to cause a

- Big sensation - Talking about my generation

- Talking about my generation - Talking about my generation

My generation This is my generation, baby

My, my

Generation

Talking about my

My generation

I'm talking about

Hey, Dick, I'd like to borrow your bass for a minute.

And now, here is your Shindig host, Jimmy O'Neil.

Thank you very much, ladies and gentlemen. Howdy-Hi, Shindiggers.

Well, tonight is our very last Shindig, and we're going out with a bang.

And boy, we've got a bang-up gas for you...

starring Billy J. Kramer and the Dakotas...

The Who, Dave Berry, Ian Whitcombe, Sandy Shaw, The Kinks...

The Barron Knights, Twinkle and, of course...

our own Blossoms and Wellingtons.

So what do you say we get ready to live it up.

Because here we go with our kickoff tune tonight called "I Can't Explain."

And here to sing it are The Who.

- Got a feeling inside - Can't explain

- It's a certain kind - Can't explain

- I feel hot and cold - Can't explain

- Yeah, down in my soul, yeah - Can't explain

- I said - Can't explain

- I'm feeling good now, yeah, but - Can't explain

Dizzy in the head and I'm feeling blue

The things you've said well, maybe they're true

I'm getting funny dreams again and again

I know what it means, but

Can't explain I think it's love

Try to say it to you when I feel blue

- But I can't explain - Can't explain

- Yeah, hear what I'm saying, girl - Can't explain

Dizzy in the head and I'm feeling bad

The things you've said have got me real mad

I'm getting funny dreams again and again

I know what it means, but

Can't explain I think it's love

Try to say it to you when I feel blue

- But I can't explain - Can't explain

- Yeah, one more time, yeah, yeah - Can't explain

I said I can't explain, yeah

You drive me out of my mind

Yeah, I'm the worrying kind Yeah

I said I can't explain

Terribly sorry, Russell.

- Does this not belong to you or us? - Have a seat. Have a seat, old love.

Drape yourselves all over the upholstery.

Who does that machinery belong to? Does it belong to you or to us?

- Bank manager. - I mean, who has to pay for it?

- It's mortgaged. - It's all right.

It looks all right.

A lot of people live in there.

- We've got 83 deposed Pakistanis. - Stop interrupting!

- Do go on. - It's no good now.

- I've lost my nerve now. - All right. Let me... Let me...

- Let me take over then. - All right.

Now, you've been together now as a group for how many years? Ten years?

- Yeah. I'm leavin'. - No, wait a minute. Hold on. Hold on.

Was it that long? Christ Almighty.

It's known as the decay ofThe Who. Was it the decay?

- The decline ofThe Who? - The decade ofThe Who.

- Oh, the decade. - Who decayed?

Out here in the fields

I fight for my meals

I get my back into my living

I don't need to fight

To prove I'm right

I don't need to be forgiven

No, no, no, no, no, no

Don't cry

Don't raise your eye

It's only

Teenage wasteland

Yeah

Sally, take my hand

Travel south across land

Put out the fire

Don't look past my shoulder

The exodus is here

The happy ones are near

Let's get together

Before we get much older

Teenage wasteland Oh, yeah

It's only teenage wasteland

Teenage wasteland Oh, yeah

It's only teenage wasteland

They're all wasted

- Everybody do you feel alright - Sure, we feel alright

Everybody is so good You feel alright

- Yeah, yeah, we feel alright - Ah, yeah, do you feel alright

- Yeah - You know you make me wanna shout

- Shimmy - Oh, yeah, you're gonna shout

- Shimmy - Oh, yeah, you're gonna shout

- Shimmy - Ooh, yeah, you're gonna shout

- Shimmy - Oh, baby, you know

I walk up to the front Try to do the flop

I walk up to the back I move from side to side

- And then I - Shout, shimmy

Oh, yeah, now

- Shout, shimmy - Ooh, yeah, and then I

- Shout, shimmy - Ooh, yeah, and then I

Do a little thing I never did before

- Shimmy - Everybody, do you feel so good

- Shout, shimmy - Do you feel so fine

- Feel alright - Come on, everybody

Everybody gonna shout

You make me feel real good

Everybody clap your hands Come on

Come on, come on Baby, feel alright

Alright Do you feel alright

Alright Everybody gonna clap your hands

- Clap your hands a little louder - Shout

- A little louder - Shout

A little louder That's good

- Shout - Everybody

Shout

Let's bring ourselves together. You've been together for ten years.

That's a decade. You haven't yet decayed.

Apart from the Rolling Stones, are you the longest surviving together group?

- Are you not? - We're not together.

What are the strains that you have suffered together, if at all?

Bastard! It seems it's just beginning.

It's such a long story. Shall I start in 1963?

- Start at the beginning. - Well, we started off as...

- A small family butcher firm. - The fantastic thing about The Who...

is that we're all incredibly nasty.

- You are or were? - Were. I mean, we're...

- Still were. - His feet are nasty as well.

Christ.

Go on, mate. Carry on.

So we were nasty...

- God. - Carry on, Russell.

- I don't want it. - You just carry on, Russell.

Go on.

You sure it's worth... It it gonna be worth seeing?

Well, a young man

Ain't got nothing in the world these days

I said, a young man

Ain't got nothing in the world these days

Well, you know in the old days

When a young man was a strong man

All the people they'd step back

When a young man walked by

But, you know, nowadays

It's the old man He's got all the money

And a young man ain't got nothing in the world these days

I said

You know he ain't got

Ain't got nothing

In the world these days

Well, everybody knows

Everybody knows

That a young man ain't got nothing

There it goes

In the old days

Everybody stepped back

When a young man walked by

And they'd step back

They'd step back

There's a film here, or an account, of one week exactly ten years ago...

when you'd played in that week at the Social Club in Goldhawk Road...

and The California Ball Room in Dunstable...

and the Railway Arch in Neasden.

And what you made that week was �370.

And what you'd spent was �1,946.17.6...

including �785 on the replacement...

of guitars, drum kits and microphones.

Who covered that gap in money, that �400 gap...

which left �1,300 to find every week?

It's hard to say.

I used to rush into Marshalls Music Shop...

and steal guitars off the wall.

I'd say, "Just taking a guitar, pay you Tuesday," and rush out.

Kit Lambert, our manager then, would say...

"A photographer from the Daily Mail is in the audience. Smash your guitar."

I'd smash the guitar all over the stage.

He'd come back, "Pete, Pete! Sorry. He missed it.

Can you smash another one? I'll give you the money."

And as soon as I started smashing something up...

Keith, who's a great sort of joiner-inner...

used to smash up his drum kit.

Well, I suppose all his friends have been on here...

'cause, you know, I'm only one of several.

I've told you about all the mad things he's done in life...

such as, you know, breaking up rooms...

driving his car into swimming pools, driving his car into foyers.

Well, I'm not gonna tell you about any of that.

You know, I'm just here to tell you...

about the Keith I know and love, you know?

Keith, what's your opinion of your public image?

I think it sort of varies with every record I put out.

I think sometimes... Could you get on with it?

Keep... Will you keep it together?

No, I think I'm very reliant on my management...

and my public relations people.

This country's in a weird, feeble, grotesque state...

and it's about time it got out of it.

And the only... the reason it could get out of it is rock music.

And I think that Townshend, The Who, Roger Daltrey, Entwistle, Moon...

could rise this country out of its decadent, ambient state...

more than Wilson and those crappy people could ever hope to achieve!

Tommy, can you hear me

Can you feel me near you

Tommy, can you see me

Can I help to cheer you

Ooh, Tommy

Tommy, Tommy

Tommy

Tommy, can you hear me

Can you feel me near you

Tommy, can you see me

Can I help to cheer you

Ooh, Tommy

Tommy, Tommy

Tommy

Tommy, can you hear me

Can you feel me near you

Tommy, can you see me

Can I help to cheer you

Ooh, Tommy

Tommy, Tommy

Tommy, Tommy

Tommy, Tommy

Tommy, Tommy

Tommy, Tommy

What about the little singer? What's your opinion of him?

I think he does a damn good job out there.

Personally, I mean, I wouldn't go out there up front...

with nothing to protect me but a small microphone.

But he manages to revolve it so fast that when people do throw things...

he gets sort of desiccated egg and sliced tomato.

I turn my cymbals up this way...

so that at the end of the night I have a salad mixed.

I just sprinkle some salt and some Italian seasoning on it...

and that sort of really ends up my evening.

Ever since I was a young boy I've played the silver ball

From Soho down to Brighton I must have played them all

But I ain't seen nothing like him in any amusement hall

That deaf, dumb and blind kid sure plays a mean pinball

He stands like a statue Becomes part of the machine

Feeling all the bumpers Always playing clean

He plays by intuition The digit counters fall

That deaf, dumb and blind kid sure plays a mean pinball

He's a pinball wizard Has to be a twist

Apinball wizard's got such a supple wrist

- How do you think he does it - I don't know

What makes him so good

He ain't got no distractions Can't hear those buzzers and bells

Don't see no lights a-flashin' Plays by sense of smell

Always gets a replay Never tilts at all

That deaf, dumb and blind kid sure plays a mean pinball

I thought I was the Bally table king

But I just handed my pinball crown to him

Found my favorite table He can beat my best

His disciples lead him in and he just does the rest

He's got crazy flipper fingers Never seen him fall

That deaf, dumb and blind kid sure plays a mean pinball

There are some elements in the story like the image in the mirror...

the pinball...

and the sensibility in general...

"See me, feel me, touch me, heal me..."

which reflect, in a certain sense...

the phenomenon of youth subculture.

There is narcissism.

There is a kind of new sensibility.

There's a strong tendency for playing up things...

and no more pulling it...

into aggressive forms of counteraction.

- Isn't this silly? - Yeah.

See me

Feel me

Touch me

Heal me

See me

Feel me

Touch me

Heal me

See me

Feel me

Touch me

Heal me

Listening to you

I get the music

Gazing at you

I get the heat

Following you

I climb a mountain

I get excitement

At your feet

Right behind you

I see the millions

On you, I see the glory

From you, I get opinions

From you, I get the story

Listening to you

I get the music

Gazing at you

I get the heat

Following you

I climb a mountain

I get excitement at your feet

Right behind you

I see the millions

On you, I see the glory

From you, I get opinions

From you, I get the story

Listening to you

I get the music

Gazing at you

I get the heat, heat

Following you

I climb a mountain

I get excitement at your feet

Right behind you

I see the millions

On you, I see the glory

From you, I get opinions

From you, I get the story

Listening to you

I get the music

Gazing at you

I get the heat, heat

Following you

I climb a mountain

I get excitement at your feet

Right behind you

I see the millions

On you, I see the glory

From you, I get opinions

From you, I get the story

Right behind you

I see the millions

On you, I see the glory

From you, I get opinions

From you, I get the story

- Thank you. - Good.

Thank you.

The end of the '60s, that seemed to sum up an awful lot about rock.

It was the time when... I mean, you were the great star of Woodstock.

Woodstock itself was one of the biggest pop events in world terms...

because of the film that masses and millions of people have seen.

And It was a marvelous thing in its way.

But just as a matter of interest, what do you think it changed?

What was different after it? What did that generation, all those people...

I mean, given the same time by the same thing and yourself and such...

what did it change?

- I'm just interested to know. - Well, it changed me. I hated it.

Ladies and gentlemen...

The Who.

You have to resign yourself to the fact that a large part of the audience...

is sort of thick, you know, and don't appreciate quality...

however much you try and put it over.

The fact is that our group hasn't... hasn't got any quality.

It's just musical sensationalism.

You do something big on the stage...

and a thousand geezers sort of go, "Ah!"

It's just basic Shepherds Bush enjoyment.

- I can go anyway - Way I choose

- I can live anyhow - Win or lose

- I can go anywhere - For something new

Anyway, anyhow anywhere I choose

- I can do anything - Right or wrong

- I can talk anyhow - And get along

- Don't care anyway - I never lose

Anyway, anyhow anywhere I choose

Nothing gets in my way Not even locked doors

Don't follow the lines that been laid before

I get along the way I dare

Anyway, anyhow, anywhere

Our sound appeals to mods in that it caters for aggression.

For example, when for a brief period I stopped smashing guitars...

kids started shouting out, "Smash your guitar, Pete! Smash your guitar!"

And getting quite annoyed that I wasn't.

'Cause to a large percentage of geezers that come to see the group...

they paid their money to see me hit me amplifier with the guitar...

and see a guitar break, you know.

A lot of girls come to see the group because of various things...

which people in the group wear...

such as John's jacket and medals...

and my jacket made out offlags...

and Keith, who wears sort of fab gear...

pop art T-shirts made out of targets and hearts and things like this.

Because the group is a fairly simple form of pop art...

we get a lot of audience this way.

Off stage, the group get on terribly badly.

There's a lot of despite and things which flash around.

The singer's a Shepherds Bush geezer who wants everything to be a big laugh.

And when it isn't, you know, he thinks something's going wrong... terribly wrong.

The drummer is a sort of completely different person...

to anyone else I've ever met.

The bass player just doesn't seem to be interested in anything, you know...

which makes it all very difficult.

You've been together ten years. You must have been subject...

to a great deal of strain and inner tension.

- And now, can I ask... - We do try and ignore each other.

We've always been very close, you and I, haven't we?

- No. - One of the things is that...

- In the history of the group is that... - I loathe Pete Townshend.

- Keith and I have always got on well. - This group has no history.

- And I've hated it ever since I began. - One of the things too is...

- since I do the bulk of the writing... - He does no writing. I do most of it.

- I do most of the lyric work. - He thinks he does the lyrics.

Friday night I'm on my way home

They oughta make work a crime

I'm home for the weekend

I'm gonna make the most of my time

There's a rock and roll singer on the television

Giving up his music Gonna take up religion

Deserted rock and roll

To try to save his soul

Saturday night Got a gig with the band

Playing the electric guitar

Someday I'm gonna make it

Gonna be a super-duper star

Get a big, flashy car

And a house for my ma

Pull!

- The big break better happen soon - Pull!

- 'Cause I'm pushing 21 - Pull!

Just like Cinderella

- When she couldn't go to the ball - Pull!

A voice said I'm your fairy manager

You shall play at Carnegie Hall

I'm gonna give up my day job

To become a heartthrob

I may go far

If I smash my guitar

What about musical quality, though? You said that...

you don't think your group has got any.

- Why don't you try and give it some? - But if you don't...

If you... If you steer clear of quality...

you're all right, you know.

No, really. This is the truth, you know.

But wouldn't you say the Beatles and people like that...

have a certain musical quality?

Ooh, you know...

that's a tough question, all right.

Actually, this afternoon, we... John and I...

were listening to a stereo L.P. Of the Beatles...

in which the voices come out of one side...

and the backing track comes out of the other.

And when you actually hear the backing tracks of the Beatles...

without their voices, they're flippin' lousy.

I was born with a plastic spoon in my mouth

The north side of my town faced east

And the east was facing south

Pictures of Lily

Lily, oh, Lily

Lily, oh, Lily

Pictures of Lily

I forget how much I paid

Too much, Magic Bus

I wanna drive my bus to my baby each day

Too much, Magic Bus

I want it, I want it I want it, I want it

- You can't have it - I want it, I want it

I want it, I want it, I want it

Thruppence and sixpence every day

Just to drive to my baby

Thruppence and sixpence each day

'Cause I drive my baby every way

- Magic Bus - Magic Bus

- Magic Bus - Magic Bus

- Magic Bus - All aboard

Magic Bus

Magic Bus

- Magic Bus - I want the Magic Bus

- Magic Bus - I want the Magic Bus

- Magic Bus - I want the Magic Bus

- Magic Bus - I want the Magic Bus

- Magic Bus - I want the Magic Bus

Magic Bus

I said, now I've got my Magic Bus

Too much, Magic Bus

I said, now I've got my Magic Bus

Too much, Magic Bus

I drive my baby every way

Too much, Magic Bus

Each time I go a different way

Too much, Magic Bus

- I want it, I want it - Magic Bus, Magic Bus

- I want it, I want it - Magic Bus, Magic Bus

- I want it, I want it - Magic Bus, Magic Bus

- I want it, I want it - Magic Bus, Magic Bus

Every day you'll see the dust

Too much, Magic Bus

As I drive my baby in my Magic Bus

Too much, Magic Bus

I drive my baby every way

Too much, Magic Bus

Each time I go a different way

Too much, Magic Bus

- I want it, I want it - Magic Bus, Magic Bus

The first major American tour was by bus.

We traveled from... We went from coast to coast...

and from Miami we'd go up to Canada.

It was pretty awful.

We used New York as a springboard.

We used to play for Murray the K.

We used to do five shows a day then.

And we had three minutes to do our show.

So we used to do one and a half minutes of"I Can't Explain"...

and one and a half minutes of"My Generation"...

smash your guitar and run off, you know.

Five times a day, seven days a week.

In those days, your performances used to end up...

with you smashing all your equipment.

There were stories about you smashing hotel rooms on every tour.

All lies. Not a word of truth.

Well, according to people, at the time it certainly was true.

I mean, why was there all that violence surrounding you?

Well, this was... this was only last week, wasn't it?

What made us first want to go to America and conquer it...

was being English.

Not because we cared a monkey's about the American dream...

or about the American drug situation or about the dollars or anything.

It's because we were English kids, right...

and we wanted to go to America and be English.

Pop music is-is crucial to today's art...

and it's crucial that it should remain art...

and it is crucial that it should... that it should progress as art.

Happy Jack wasn't old but he was a man

He lived in the sand at the Isle of Man

The kids would all sing He would take the wrong key

So they rode on his head in their furry donkey

The kids couldn't hurt Jack They tried and tried and tried

They dropped things on his back And lied and lied and lied and lied

And lied

But they couldn't stop Jack or the waters lapping

And they couldn't prevent Jack from feeling happy

But they couldn't stop Jack or the waters lapping

And they couldn't prevent Jack from feeling happy

The kids couldn't hurt Jack They tried and tried and tried

They dropped things on his back And lied and lied and lied and lied

And lied

They couldn't stop Jack or the waters lapping

And they couldn't prevent Jack from feeling happy

Girls came to see you, mainly, to look at the clothes you wear.

Don't you think that most of them come for a certain sexual thrill...

- they get out of your performance? - Look, you know, our group's...

probably one of the most unglamorous on the stage today, you know.

I mean... No, really. I mean...

this is one of our... was one of our big problems, you know...

and probably still is, you know, is that the group didn't have enough glamor.

It was all clothes and-and smashing things up.

And it was all mechanical things. It was bricks and stones and things...

and not enough sort of normal group things, you know.

We made our...

second... second album, which he produced.

And it was during that album which, as I say, Kit Lambert produced...

that we really realized what making albums was all about.

You know, we had great fun. It was very creative.

And Kit was learning about record production...

and doing crazy things, like...

recording the group from a microphone down the corridor...

and all these things which are very commonplace nowadays, but...

Using incredible amounts of compression...

and squeezing the sound up.

Squeezing symbol sounds up to make them sound like steam engines...

and various, sort of...

twiddling knobs as the recording was going.

The engineers throwing their hands in the air...

"Them's platinum-coated knobs, mate. You can't do that."

And all this was going on in the studio, but unfortunately...

we had ten minutes on the album to fill when we'd finished.

And so Kit turned 'round to me and said...

"I think you should write something linear...

something with continuity...

perhaps a ten-minute song."

So I said, "You can't write a ten-minute song."

I mean, rock songs are two minute, fifty by tradition.

It's one of the traditions.

They only allowed you one modulation...

four chords or five, you know.

Five chords, you might be up before the committee.

Ten minutes? It's ridiculous.

So he said, "Well, listen, if you can't write a ten-minute song...

write a ten-minute story...

made up of two minute, fifty songs."

Which I did. And that was the mini-opera, it was called.

And now, ladies and gentlemen, dig The Who.

Two, three.

Her man's been gone

For nigh on the year

He was due home yesterday

But he ain't here

Her man's been gone

For nigh on the year

He was due home yesterday

But he ain't here

Down your street your crying

Is a well-known sound

Your street is very well known right here in town

Your town is very famous for the little girl

Whose cries can be heard all around the world

We have a remedy

You'll appreciate

No need to be so sad

He's only late

We'll bring you flowers and things

Help pass the time

We'll give him eagle's wings

Then he can fly to you

Fa, la, la, la, la, la

Fa, la, la, la, la, la

Fa, la, la, la, la, la

Fa, la, la, la, la, la

Fa, la, la, la, la, la

Fa, la, la, la, la, la

We have a remedy

Fa, la, la, la, la, la

We have a remedy

Fa, la, la, la, la, la

We have a remedy

Fa, la, la, la, la, la

We have a remedy.

Little girl guide...

why don't you stop your crying?

Here comes Ivor, the dirty old sooty engine driver...

to make you feel alright.

My name is Ivor

I'm an engine driver

I know him well

I know why you feel blue

Just 'cause he's late

Don't mean he'll never get through

He told me he loves you

He ain't no liar I ain't either

So let's have a smile

For an old engine driver

Let's have a smile

For an old engine driver

Soon be home

Soon be home

We'll soon

We'll soon, soon, soon be home

Soon be home

Soon be home Oh, yes

We'll soon

We'll soon, soon, soon be home

Soon be home

Soon be home

Dang, dang

Dang, dang

Dang, dang

Dang, dang

Cello, cello, cello, cello cello, cello, cello, cello

Cello, cello, cello, cello cello, cello, cello, cello

Cello, cello, cello, cello cello, cello, cello, cello

Cello, cello, cello, cello cello, cello, cello, cello

I can't believe it

Do my eyes deceive me

Am I back in your arms

Away from all harm

It's like a dream

To be with you again

Can't believe

That I'm with you again

Pow, pow, pow, pow, pow, pow, pow

I missed you and

I must admit

I kissed a few and once did sit

On Ivor the Engine Driver's lap

And later with him

Had a nap

- You are forgiven - You are forgiven

You are forgiven

You are forgiven

- You are forgiven - You are forgiven

You are forgiven

You are forgiven

You are forgiven

Forgiven, forgiven

Forgiven, forgiven

Forgiven, forgiven, forgiven forgiven, forgiven, forgiven

Forgiven, forgiven, forgiven forgiven, forgiven, forgiven

Know you're forgiven

Come on, baby

Know that you lied Know you're forgiven

Know that you made me cry

Baby

You are

Forgiven

- You are forgiven - Yeah

- You are forgiven - You are forgiven

Forgiven, forgiven, forgiven forgiven, forgiven, forgiven

You are forgiven

You're all forgiven

What we have to do is we have to decide whether or not...

we're gonna remain the circus act, right, or whether we're gonna...

in other words, doing what everybody knows we can do...

and what we know we can do, right...

until the band eventually turns into a cabaret act which is inevitable.

That is ridiculous to say that.

I mean...

- That's it. - Okay, Keith.

Brand him right on the heel! Yea!

I've heard a lot about you and the rest of the group taking drugs, Pete.

Does this mean you're usually blocked up when you're actually on stage?

No, but it means we're blocked up all the time, you know.

Well, Keith, we've heard you drink a lot, but that's beside the point.

If you could tell us, you know...

how did you... how did you happen to join The Who...

and if in fact that's what they were called when you joined?

Well, I've just been sitting in for the past 15 years, you know.

They never actually told me that I was part of the band.

I knew it by instinct.

Keith Moon rolled up one day all ginger all over...

ginger shoes, ginger corduroy trousers, ginger jacket...

and his hair dyed ginger, holding a glass of brown ale.

So this complete ginger sort of vision...

came up and said, "I can play better than him."

And this horrible impudent with his hair down like this...

and got up on the drummer's drum kit...

and practically smashed it to pieces.

And we thought this is the man for us.

Hi, I'm Ralph Baines speaking to you for the Hewitt House Hotels...

the rock star's home away from home.

Don't be alarmed. I think I know what's going on.

Let's get some information across before the fun and games break loose again.

What were you before you kicked off as a group?

- He was almost as interesting as... - What do you know about it?

- What? - Inland Revenue Income Tax.

- You said you were in land rover. - Yes, sometimes.

- In the back. - Inland Revenue Income Tax.

So, what did you do?

Me? All sorts of things.

- Like what? - Be more specific. He wants specifics.

I want one thing that you did before you joined as a group.

Were you digging a garden or what?

- He was born in a boat. - A sheet metal worker.

- A sheet metal worker? - Yeah.

He was a rust repairer.

I was a rust repairer and a full-time survivor.

I survived all the major earthquakes...

and the Titanic and several air crashes.

I think you'll have to give me a few lessons in survival.

'Cause if I'm gonna survive this interview, I'll need a few lessons.

The makeup department is looking very worried over there.

- I need more brandy. I mean, lemonade. - That's right.

And you were doing what?

He didn't work. Arty-farty, he was.

You leave me out of this. We're talking about me.

God! Oh, no! No! Oh, no, Keith.

It's the breakup of the group.

That's what he was doing, developing his muscles.

Keith, leave me alone!

- Well, they have to ask you this. - I know.

You know.

- What do you think about Pete? - I love the man.

He is one of my dearest friends...

but I couldn't say...

Ringo, if Pete said, "What do you think about Ringo?"

You know, we have our moments and when we get together...

there are certain times that just something happens...

and I really don't know what it is, but there's that magic there.

- It's probably we're drunk. - It could be that.

Not drunk, teenyboppers. I mean...

No, absolutely not, you Donny and Marie fans.

- Keith and me had a lot of medicine. - Absolutely.

- You know, just a lot of medicine. - We're getting on.

We're getting on now. We need our medicine, so...

You know, just see the age of this suit.

When I'm on the stage... Let me try and explain.

When I'm on the stage, I'm not in control of myself at all.

I don't even know who I am, you know.

I'm not this rational person that can sit here now and talk to you.

If you walked on the stage with a microphone in the middle of a concert...

I'd probably come close to killing you.

I have come close to killing people who walked on stage.

Abbie Hoffman walked on the stage at Woodstock.

And I nearly killed him with me guitar.

A cameraman walked on the stage... A policeman came on...

when the bloody building at the Fillmore in New York was burning down.

And I kicked him in the balls and sent him off.

You know, because I...

You know, I...

I'm just not there really. It's not like being possessed.

It's just I do my job.

And I know that I have to get into a certain state of mind to do it.

We'd realized the end of our tether. We'd reached it.

We'd come upon the point when the...

the nosebleeds and all that, and you know, they're no good.

You can't go on doing that.

It's no good.

It's beyond the beyond.

Ba, Ba, Barbara Ann

"Barbara Ann"?

Ba, Ba, Ba, Ba, Barbara Ann

- We'll have to go and have a look. - Go and get a doctor, please.

Yeah, get a doctor.

Now then. Now then.

No, that's the key.

Ba, Ba, Ba, Ba, Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

- Ba, Ba, Ba, Ba, Barbara Ann - Barbara Ann

- Ba, Ba, Ba, Ba, Barbara Ann - Take my hand

- Ba, Ba, Ba, Ba, Barbara Ann - Barbara Ann

- Ba, Ba, Ba, Ba, Barbara Ann - You got me rockin'and a-rollin'

Rockin'and a-reelin', Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

I went to a dance looking for romance

Saw Barbara Ann so I thought I'd take a chance with Barbara Ann

- Ba, Ba, Ba, Ba, Barbara Ann - Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

You got me rockin'and a-rollin' Rockin'and a-reelin'

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

Tried Mary Lou Tried Peggy Sue

Tried Betty too but she really wouldn't do

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

You got me rockin'and a-rollin' Rockin'and a-reelin', Barbara Ann

- Ba, Ba, Ba, Ba, Barbara Ann - Now?

Ba, Ba, Ba, Ba, Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

- Take my hand - Ba, Ba, Ba, Ba, Barbara Ann

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

You got me rockin'and a-rollin' Rockin'and a-reelin'

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

Went to a dance lookin'for romance

Saw Barbara Ann so I thought I'd take a chance with Barbara Ann

Ba, Ba, Ba, Ba, Barbara Ann

- Barbara Ann - Ba, Ba, Ba, Ba, Barbara Ann

You got me rockin'and a-rollin' Rockin'and a-reelin'

- Barbara Ann - Now the solo?

Went to a dance lookin'for romance

We did that bit there. Does it come in twice, that bit?

Oh, Keith. Look at old Moon.

I mean, one main ambition now is to get back on the road...

with the horrible Who, the worst rock and roll group in the world.

- "The worst?" - Yes.

You couldn't pick more... four more horrible geezers...

that make the worst noise that you've ever heard in your life.

Yeah, I'm a roadrunner, honey

I'm a roadrunner, honey

And you can't keep up with me

Yeah, I'm a roadrunner, honey

And you can't keep up with me

Come on, let's race

Baby, Baby, you and me

Oh, baby, that's all

Move over, rover

Come on, let's race

Baby, Baby, you and me

Baby

You've got to help me

People try to put us down

Just because we get around

Things they do look awful cold

I hope I die before I get old

This is my generation

This is my generation

Why don't you all fade away

And don't try to dig what we all say

I'm not, not, not, not trying to cause a big sensation

I'm just talkin' about my generation

This is my generation

This is my generation, baby

Talkin'

Talkin'

Talkin'about my

My, my

My, my

Alright

One of the reasons for having...

sort of music and things fantastically loud...

is 'cause you get so many people...

who sort of just turn deaf ears to what you do.

You know what I mean? They sort of just won't listen to what you do.

And it doesn't matter how good or bad it is.

In fact, the bigger it is, normally...

the more they'll close their ears to it.

So the louder you gotta... you gotta work, you know.

Volume is a fantastic thing. Power and volume.

Power and volume.

When I went to get me ears tested, the bloke was really encouraging...

apart from the fact that he said I had...

- Terrible ears. - I had terrible ears.

He said... Bill said, "Well, what advice would you give him?

Would you tell him to stop playing entirely...

and leave the group?"

- "Throw his career out the window? - Throw his career out the window?

- Would he?" - Become a pauper, starve?

Would you tell him that?"

"Well, now, actually, no, but I would advise him to learn to lip-read."

That's what he said. It's true. That's what he said.

Get out.

Have all of you made enough money to stop work this afternoon... tonight?

I could buy and sell you just like that.

- Yes, I have. - You have? Why don't you stop then?

Because he has to support me and the rest of the boys.

You mean, you've made more money than they have?

- Well, I write all the songs. - He writes the songs.

No, I write the songs.

If you write songs, you get a bit on the side, you know.

You see, the thing is...

as a songwriter, I do have something...

you know... you know, an edge.

- Going for you. - Something going for me, yes.

We go for him.

Scab.

Carry on, Russell.

- I'm transfixed by it all. - Yeah?

I don't know why I'm here.

In "My Generation," you wrote, I hope I die before I get old."

- Do you in fact mean it? - Yes.

There's a guitar up here if any big mouth little git...

wants to come up and fucking take it off me.

Rock and roll's got no future. It don't matter.

We became rich a lot later than I expected.

Now I'm too old to enjoy my money.

Excuse me. We just shot a lot of film with the interview.

And talking about all that...

- I was wondering... - Heard the worst.

Now could you really tell us the truth and stop lying?

Oh, no.

It... I mean, the truth as you wanna hear it?

I can't do that.

You couldn't afford me.

But you're a very different person now...

to the desperate young man of the early '60s, aren't you?

Yeah, I'm a desperate old fart now, not boring though.

Who are you

Who, who, who, who

Who are you

Who, who, who, who

Who are you

Who, who, who, who

Who are you

Who, who, who, who

I woke up in a Soho doorway Apoliceman knew my name

He said

You can go sleep at home tonight if you can get up and walk away

I staggered back to the underground The breeze blew back my hair

I remember throwin'punches around and preachin'from my chair

- Well, who are you - Who are you

Who, who, who, who

- I really wanna know - Who are you

Who, who, who, who

- Come on, tell me who are you - Who are you

Who, who, who, who

- 'Cause I really wanna know - Who are you

Who, who, who, who

I took the tube back out of town Back to the Rollin'Pin

I felt a little like a dying clown with a streak of Rin Tin Tin

I stretched back and I hiccupped I looked back on my busy day

Eleven hours in the Tin Pan God, there's got to be another way

- Well, who are you - Who are you

Who, who, who, who

- I really wanna know - Who are you

Who, who, who, who

- Oh, who the fuck are you - Who are you

Who, who, who, who

- I really wanna know - Who are you

Who, who, who, who

Who are you

Who are you Who are you

- Who are you, Who are you - It's good, isn't it?

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you Who are you

Who are you

Who, who, who, who

Who are you

Who, who, who, who

Who are you

Who, who, who, who

Who are you

Who, who, who, who

- Oh, I really wanna know - Who are you

Who, who, who, who

- I really wanna know - Who are you

Who, who, who, who

- Oh, tell me who are you - Who are you

Who, who, who, who

- I really wanna know - Who are you

Who

- I really wanna know - Who

- I really wanna know - Who

Come on, tell me who are you

- Are - You, you, you

- Who are you - You

Hey!

Ow!

So there!

I've been saving this.

You all behave in this crazy way the whole time.

- You're all married, aren't you? - Eh?

No, no, no.

I wouldn't marry this lot.

- That's a great sleeve, that. - If you touch my bleeding sleeve...

- His sleeve... - He's getting stroppy now.

He says you leave his sleeves alone. They're personal them, eh?

Can't touch the interviewer, can we? Eh?

No, he's in command, isn't he?

He can make everybody else look a right twit...

as long as you don't have a go at him.

How long you been happily married then, eh?

Go on, then.

- You really do have a lovely lifeline. - Have I a long lifeline?

- Pity about the warts. - No.

Not too long. I should say about another two minutes.

Ladies and gentlemen, before my lifeline, according to him...

is two minutes long, which means we've got to end the program.

We'll be back, God willing, same time, same place next week.

- Good night. - He's so smooth.

This is where it all ends.

- People try to put us down - Talkin' 'bout my generation

- I say just because we get around - Talkin' 'bout my generation

- Things they do look awful cold - Talkin' 'bout my generation

- I hope I die before I get old - Talkin' 'bout my generation

This is my generation

This is my generation, baby

- Why don't you all fade away - Talkin' 'bout my generation

I said, don't try and dig what we all say

Talkin' 'bout my generation

- Not tryin'to 'cause a big sensation - Talkin' 'bout my generation

- Just talkin' 'bout my generation - Talkin' 'bout my generation

This is my generation

This is my generation, baby

- Why don't you all fade away - Talkin' 'bout my generation

I said, don't try and dig what we all say

Talkin' 'bout my generation

- Not tryin'to 'cause a big sensation - Talkin' 'bout my generation

- I'm just talkin'about my generation - Talkin' 'bout my generation

This is my generation

This is my generation, baby

My, my

Generation

I can't think of anything to say.

Rock and roll's never ever stood dissecting...

and inspecting it at close range.

It just doesn't stand up.

So shut up.

There is a place for us

I am accused of...

letting the side down, as it were...

often by... by our fans, you know.

Like for example, you can't...

stop doing this.

You can't stop doing what you're doing because...

you know, you'd let down all these people.

It's not people just saying, "You'll disappoint your fans if you don't go on.

The show must go on."

You must go on, otherwise all those people will be so upset.

It's, "You've gotta go on, man.

Otherwise, all those kids, they'll be finished.

They'll have nothing to live for." That's rock'n'roll.

We'll be fighting in the streets

With our children at our feet

And the morals that they worship will be gone

And the men who spurred us on

Sit in judgment of all wrong

They decide and the shotgun sings the song

I tip my hat to the new constitution

Take a bow for the new revolution

Smile and grin at the change all around

Pick up my guitar and play

Just like yesterday

Then I'll get on my knees and pray

We don't get fooled again

Don't get fooled again

The change, it had to come

We knew it all along

We were liberated from the fold That's all

But the world looks just the same

And history ain't changed

'Cause the banners they are flown in the last war

I tip my hat to the new constitution

Take a bow for the new revolution

Smile and grin at the change all around

Pick up my guitar and play

Just like yesterday

Then I'll get on my knees and pray

We don't get fooled again

Don't get fooled again

No, no, no, no, no

I'll move myself and my family aside

If we happen to be left half alive

I'll get all my papers and smile at the sky

Though I know that the hypnotized never lie

Do ya

There's nothing in the street

Looks any different to me

And the slogans are replaced by-the-bye

And the parting on the left

Is now parting on the right

And the beards have all grown longer overnight

I tip my hat to the new constitution

Take a bow for the new revolution

Smile and grin at the change all around

Pick up my guitar and play

Just like yesterday

Then I'll get on my knees and pray

We don't get fooled again

Don't get fooled again

No, no, no, no, no

Don't get fooled again

Yeah

Meet the new boss

Same as the old boss

Down at the Astoria the scene was changing

Thank you.

Bingo and rock were pushing out X-rating

We were the first band to vomit in the bar

And find the distance to the stage too far

Meanwhile it's getting late at 10:00

Rock is dead they say

Long live rock

Long live rock

I need it every night

Long live rock

Come on and join the line

Long live rock

Be it dead or alive

People walk in sideways pretending that they're leaving

We put on our makeup and work out all the lead-ins

Jack is in the alley selling tickets made in Hong Kong

Promoter's in the pay box wondering where the band's gone

Back in the pub the governor stops the clock

Rock is dead, they say

Long live rock

Long live rock

I need it every night

Long live rock

Come on and join the line

Long live rock

Be it dead or alive

Landslide, rocks are falling

Falling down around our very heads

We tried but you were yawning

Look again

Rock is dead

Rock is dead

Rock is dead

The place is really jumping to the Hiwatt amps

Till a 20-inch cymbal fell and cut the lamps

In the blackout they danced right into the aisle

And as the doors fly open even the promoter smiles

Someone takes his pants off and the rafters knock

Rock is dead, they say

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

Long live rock

I need it every night

Long live rock

Come on and join the line

Long live rock

Be it dead or alive

I don't mind

Other guys dancing with my girl

That's fine

I know 'em all pretty well

But I know sometimes I

Must get out in the light

Better leave her behind

With the kids, they're alright

The kids are alright

Sometimes

I feel I gotta get away

Bells chime

I know I got to get away

And I know if I don't

I'll go out of my mind

Better leave her behind

With the kids, they're alright

The kids are alright