Last year, however, The Who managed to make it back on the road for the first time since 2019. “The two years off the backup in the venues situation for bands touring has made it really difficult to actually lock people in for a night.” “The whole business of course was incredibly put out of gear by COVID,” Daltrey told NME. In addition to impacting fundraising, the after-effects of the global health crisis on the live music industry meant “it was very difficult getting a week of shows” together at the Royal Albert Hall in 2023. Roger Daltrey and Pete Townshend perform live with The Who in New York, 2022. “When COVID hit, and loads of people were doing loads of things for charity for the NHS, where the bloody hell did the money go?” he said. But we are lied to about other systems around the world, which function far better than ours.”ĭaltrey also criticised the government for failing to compensate TCT when the charity was forced to cancel its concert series for two consecutive years during the pandemic. It’s a broken system, and no political party has got the balls to fix it. You pull your hair out if you try to understand it. The frontman explained how “late diagnosis, misdiagnosis and terrible tragedies” are a result of the ongoing “problems with our health service”, adding: “Our system is so flawed with bureaucracy and different systems within systems. Sunday 26 March: A Special Gala Evening of Music with Roger Daltrey, & on sale 3 March 9:30am □ /Z8G7hi6iFM I find them very interesting – they’re gonna have a great night.” ![]() I saw them as up-and-coming with something kind of fresh. We have the best sound, lights and video in there for the whole week.”Īs for his personal highlights from the line-up, Daltrey said: “I’m really glad we got Wet Leg because I’ve had my eye on them from this time last year. But because we’ve done it for 21 years, we know all of its quirks. It’s not an easy place to play it’s a tricky hall to master the sound for bands going in on a one-off. “It’s every band’s ambition to play the Royal Albert Hall. “Even though it’s five-and-a-half-thousand seats, it doesn’t feel like it. ![]() Portions of our "About the Record" section are taken from information gathered from Wikipedia and AllMusic.“The place gets an incredible vibe,” Daltrey told NME of the Albert Hall’s unique atmosphere during the TCT series. The album cover art depicts Daltrey standing in front of a mirror, but he can see only the back of his head. On this cover, after releasing "Ride a Rock Horse" with Daltrey as a rampant centaur, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting "Not to Be Reproduced," photographed and designed by Daltrey's cousin Graham Hughes. Marvin of the Shadows, Eric Clapton of Cream, Alvin Lee and Mick Ronson, as well as calling two members of the Who, John Entwistle and Keith Moon. Paul McCartney contributed the new song "Giddy" to "One of the Boys," where the band included Hank B. When Leo Sayer launched his own career as a singer, Daltrey called on a widening group of friends to write for and perform on his albums. Daltrey's original choice for producers were Jerry Leiber and Mike Stoller, but they declined. This also marked the first time that Daltrey had written or co-written a song since "Here For More" (released as the B-side of the Who's "The Seeker") in 1970, and Lisztomania in 1975. The sessions of "One of the Boys," by Roger Daltrey, were recorded at the Who's Ramport Studios during the winter of 1976 (vocals were recorded at Pathe Marconi Studios in Paris, due to tax complications), and Daltrey allowed students from the local Battersea technical school to film them as an educational project. (Not a cut-out.)Īll of our records are play graded and come in a protective outer-sleeve. Opening is crisp with signs of light use and divots. Developing split near center of top-edge. Some shelf-wear along top/bottom-edge wear to corners. Spine is easy-to-read with very mild-wear. Inner-sleeve is original (lyrics/credits). Cover looks great a few creases near edges light-scuffing, tiny surface abrasions, and surface impressions (front/back). ![]() Vinyl plays with occasional light-crackles (play-graded).
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