October 24, 2020

Today in Whostory: 6/05/2020

1965 – The U.S. release of the single “Anyway Anyhow Anywhere” gets a full-page ad in Billboard magazine. This is practically the only evidence that the single is released in the U.S. at this time as it does not make a dent in the U.S. charts. The b-side is a cover of Garnet Mimms and the Enchanters’ soul ballad “Any Time You Need Me”, here called “Anytime You Want Me.”

1965 – The Who play Loyola Hall in Stamford Hill

1965 – Pete is interviewed in Melody Maker. “We think the mod thing is dying. We don’t plan to go down with it, which is why we’ve become individualists.” He also declares The Who’s new single, “Anyway Anyhow Anywhere” to be “the first pop-art single.” View in our Article Archive here

1965 – The Newcastle Evening Chronicle’s POP SPOT by Maureen Cleave carries an article titled “Paris invites the Who to play”

1966 – The Who play in Nyköping at The Träffen

1966 – The Who play in Örebro at the Idrottshuset. During the show the police panic and pull the plug on The Who when the audience rushes the stage. Pete threatens the police and stagehands to get the power back on but after a part of the set the police cut The Who’s power off permanently. John has a rare display of temper and rams his bass guitar through his amp so hard it takes two roadies to get it out.

1966 – The Popside program featuring The Who recorded on the 3rd airs on Swedish television. Between the shows in Nykoping and Orebro, The Who stop at the home of Gunnel Larsson in Vrena to watch themselves on TV.

1967 – The Who were scheduled to play at the Top Rank Suite in Swansea but was cancelled because of John’s broken finger.

1967 – The”Instrumental – No Title” a/k/a “Soddin’ About” is mixed and shelved, awaiting an official release that does not come for forty-two years. Listen to the song on YouTube https://www.youtube.com/watch?v=BwVI7F-DdHY:

1969 – The Who play the first of two nights at the Fillmore East in New York with Chuck Berry and Albert King

1971 – Six takes of “Bargain” are recorded at Olympic Studios in Barnes

1972 – The Who record “Long Live Rock” at Olympic Studios, London. The song is meant as the title track for a never-shot Who television special.

1975 – Rolling Stone magazine features a review of “Tommy Original Soundtrack Recording”

1976 – The Who continue their “Who Put The Boot In Tour” performing at the Celtic Football Ground in Glasgow, Scotland. 35,000 attend and over £100,000 are donated to charity. That afternoon in the backstage area of the parking lot, Keith fulfills the request of the 11-year old who won the organ from the Tommy film by smashing it with a sledgehammer.

1976 – Record Mirror features The Who on the cover with a two page spread titled “Who are the champions” covering their show at Charlton days earlier

1979 – The Kids Are Alright soundtrack double LP is released in the U.K. Complimentary reviews come from Chris Welch in Melody Maker, Charles Shaar Murray in New Musical Express and Steve Simels in Stereo Review. Greil Marcus dubs the album “okay” in Rolling Stone, using the review as a platform to damn the song “Won’t Get Fooled Again” for being “stale.” David Hepworth in Sounds gives the record a thumbs-down in a review entitled “How To Flog Dead Horses.” The album peaks at #26 in Britain

1990 – It is reported that Pete has turned down £2 million from Coca-Cola to use “My Generation” as part of their “Generation after Generation” ad campaign. The Who had previously recorded adverts for Coca-Cola that played on British radio in 1967.

2005 – The comic strip “Off The Mark” features a reference to The WhoYou can view it here

2007 – The Who play in Rotterdam at Ahoy

2007 – Marty Stuart releases his album Compadres featuring a cover of “I Can See For Miles” done bluegrass-style with the Old Crow Medicine Show. Listen to it on YouTube here

2007 – Pete is interviewed about the writing of Endless Wire in Metro International: “Some of them I started in 2002, when John Entwistle was alive, and he always had lots of songs ready. At that time Roger was promising to write songs as well, so I concentrated on trying to produce songs that were arch, dark and extreme – leaving the lighter stuff to John and Roger.”

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