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Re: The Who Mailing List Digest V6 #116




> Jokes aside, I believe somebody did point out that JAE has booked a large

> venue for one stop on the tour.

Keets:

But would they do it only once? How much rehearsal for one show (and the
BBC thing, I guess)?

> This isn't just venality.  It means he understands the music business--as

> it's existed in our time, anyhow.  You have to be reasonably successful 
> before you can get backing, or contracts, or invitations, or whatever to 
> perform.

I'll agree if you were talking about a newer or lessor artist, but PT has a
built-in fanbase for his worst effort...that's us, folks, take a bow...and
he also has the money to finance any project he desires, not to mention the
rep with successes like the Tommy play to get the money too.
According to the press, Lucas financed the new Star Wars movie (although
I've also heard it's not too good), and it seems to me an artist should do
this ASAP in their career. Then they would have complete control.

> And success in the business is measured by how many albums you 
> sell.  Matters of quality might enter into the equation somewhere

Yes, and I can tell you where, too: how long a product is around. Who here
believes that 2Pac remixes will be selling in 20 years? Just raise your
hand.

> Times may be changing to favor the artists, but until they do, let Pete
work 
> for his hits.

As I see it, things are less artist-friendly now than they were in the
`60's and early `70's. In the `60's, the old codgers didn't have a clue so
the artists pretty much did whatever they wanted. There was an element of
"follow-suit" by the suits, as (for instance) a flow of Beatle-imitations
"made the scene" but even so the creative bands had their way. BTW, the
Who/Herman's Hermits tour coupling is proof of the lack of understanding by
the suits. "They're both British, put them together!"
By the early `70's you'd gotten some fairly hip people as producers, so
there was still a lot of freedom.
Unfortunately, by the late `70's Rock music had become rather corporate.
Instead of going by instinct or trusting the artists themselves, the labels
played the "follow-suit" game. If an artist became popular, we'd get a slew
of the same thing...this is happening even today. I know a band who
recently had a contract with Island records, and then were dropped after
the person who found them was fired. They were completely manipulated in
the studio, and on the tour. By the time the first album was released, the
sound they were forced to emulate (Oasis) was over, and they had no chance
even though they are a very good band. They're still trying, and I give
them credit for it.

>  I do think this is a new thing for Pete to verbally appreciate people
and 
> have fun playing. I wonder where all this would be if they were still on
top 
> with billions of faceless "fans".

Stefani:

I don't have the text in front of me, but PT once said that he went to MSG
and saw "the same faces." Who were yelling "Jump! Jump!" I believe this is
from a Rolling Stones interview, called QUAD: The Spooky Tour but I'm not
sure.
This was during their peak. IOW, it seems that no matter how successful a
band becomes, or less successful, there will be those who force their way
to the front. Every time.

> songwriting is stronger. I just loathe Bryan Adams ("Let Me Down Easy",
> "Rebel") and like Bryan Ferry ("Going Strong") too much to totally
> agree on the songwriting issue.

Jim:

I do like some of Adams' (earlier) work, including Rebel which was a good
vehicle for RD IMHO, and I also like Ferry but don't particularly care for
Daltrey's version of that song. Nice try, I'd say, but Ferry is an artist
not particularly compatible for RD. A for effort. A for having the balls to
try it.

> I've always thought "Under A Raging Moon" is one Roger's best solo songs.

Sure; that's full-throated, powerful Viking vocals. "It ended far too
soon..."

> To answer your question to Mark, I like "Walking In My Sleep," "Parting
> Would Be Painless," "Going Strong," maybe "Would A Stranger Do," and
> "Don't Wait On The Stairs," whereas the weaker tracks are "Somebody
> Told Me," and "One Day," and the rest are somewhere in between.

I meant to listen but got sidetracked; as you list them I remember a few,
and also like WASD and agree taht the disco STM was pretty damned weak. I
don't recall the others.

> Let me throw out another unpopular opinion: I find CWTSTM to be my
> favorite of Roger's (I didn't say best).

I know someone who would agree with you, and it does have some good songs.

> "It cuts like a knife/But it feels so right"

Oh, that's not so bad. At least that makes some sense. What feels good can
also hurt...ever lost your love? From that line I get the feeling the
sensation is sharp and biting, and "cuts to the soul," and perhaps even
isn't the right thing to do...but it feels so good, he can't resist. For
the line to evoke such strong imagry, it can't be ALL that bad.

> So I have to settle for maybe 8 out of 22 or more shows etc.

Derick:

Well, perhaps you and the other multi-show attendees can enlighten me. I've
always avoided doing several shows of a tour, preferring instead to have
one strong and unique experience to recall. And the memory of all four Who
concerts I attended over the years (`75, `89, `96 & `97) are all completely
clear in my mind. To me, seeing the band several times would diminish the
experience. "Oh, that was the TUESDAY show." But obviously there is
something I'm not aware of. Some satisfaction in going to many shows which
I don't understand.

> <snort>Huh? What?<yawns, scratches>  I didn't start seeing multiple shows
> until 1989. Saw 18 then; saw 17 '96 Quads and 9 '97 Quads.

Alan:

So what is it about mulitple shows?


                    Cheers                                    ML

REALLY stupid lyrics (as if I could top yesterday's):

"The weekend comes to this town/Seven days too soon/For the ones who have
to make up/What we break up of their rules..."
                   Jon Bon Jovi