“I used to say that I love him, but with my fingers crossed.' The Who's Pete Townshend and Roger Daltrey talk to us about their new album and not seeing eye to eye
’s death in a Vegas hotel room in 2002. There have been more farewell tours than new records.
Townshend took on his bass player first. “John’s bass sound was like a Messiaen organ,” he says, waving his angular limbs. “Every note, every harmonic in the sky. When he passed away and I did the first few shows without him, with Pino [Palladino] on bass, he was playing without all that stuff…. I said, ‘Wow, I have a job.’ ”
Townshend is a man who has suffered and has turned that suffering into great art. He was left by his mum to live with a mentally deteriorating grandma for two years. As a young boy, and then at around age 11, he was sexually abused. Seventy years later, he is still staring at the scars. His awakening has been incremental.
Townshend relates her work to his involvement in the 1960s Ban the Bomb movement and how the Cuban missile crisis came and went and London was still there. It left Townshend wondering what the point was. “She says, ‘You stole my childhood.’ Actually, she’s stealing her childhood. That’s the thing, whether or not we steal our own childhoods by worrying too much about things that we can’t control.”
“There’s that moment when you just think you’re young again,” he says. “That fantasy.” He becomes more animated, and his blue eyes light up. “Or embracing darkness. Thinking, ‘God, it would be such fun if I just fucking killed myself now. We’ve got Wembley Stadium tomorrow — God, it would just be so fucking great.’”
Daltrey has also had something that either eluded or did not appeal to the other Who members: a domestic life. Daltrey has been with his wife, Heather, for 50 years, pledging fidelity, when the band was off the road, at least. It’s worked for them while providing more heirs. Almost 50 years ago, they bought Holmhurst Manor, a 400-year-old Jacobean mansion in East Sussex. Daltrey has done a lot of work on the house, and it has kept him sane.
“You might as well talk to the wall,” says Daltrey with a shrug. And then he thought again. Doherty is still with us. “You only need a few words to go in that get thought about later on. You just start the key in the lock.”happily living the undiscovered life, Townshend continues to pick over the bones of his past. And it no longer is only in verse. He has just published an operatic novel, calledThere’s a character in the novel named Louis.
The album dares you to push “stop” in the first 10 seconds. “All This Music Must Fade” begins with Daltrey growling, “I don’t care/I know you’re gonna hate this song.” “I hated it at first,” says Daltrey. “But it’s such a catchy song.” He’s clearly proud of his editing job. “On the demo, he had some rapping on it. Well, no fucking way I’m going to rap. No way. Let the youngsters wear those clothes.
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