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(Vocal Selections). This full-blown rock opera about a deaf, dumb, and blind boy was written by Townshend and launched The Who into international superstardom when it was released in 1969. Our songbook includes piano, vocal and guitar arrangements with complete lyrics for 23 songs, including: Amazing Journey * Pinball Wizard * I'm Free * We're Not Gonna Take It * and more.
Long acknowledged as one of rock music’s most intelligent and literary performers, Pete Townshend—guitarist, songwriter, singer and founding member of The Who—at last tells his wild story in this candid and immersive autobiography. Raised in west London by an eccentric grandmother, while his parents were off living the early post-war, rock ’n’ roll lifestyle, Townshend describes a frenetic childhood of displacement and abuse. Then, in high school, everything changed when he met Roger Daltrey and formed a band that would travel the world, earning fame, fortune and critical acclaim. In Who I Am, Townshend brings us from the inner sanctum of Eric Clapton’s drug-ridden hotel rooms to the feet of Jimi Hendrix and his electric kool-aid guitar; from the first trial performance of Townshend’s rock opera, Tommy, in a London bar to his infamous arrest (and acquittal) on child pornography charges. With his trademark eloquence, fierce intelligence and brutal honesty, Pete Townshend has created a work of literature that stands as a primary source for popular music’s greatest epoch. Readers will be confronted by a man laying bare who he is, an artist who has asked for nearly sixty years: who are you?
In his debut novel, rock legend Pete Townshend explores the anxiety of modern life and madness in a story that stretches across two generations of a London family, their lovers, collaborators, and friends. A former rock star disappears on the Cumberland moors. When his wife finds him, she discovers he has become a hermit and a painter of apocalyptic visions. An art dealer has drug-induced visions of demonic faces swirling in a bedstead and soon his wife disappears, nowhere to be found. A beautiful Irish girl who has stabbed her father to death is determined to seduce her best friend's husband. A young composer begins to experience aural hallucinations, expressions of the fear and anxiety of the people of London. He constructs a maze in his back garden. Driven by passion and musical ambition, events spiral out of control -- good drugs and bad drugs, loves lost and found, families broken apart and reunited. Conceived jointly as an opera, The Age of Anxiety deals with mythic and operatic themes. Hallucinations and soundscapes haunt this novel in an extended meditation on manic genius and the dark art of creativity.
Who Are You: The Life Of Pete Townshend by Mark Wilkerson Pdf
An accurate, detailed and fascinating account of the life of a man whose story should have been told in this much detail long ago. Author Mark Wilkerson interviewed Townshend himself and several of Townshend's friends and associates for this biography.
'A definitive tome for both Who fans and newcomers alike’ ***** Q Magazine Pete Townshend was once asked how he prepared himself for The Who’s violent live performances. His answer? ‘Pretend you’re in a war.’ For a band as prone to furious infighting as it was notorious for acts of ‘auto-destructive art’ this could have served as a motto. Between 1964 and 1969 The Who released some of the most dramatic and confrontational music of the decade, including ‘I Can’t Explain’, ‘My Generation’ and ‘I Can See For Miles’. This was a body of work driven by bitter rivalry, black humour and dark childhood secrets, but it also held up a mirror to a society in transition. Now, acclaimed rock biographer Mark Blake goes in search of its inspiration to present a unique perspective on both The Who and the sixties. From their breakthrough as Mod figureheads to the rise and fall of psychedelia, he reveals how The Who, in their explorations of sex, drugs, spirituality and class, refracted the growing turbulence of the time. He also lays bare the colourful but crucial role played by their managers, Kit Lambert and Chris Stamp. And – in the uneasy alliance between art-school experimentation and working-class ambition – he locates the motor of the Swinging Sixties. As the decade closed, with The Who performing Tommy in front of 500,000 people at the Woodstock Festival, the ‘rock opera’ was born. In retrospect, it was the crowning achievement of a band who had already embraced pop art and the concept album; who had pioneered the power chord and the guitar smash; and who had embodied – more so than any of their peers – the guiding spirit of the age: war.
The frontman of one of the greatest bands of all time tells the story of his rise from nothing to rock 'n' roll megastar, and his wild journey as the voice of The Who. “It’s taken me three years to unpack the events of my life, to remember who did what when and why, to separate the myths from the reality, to unravel what really happened at the Holiday Inn on Keith Moon’s 21st birthday,” says Roger Daltrey, the powerhouse vocalist of The Who. The result of this introspection is a remarkable memoir, instantly captivating, funny and frank, chock-full of well-earned wisdom and one-of-a-kind anecdotes from a raucous life that spans a tumultuous time of change in Britain and America. Born during the air bombing of London in 1944, Daltrey fought his way (literally) through school and poverty and began to assemble the band that would become The Who while working at a sheet metal factory in 1961. In Daltrey’s voice, the familiar stories—how they got into smashing up their kit, the infighting, Keith Moon’s antics—take on a new, intimate life. Also here is the creative journey through the unforgettable hits including My Generation, Substitute, Pinball Wizard, and the great albums, Who’s Next, Tommy, and Quadrophenia. Amidst all the music and mayhem, the drugs, the premature deaths, the ruined hotel rooms, Roger is our perfect narrator, remaining sober (relatively) and observant and determined to make The Who bigger and bigger. Not only his personal story, this is the definitive biography of The Who.
The Who's Tommy, a New Musical /music and Lyrics by Pete Townshend ; Book by Pete Townshend and Des McAnuff ; Additional Music and Lyrics by John Entwistle and Keith Moon ; Originally Produced on Broadway by Pace Theatrical Group and Dodger Productions with Kardana Productions ; Directed and Choreographed by Lou Zamprogna, 1997 - House Program by Theatre Aquarius Archives Pdf
Townshend explores life's razor-edged pathways in this bold, impressionistic work of autobiographical fiction, with intriguing experimental writing packed with vivid imagery (Library Journal) that strikingly mirrors the musical compositions Tommy and Quadrophenia. As he recalls his childhood, the decadent indulgences of success, and a new discovery of life itself, Townshend re-creates in fiction a powerful personal odyssey from the inside out.
From Townshend's early childhood as the son of a sexually voracious mother to his devotion to the Indian mystic Meher Baba, this is the true story of a man looking back, forward, and in the mirror.
“Strange Brew” is the title of a 1967 hit song from Cream’s album Disraeli Gears, which featured the most psychedelic cover art ever. The song is what postmodern scholars, influenced by Fredric Jameson, would call a pastiche: its lyrics combine images of love, witchcraft, and getting stoned with a note-for-note rendition of Albert King’s traditional blues song “Oh Pretty Woman.” The song’s title is a metaphor suggesting that words and music can mix to become a kind of magic potion. Strange Brew: Metaphors of Magic and Science in Rock Music traces the evolution of psychedelic music from its roots in rock and roll and the blues to its influence on popular music today, shows how metaphor is used to create the effects of songs and their lyrics, and explores how words and music came together as both a cause and effect of the cultural revolution of the nineteen-sixties.
Tommy At 50 by Chris Charlesworth,Mike McInnerney Pdf
For the 50th anniversary of The Who's most legendary album, Tommy, comes the definitive illustrated guide to the album, featuring a foreword from Pete Townshend as well as new interviews with the legend himself and showcasing original art from the artist of the album's iconic case. On May 23, 1969, The Who released their breakthrough album, Tommy. It was their fourth studio album and would sell more than twenty million copies, receive wide critical acclaim, and be inducted into the Grammy Hall of Fame. Now, in honor of the album's fiftieth anniversary, acclaimed music journalist, Who expert and memorabilia collector, and friend of the band Chris Charlesworth has teamed up with Mike McInnerney, a longtime friend of Pete Townshend and the artist for Tommy's original album cover, to create an extraordinary keepsake volume that is a tribute to the unforgettable album and its namesake song. With eye-opening text and two hundred color photos, Tommy at 50 considers the album Tommy from four distinct angles, examining the mood of its creation, the origins and content of its music, the look of its iconic artwork, and the album's enduring legacy. It draws on new interviews from key players in the story, including Pete Townshend, and features art created exclusively for the book by McInnerney. An insightful guide and collector's edition volume for all fans of The Who, Tommy at 50 offers an unparalleled window into The Who's finest hour.
The eighteen interdisciplinary essays in this volume were presented in 2001 in Sydney, Australia, at the Third International Conference on Word and Music Studies, which was sponsored by The International Association for Word and Music Studies (WMA). The conference celebrated the sixty-fifth birthday of Steven Paul Scher, arguably the central figure in word and music studies during the last thirty-five years. The first section of this volume comprises ten articles that discuss, or are methodologically based upon, Scher’s many analyses of and critical commentaries on the field, particularly on interrelationships between words and music. The authors cover such topics as semiotics, intermediality, hermeneutics, the de-essentialization of the arts, and the works of a wide range of literary figures and composers that include Baudelaire, Mallarmé, Proust, T. S. Eliot, Goethe, Hölderlin, Mann, Britten, Schubert, Schumann, and Wagner.The second section consists of a second set of papers presented at the conference that are devoted to a different area of word and music studies: cultural identity and the musical stage. Eight scholars investigate – and often problematize – widespread assumptions regarding ‘national’ and ‘cultural’ music, language, plots, and production values in musical stage works. Topics include the National Socialists’ construction of German national identity; reception-based examinations of cultural identity and various “national” opera styles; and the means by which composers, librettists, and lyricists have attempted to establish national or cultural identity through their stage works.
