Concert Roger in Nashville (27 februari)

The heeft een fotoreportage geplaatst van het concert dat Roger en Eric Clapton gisteravond gaven.

I Can See For Miles
The Real Me
Days of Light
Freedom Ride
Gimme a Stone
Behind Blue Eyes
Young Man Blues
Baba O’Riley
Ring of Fire

Reacties van fans:
"Roger was a good warm up act (couldn’t understand him at all though)"
"I thought Roger Daltrey was actually better xe2x80″ he played what peoplewanted to hear, even talked to the audience more than Clapton xe2x80″ andmentioned why the thought Nashville was special to him. His set hadrock songs in it"
"His energy was awesome. Fantastic performances of Squeeze Box, Behind Blue Eyes & Baba O’Reilly. He played the harmonica like there was no tomorrow on B. O’R… Fun twist at the end w/ Ring of Fire
"Roger was in both great voice and great spirits. He also said that they fiĆ­ the lighting and sound problems from the other night. Everyone was still sitting down, but at least they were interested. RGLB was dropped, as was I’m a Man/My Gen. Added into the set were Squeeze Box (no kidding), Behind Blue Eyes, and Ring of Fire. He came on at 7:31 and went off at 8:20".


Roger: "I wouldn't want to write us off yet"

The Post Gazette heeft een interview geplaatst met Roger. Het interview vond afgelopen woensdag plaats.

Over de shows met Eric Clapton:
"We did a tour just before Christmas with a band I put together just for the hell of it, just to keep singing, you know. I had such a good time and they’re such a great band, I’m just taking work to keep the band alive and to keep singing. I just enjoy it. It’s what I do".

Over de show:
"My show was devoted to my influences, and Johnny Cash was a huge part of that. That guy gave me so much in the early days of my singing career and it’s just great to hear those songs live, and now Johnny’s not there doing it himself. It’s nice to be able to keep the music alive".

Over het optreden tijdens de Super Bowl:
"I was amazed at the organization; 700 volunteers put that stage up in six minutes. It was a TV spectacular, incredibly well-staged and an honor to play it, but I can’t pretend it was anything special as far as we’re concerned, because it didn’t feel like a show. Twelve minutes is not really anything we’ve done in the past, apart from TV appearances, so it was kind of weird. But they staged an amazing spectacle in the middle of your Super Bowl, in the middle of a toilet break. Only America could they do that thing well. I could imagine if we did that in England, they’d still be putting the stage up now!"

Over de toekomst van The Who:
"We’ll work ways around it. I don’t know, you know what, if there isn’t any future, I don’t really mind. We’ve had a great career. It’s been fantastic. But I wouldn’t write us off yet. Not after what we just saw at the Super Bowl. Pete’s ear problems seem to come and go. It was here quite bad in the ’80s and then it went. We were active for a good 15 years between the ’80s, ’90s, into the turn of the century. I don’t know. I think it will go again."

"Greatest Hits Live" toch op CD

Kunnen we het nog volgen? Eerst verscheen een uitgebreide versie van Then & Now met toevoeging van de CD BBC Sessions en de DVD Who’s Better Who’s Best. Daarna, om in te haken op de Super Bowl, verscheen de CD Greatest Hits. Op Itunes viel een live-CD te downloaden, Greatest Hits Live. Vervolgens kwam er een nieuwe versie uit, getiteld Greatest Hits And More, met eveneens een live-CD. De downloadversie had echter mxc3xa9xc3xa9r tracks.

Amazon meldt nu dat op 23 maart de Itunes-versie als dubbel-cd uitgebracht wordt, onder de titel Greatest Hits Live.

Concert Roger in Pittsburgh (25 februari)

Gisteren gaf Roger het eerste concert in Pittsburgh, als opwarmer voor Eric Clapton.

I Can See For Miles
The Real Me
Days of Light
Freedom Ride
Gimme A Atone
Real Good Looking Boy
I’m A Man
Squeeze Box
My Generation
Young Man Blues
Baba O’Riley

Baba O’Riley

The Post Gazette meldt:
"Opening the show, Roger Daltrey noted brightly that this was "one-up from a toilet break at a football match. Rumors of Mr. Daltrey’s vocal demise, based on the Super Bowl halftime, were greatly exaggerated. On the firsPittsburghmk1t night of the new tour with his solo band, The Who singer sounded 20 years younger than he did in Miami.

He kicked it off with "I Can See for Miles" and "The Real Me," which turned out to be kind of a tease. This wasn’t a Who tribute set with Pete Townshend’s little brother Simon subbing in. Mr. Daltrey didn’t have the benefit of flashy lighting, a rowdy crowd or even room to swing his mike. He also complained about new in-ear monitors. But he made the best of all that, with lots of muscle left in his pipes. It’s a lucky concert crowd that gets "Baba O’Riley" from the opening act — with the original guy who sang it"

Roger: "Carry on as we are"

Pittsburgh Live heeft een interview geplaatst met Roger.

Over de berichten over Floss:
"I don’t read any of that stuff. I don’t listen to it. All I know is when (Townshend) is ready, he’ll present me with a load of songs, and I’ll go into the studio with them and give them back to him with a vocal on them, and let’s see where we are".

Over de concerten met Eric Clapton:
"The Who are going to be in the studio, and I feel the need to get the pipes lubricated. I really feel like it’s time to get out there. There will be Who songs I want to re-approach that we haven’t done for a long while, and they will be different. I won’t do them like the Who does them. I don’t know what’s going to be in the show, and I won’t know until any particular night".

Over John Entwistle:
"Even though John’s not there anymore, we’ve got Pino, and I can hear myself singing for the first time. So now it’s a dream. It’s much easier to do a performance now and to give a performance with more color than it ever was when John was on stage. That’s not to say I don’t miss John. (But) there were quite a few problems with John on stage in the latter years, because he was deaf. He was playing through vibrations, which used to give us some terrible, terrible volume problems".

De toekomst:
"I’d like us to carry on as we are. The last album was really good. I’d like us to be playing more of our back catalog than we do at the moment. For instance, I would like us to be doing ‘Quadrophenia.’ I’d like us to be doing ‘Tommy,’ as well as the show as we’ve got it now, and maybe do a ‘Live At Leeds’ show, as well. It’s another different side of the Who that hasn’t been there for a long time. But the main thing is to be out there, be in front of people".

Roger: nieuwe bluesband met Jimmy Page?

Gigwise meldt dat Roger graag een band met Jimmy Page zou willen beginnen. Die band zou dan een album met bluesnummers moeten gaan opnemen.

"Ixe2x80x99d love to do something, Ixe2x80x99d love to do an album with Jimmy Page", aldus Roger op BBC6. xe2x80x9cHe needs a singer to drive him. Ixe2x80x99m a great blues singer. I donxe2x80x99t sing the blues with The Who, but thatxe2x80x99s what I used to be before Townshend started writing. I used to be a great blues singerxe2x80x9d

Richard Goldstein over Murray The K shows

In een blog op Village Voice blikt Richard Goldstein terug op de Murray the K shows in 1967 en het bezoekje dat hij backstage aan The Who bracht.

"Itis the fifth show of the fourth day in Peter Townshend’s week. Hecracks his knuckles; his throat. Peter is making his American debut aslead guitarist and composer of the Who. Murray the K is about tointroduce him to that pulsating mass of squealing, squirming THEM.

Muffled scratching is audible from behind the stage door. TheGroupie brigade. They bribe the doormen with a wink, a kid-giggle. Youcan never lock them out totally. They squat outside the dressing rooms,scratching like exiled cats. "Let them in, it’s a party, isn’t it?" Thebig one with braces and a huge distended tongue is eyeing Keith, thedrummer. Paper cup in hand, he slips on the corridor floor. "Betterwatch it," she murmurs.

"Why?" Keith laugh-answers.

"Cause I might jump you."

Even though this is New York and it is cold and rainy out, thegroupies are scratching. In Germany, Peter had to haul off on anespecially demonstrative cat. In London, they rip clothing. In NewYork, they scratch on doors. The big one raced down the gray stairwell,past Mitch Ryder in his purple see-through plastic shirt. ("He sat onme," she exalted. "Keith sat on me.")

Peter brushes past a livid Murray and turns on his guitar whileKeith Moon — famous Keithy of the pop-art tee shirt and the rubberwrists — mounts his drums. The bored curtains creak open and the Whoblast off.

They do their song — "My Generation" — because it is basic andeasy and it gives Roger Daltrey a chance to pucker his lips and shout:"Why don’t you just f-f-f-fade away" while the kids gasp "Didhesay?juheahthat?" Also, "My Generation" is one of the least challenging ofthe Who’s creations and in a treadmill show like this, nobody doesanything real. Even the best material becomes routinely strenuousplayed five times a day. ("10.15 a.m." says the sign beneath Peter’sdressing room. "Fines if late.") So, they sing: "People always put usdown/Just because we g-g-g-get around," and they roll the vowels a bitfor variety and they twang the magic twanger.

Peter Townshend pulls hard on the wire which connects his guitar toits amplifier until a flash of light explodes behind the echo box. Itis what everyone has come to see. Because the Who has built areputation, not on their compositions or arrangements, but on theirability to attack a song. Every night, they smash the stage up a bit.Sometimes a guitar neck splits, or a drumstick goes awry, or anamplifier bursts a blood vessel. But any real destruction iscoincidence. Mostly, the Who manages to set off a minor chemical flashand an impressive cloud of smoke which rises overhead an stinks up thebackstage area (disgruntled, the go-go girl holds her nose and mutters:"I smell the Who"). Then, Roger takes his microphone and rubs itaffectionately against Keith’s cymbals while Keith flays the air with ahalf dozen drumsticks. Peter cracks his guitar over his knee, usuallyavoiding the stress points. He waves it overhead and throws it crashingto the ground. It survives.

The Who’s act ends with Keith shoving the drums from under him untilthey tumble like loose wagon wheels all over the stage. When thecurtains close, everybody rushes in to assess the damage, while thecrowd whistles: "More." By which time, Peter is backstage and into thegray again. It is comforting — all that brick passivity. By the timethe fifth show is over, one begins to look at any wall that doesn’tglow as a bed."