Conference napalm::guitar

    People who spend a good deal of their life smashing guitars don't
    deserve a note.
    
    andy

    All guitar-smashing discussion aside, I've always considered Pete
    Townsend to be one of my absolute favorite songwriters.  He writes
    songs that convey a lot of emotion and interesting images.  If I could
    write stuff that was half as good as what he's done, I'd be very
    pleased with myself.
    
    Greg

    WHAT?

    :^)
    
    Edd

     Rough Boys.....I wanna bite you and kiss you...Rough Boys

     Neal-fer-Pete

    Every time I'm about to decide that Pete Townshend is the most
    brilliant rock musician ever in the universe and a highly evolved being
    to boot, he manages to do something to totally blow it...
    
    He and Robert Fripp should get together and do a debating tour  8^)
    
    						Brian

Duh, debate?

	I had a weird Who thing happen to me.  Years ago, I went to one
	of those leather coat sales they'd have in a hotel, etc...

	Found a really nice jacket but kept looking around.  When I
	decided that that one was the one I wanted, I went back and this
	lady picks it out right in front of me.  It was perfect for her
	son, she said.  I really tried to talk her out of it but she
	wanted that coat!  Oh well...

	Get back in the car, pop in the Who tape that was in the deck
	(the one with "You better, you bet") and the song that's on
	is "Don't let go the coat".

	Couldn't believe it!!

    
    
    After 25 years, I *still* want to cover a medley from 'The Who Sell
    Out', i.e.
    
    	Armenia / Our Love Was, Is / Tattoo / I Can See for Miles
    
    	and include some of the radio commercial 'fills'...
    
    There are probably some places left where you wouldn't be killed for
    attempting such a thing. Although for the life of me, I can't figure
    out where they are. If I could, I'd probably move.
    
    Peter

	I'm having a Townshend trip these days...I saw an interview with
	him on TV; fascinating - he was pictured sideways to the camera
	(so one could see the strange nose of his) and just talking for
	himself, about his music and his life - I always find him sympa-
	thic, honest and interesting...this got me to buy his newest re-
	lease, 'Psychoderelict' (music only) - and it's amazingly good,
	it just needs a few listenings - very surprising in his way of
	composing, performing, mixing...

	His guitar playing is unusual; strange chord patterns (a lot of
	them), I think he uses special tunings for the guitar. Some of
	his minor pentatonic solos sound like a beginner playing, but
	you only find it leads into something more complex, so he gets
	away with it...and his guitar sound is always somehow recogniz-
	able, whether clean or not - some of the really 'heavy' songs
	with The Who are recorded with a clean guitar! and still you
	feel that brutal power behind it...what I also find interesting
	is his keyboard work; many of his songs are builded on a sort
	of meditative pattern, very unlike any other songwriter...
	His singing is also a trademark of his...it's unusual, but al-
	ways somehow precisely fits into the songs he writes..

	'White City' and 'All The Best Cowboys Have Chinese Eyes' are
	both very good on CD, check them out..

	Poul

    
    >> ..of his songs are BUILDED on a sort...
    
    Builded is that like built only more complicated.  8*).
    
    

    
    Enlisg iz NOD ma natif languis!!
    

WHAT?

    
    
    That's what happens when your second (and/or third, 4th, 5th, etc.)
    language fools the natives into thinking that English is your first
    language.  There's always one in the crowd that doesn't realize you're
    from somewhere else.
    
    

WHAT?

   I've always liked his acoustic stuff, too.  Check out Monty Python's
   "Secret Policemans (Other) Ball" (there's two of 'em, and I forget which
   one its on) for a great acoustic version of "Drowned" from Quadrophenia.
   Shows that his ability isn't limited to being used at insane volume
   levels.  :-)

   Also have always liked "Emminence Front".  Amazingly simple progression
   (1 chord except for the chorus?) but it just sounds so _right_.

   -- Sam
   

never being a 'Who' fan, I always dismissed Townsend with the
rest of the lot...  Mind you, I'm not saying I disliked the 'Who'
but for me, they never caught my attention span for long....

And even today, not much done by Townsend or the 'Who' appeal to
me...  Maybe I missed some DNA transfusion in the 70s....

In light of recent "general discussion" topics does Ray's note qualify as
dinosaur bashing?

:-)

dbii

	re .17:

	I guess one had to grow up with them...in '66 (when I was 15),
	my ears were glued to our old mono radio when I listened to
	'My Generation' - I think they were the very first band who
	used 'power chords', and that without the heavy blues inspira-
	tion that many of the 'progressive' bands used at the time...
	Many, many bands have been inspired by The Who, I guess the were
	the starters of heavy rock as such - and many, many bands are
	still influenced by The Who, probably even without knowing it..

	I would imagine that someone unfamiliar with The Who thinks
	'this is just another heavy rock band', they don't have the
	feeling of hearing 'the real thing' - if one have heard the
	heavy chord slamming in 'The Kids Are Allright' for the first
	time in their life, it will have a different meaning..

	Poul

    
    Agreed. The Who were a very hip band in '66, '67, '68. Although I think
    they peaked with Tommy, my favorite Who tracks are from these years. I
    saw them in '68 at a skating rink in Providence, Rhode Island. It was
    the "I Can See For Miles" tour. They put on a very exciting show. From
    the opening chord when the audience rush the stage as though Townsend's
    guitar was an electro-magnet, to the finale which ended in a pile of
    rubble and one sunburst (small headstock) Strat broken into 4 large
    chunks plus PUs and a pile of Sound City stacks shreeking, Union Jack
    drums flying in all directions and Entwhisle just holding down the
    bottom.

    --Ron

    	re: .19

>I would imagine that someone unfamiliar with The Who thinks 'this is just
>another heavy rock band', they don't have the feeling of hearing 'the real
>thing' - if one have heard the heavy chord slamming in 'The Kids Are Allright'
>for the first time in their life, it will have a different meaning..

Funnily enough, the only guitarist I can think of offhand whose style resembles
Townshend's (to my ears) is (was) Steve Marriott.

Last night, I was listening to the Small Faces' first album (I'd forgotten just
how good it was - very primitive stereo that mysteriously sorts itself out for
"Sha La La La Li"!). Everyone praised Marriott's singing (and rightly so), but
his guitar playing was pretty smart too. There's some great rhythm work and his
rare solos sound like they were a prime influence for Wilko Johnson; a mis-mash
of chords, single note runs, etc.

One of the real masters of the skill of singing & playing, I think he also
played a Rickenbacker (like Pete Townshend).

Dom

	I remember hearing an interview with Pete on NPR.  It was on
	Fresh Air with Terry Gross.

	The breaking guitars subject came up and Pete told a story
	
	apparently he and his guitar tech that traveled on the road with him 
	used to glue the busted guitar back together after the show and get 
	quite a number of uses out of the 'fixed' guitar.

	he did say - remember that this was the last guitar in the show.
	
	it would be interesting to see an old performace on tape and 
	check out the last guitar before it was smashed again.
	
	kinda interesting.

	tom

    Tom,
    
    On this occasion, he was throwing the guitar about 4 feet above his head
    and ramming it into the stage as it came back down. After a few times it
    came down on its headstock which broke the neck off. Then he took the
    body by its sides and smashed it on the edge of the drum riser until it
    cracked down the middle. Then he took it by the horns and tore it in
    half, little splitter of guitar falling about. After this the guitar was
    a mangled mess held together only by strings and wires. He turned toward
    his stacks and gave 'em a drop kick where the four cabs met, bringing
    them down in one swift motion.

    I don't think glue could help this Strat. I'm sure they used it for
    parts. The roadies were furiously knocking people off the  edge of the
    stage and grabbing guitar parts.

    Quite a spectacle. Mayhem.

    --Ron

	>>On this occasion, he was throwing the guitar about 4 feet above his head
	>>and ramming it into the stage as it came back down. After a few times it
	>>came down on its headstock which broke the neck off. Then he took the
	>>body by its sides and smashed it on the edge of the drum riser until it
	>>cracked down the middle. Then he took it by the horns and tore it in
	>>half, little splitter of guitar falling about. After this the guitar was
	>>mangled mess held together only by strings and wires. He turned toward
	>>his stacks and gave 'em a drop kick where the four cabs met, bringing
	>>them down in one swift motion.

	Wow - i think your right i doubt that he ever played another
	note on that one.

	wow that was really smashed.  i'd love to have a piece of it.

	tom

    I have a chip about 1.5" x 0.75". I was very close to these theatrics.
    Like about 5 feet.
    

    
     I heard there is going to be a Pete Townshend tribute concert at
    Carnegie Hall in N.Y.C. in Febuary. Roger Daltry is putting it on,
    and special guests include Clapton, Jagger, Elton John and more.
     Pete is also going to play later in the show. The 1st night is a
    pay per view show, and 2nd night will be a benefit.
    
     I also recently show the Broadway show "Tommy".....WOW!!!
    everything about it was great! whoever was playing guitar backstage
    could really wail too!
    
    Sean

	On 'The Who By Numbers' from 1975, Pete Townshend played (and
	now hold your breath folks):

			a BANJO!

	I presume he smashed it afterwards (the natural approach ;-)..

	Poul

    After reading these replies, my opinion of Townsend, which was always
    at rock bottom (no pun intended) has slipped below the surface.
    
    Any ****head can smash up guitars in an orgy of destruction, allegedly
    whilst under the influence.
    
    What has that to do with music?
    
    andy

    Re: .28
    
    Anybody who thinks that rock and roll has much to do with music in the
    first place is confused...8^)  8^)

	re .28:

	IMO, his guitar-smashing was a part of 'the show' - I don't
	think he did this when playing in the studio ;-)..

	Hendrix burned his guitar, so his music should not be worthy?

	If you forget about the guitar smashing part, and listen to
	his records, I think every musician and music writer has some-
	thing to learn here..and if you understand the intense energy
	that was being outlet when The Who was on stage, the destruc-
	tion part was somehow meaningful, but hard to explain.

	Some years ago one night, I went to see Mick Taylor and his
	band (and he was pretty good) at a local bar. Before the show,
	they showed an old film with The Who from a live show, doing
	'My Generation', on the wall beside the bar. Some young punks
	were there, and they were staring with their mouths open! I
	don't think they had ever heard about The Who and their music
	and now they suddenly saw this legendaric band releasing so
	much energy that one almost became afraid of it - and this
	was what it was all about - tons of fearless energy with a
	huge amount of talented musicianship behind it..

	Poul

    One of the most comical things I remember seeing at a live show was
    when I went to see David Lee Roth on the Skyscraper tour.  The poseur
    rock band Poison was opening and they sounded like dung and were
    generally lame.  At the end of their worthless set, their guitar
    player, CC Deville, tried to smash his guitar and... IT WOULDN'T BREAK! 
    He was beating the thing around the stage and all and couldn't get it
    to break.  He was trying to be all dramatic and I was cracking up!!! 
    He finally gave up after the pickups fell out and were flopping around,
    never did break it.  ;^)  HAAHAHAHA!  
    
    Guess he should have weakened the wood and stuff beforehand...
    
    Greg

    Maybe he was playing a Steinberger
    
    :-)

re: .31 

Calling The Who "a bunch of non-musicians" seems a little narrow minded.  

Jim

    	He ain`t one of my favourites,but one listen to Live At Leeds will
    dispel any notions about them being non-musicians! 
    
	What a BRILLIANT live album - if not THE best...bar none!
    
    				Tom.

    Speaking of "Emminence Front" there's a cool version I've been hearing
    lately, supposedly from Pete's pay-per-view special(?).  It's funkier
    than the original.  I have to say the song didn't do much for me until
    I heard this newer version.  Anyone else hear/like it?
    
    /rick

    WARNING: DON'T READ .32 WITH FOOD IN YOUR MOUTH! I'M LUCKY TO BE ALIVE!

    BTW, that windmill thing is "Bowling" and what's wrong with it? They
    were a very theatrical band without using any smokebombs (except on the
    Smother's Bros). Very visual. Also, *very young* when it all began. They
    grew out of that stuff. But fans wanted to see broken guitars. At
    Woodstock they hounded (yes the flower children of Woodstack secretly
    craved violence) Pete until he bounced his SG on the stage a few times
    and herled it into the crowd (HEADS UP! OUCH!). He was pissed that they
    wouldn't let them finish their Tommy set without "My Generation".

    John Hiatt writes "Perfectly Good Guitar" and then smashes his guitar on
    the Tonight Show. That's a lot harder to explain then Pete at the tender
    age of 20. In Pete's case at least it fit with the song's message.

    --Ron

  <<I guess one had to grow up with them...in '66 (when I was 15),

67, 68,,,  hey, I'm gonna be 37,,so... I was there boys,,  granted
I was 10 or so, 

Infact, I started playing myself when I was 8.  
A birthday present was my first guitar, and lessons..
.. if my math serves me right it was april of 65,
 

again,,  Re: the Who... I was never taken in....

Ahemm,,  two notes, entered by the pelkster, in where I
very diplomatically expressed my view,

Note please boys, that I never once used the words..

	Suck
	Sucked
	Sux
	Non-musicians
	Musician Wana-be's...

The group therapy seems to be working for me....

    My impression of Pete Townsend rose considerably after seeing him play
    "won't get fooled again" and "pinball wizzard" on acoustic guitar,
    duetting with John Williams from the Secret Policemen's Ball film (or
    was it his other ball ?).  Really quite good.
    
    Pete

    
    .38 refers to a live version of Eminence Front on the radio these
    past few days.  i heard one as well though it wasn't by the who, or
    pete.  i can't remember exactly who did it but it was done by
    a well-known guy.  heard it last week.
    
    ben.

    Maybe the same version?  They said it was from Pete's special,
    but I'm not sure it's really him singing

    Heard a rebroadcast the other day of one of the shows from the last Who
    reunion, with Pete being spelled on electric by someone who sounds so
    un-Townshend like it hurt and a really useless horn section.  Funny,
    about an hour earlier, the same station played "We're Not Gonna Take
    It" and the difference between the album version and the live one was
    ridiculous.  If they ever get together again, it's gonna be like the
    Monkees reunion all over again...
    
    							Brian

    I have to take issue with some of the comments in this topic. Townsend
    has never claimed to be a guitar great, his songwriting talent is
    primarily his lyrics. The guitar smashing grew out of his own
    frustration at his inability to get the sounds out his guitar that he
    wanted back in the early days. It subsequently became part of The Who's
    image and was then demanded by the audience whether PT wanted it on
    not. In the same way that Hendrix's audience continued to expect the
    outrageous (or at least he fealt that to be the case) and he had
    different directions to go in. 
    
    Richard Bell
    A British teenager in the 60s

	Just got a low-price CD, 'The Who Live', check it out. Terrific
	playing by Pete! The only information on this CD says 'compiled
	in 1991', I think it's recorded during the late 80ies, with
	Kenny Jones on drums. Pete's playing is marvellous, his chord
	changes are really amazing - I think it's close to impossible
	to analyze how he's playing, perhaps he use non-standard tuning?

	The recording quality is so-and-so, but the music is great -
	especially some of 'Quadrophenia', forgot the title, but you
	know the 'coool, coool rain..' strophe - I never realized how
	good this could be in a live version!

	The CD has a picture og Roger Daltry on the cover, don't know if
	it's available in the US though..

	Poul

re:                     <<< Note 2875.48 by ARDEV::GOODWIN >>>
>            -< in keeping with the general mindset of the file... >-
>
>    pt sux!
   
   Actually, I think that should be, "In keeping with the mindset of certain
   participants in this file..."

   -- Sam

    
    
    
    yeah, I don't know anybody that really thinks Pete sux...but there's
    always a goof ready to jump in and type it just for fun...
    
    
    
    
    Now, Clapton, on the other hand...
    
                                   *8')
    

    Did anyone else watch the Who special on VH-1 over the weekend? 
    I've been a Who-head since 1967, and this was a pretty good special. 
    
    I did have two major disappointments, however:
    1) Nowhere near enough footage from before 1980.
    2) This is NOT a slam against the other Who drummers (Kenny Jones and
       the other guy who played live through the late '80's), but I'm
       sorry; NO ONE can come near the drumming Keith Moon did, period.
       For example, during the live Tommy, with all the megastars, the
       difference between merely keeping a beat and CREATING time was 
       too much.
    
    Anyway, that's what I thought.
    
    Bill Message

    i saw it -- pretty decent, but some thoughts still remaining:
    
    - boy, did their vocals suck live (can u say intonation?!?)
    - agree, not enough early footage, although I was looking for some
      shots of those Marshall "townsend" cabinets (you know, the 8 x 12
      jobbies?)
    - Not enough shots of them destroying their equipment -- they oddly
      downplayed this aspect of the band?!

    I noticed the downplay of the equipment trashing too.  Perhaps because
    it had been played up so much in that type of thing in the past.  The
    real magic of the band was the playing, not the end of the show, and I
    think they tried to capture that.
    
    Besides, remember this was on VH-1, which is like...for old people.
    
    Agreed on the vocals, they sucked.  I thought that Townsend's timing
    sucked live on a lot of things too (probably what made me relate to
    him).
    
    Greg

    I saw a lot of it and it made me realise how good Keith was.In fact,at
    that time,there were very few drummers as good as he was.Not only
    that...he was a completely mad b*stard!The story about the horse
    tranqiliser would testify to that.
    
      The Who overall sounded rough in the older days and sloppy but thats
    the thing that kinda makes me like them.Not as polished as the Beatles
    but with about 20 times the energy live!
    
     btw...Roger Daltry's hairstyles were always a good point of humour! 8)
    
    						ian

>     btw...Roger Daltry's hairstyles were always a good point of humour! 8)
    
    Oh MAN!  Wasn't THAT the truth!!  
    
    Hey Rog, is that a MOP on your head or WHAT?!?
    
    Greg

    it was almost as funny as their way-out-whacky shirts.Some of them
    looked like 4 different shirts made into 1.
    
    
    						ian

    To be fair, I think the Who's look c.1964-66 was fairly typical of mod
    bands of the time in the UK (right down to Daltrey's hairstyle,
    Moon's eccentric shirts and Townshend's Union Jack jackets!). The Small
    Faces, the Action, the Birds, the Creation and the Fleur de Lys had
    pretty much the same line in fashion.
    
    Actually, this sudden regeneration of interest in the Townsend note is
    quite amusing, because I recently relistened to the Who's first album
    ("My Generation"...well, I believe it was the first *UK* album), and I
    have to say that it sounds better than ever. There was something about
    Townsend's chording on that Rickenbacker that really penetrated right
    to your bones. The whole band sounds really fresh (I guess there's
    something about 18-year old kids that you just can't beat ;-)) and the
    material is top class (My Generation, La-La-La Lies, Out In The Street,
    The Kids Are Alright, etc.). Compelling listening from start to finish
    - and I bet they were even better live.
    
    I even think that Daltrey's vocal performance on the two James Brown 
    songs, I Don't Mind and ?, sounds remarkably convincing. Not to mention
    the cover of I'm A Man - now *that* is a version with a difference. 
    
    And Moon really was a loon...
    
    Dom 
                                                                       

    
    	Is "I'm a Man" a good cover, or just different than the original?
    
    	IE, Chicago's version is not really any different than the orig-
    	inal, but it's a great cover.  April Wine's version is quite a
    	bit different and SUCKS, if you'll pardon my [insert foreign
    	language here].
    
    							GTI
    

re: early Who...

While I love the Who and Pete in particular...I think their early material, or
at least the performances, suck in a major way.

They, like many other bands of the period, were on the "earn while you learn"
program. Another band (for example) was the  Kinks, it's just the Kinks 
never did learn...IMHO....

I feel Pete is one of the most underrated songwriters of our age. Primarily
since his lyrics range from the sublime to the outrageous. The man's a poet
with a stack.

dbii

    	>Is "I'm a Man" a good cover, or just different than the original?
        >
    	>IE, Chicago's version is not really any different than the orig-
    	>inal, but it's a great cover.  April Wine's version is quite a
    	>bit different and SUCKS, if you'll pardon my [insert foreign
    	>language here].
    
    Err...I think we're talking about two different songs here. You're
    referring to the Spencer Davis Group song covered by Chicago (and,
    evidently, April Wine...). I was referring to Bo Diddley's "I'm A Man",
    which has been covered by just about every white R&B band on the
    planet!
    
    The latter "I'm A Man" is not by any means one of my favorite blues
    standards. However, the version by Townsend & co. is striking; bluesy
    guitar riffs that suddenly generate into a wall of feedback, and high
    energy drumming from Moon. Vibrant stuff!
    
    Whether you like it or not, you have to admit that it is *different*...
    
    Dom
    
    
    Dom

    
    	re .60, dbii - yikes, the Kinks, eh?  I only have a few of
    	their albums but Soap Opera and Schoolboys in Disgrace are
    	really terrific to me.  
    
    	"Standing underneath the neon sign"...
    
    	Thanks for putting some great tunes in my head...
    

	The only thing about The Who's early material that s*cks, is the
	recording quality. The playing is wonderful and way ahead of
	their time. I could imagine these songs being played today with
	just as much success as they had back in '65! And about Pete's
	playing: right from the first Who album he was a class player,
	and not only that, he invented this style of guitar playing that
	so much of today's rock music is built on - heavy, repetitive
	power chord slamming - and the thing is, this style *was not
	there* before The Who - I know, 'cause my ears were glued to the
	radio at those days. And not only was Pete's playing inventionel,
	the other members were also unique musicians - noone has *ever*
	played the drums like Keith Moon, and together with John Entwis-
	tle's bass and Roger Daltry's singing, The Who was what I would
	call an archetypical rock band - unique in their style and a
	foundation for *lots* of other bands, right up till today..

	Poul

    I've said this elsewhere (probably MUSIC notes) but it bears repeating.
    The video "30 Years of Maximum R&B" contains some incredible footage
    from the '69-'74 years.  The Who were clearly one of the best live rock
    acts in the world at the time.  I consider myself a serious Who fan,
    but this footage still surprised me.  Townsend's guitar is pure energy
    on the version of "Young Man's Blues" from the Isle of Wight festival.
    Seeing Moon in action is also a revelation; the comment made previously
    about (something like) "keeping a beat" vs "creating time" is right on.
    Moon plays not only with wild abandon and originality, but also with
    great sensitivity and dynamics.  It's like he's conducting an orchestra
    on his kit.
    
    I highly recommend this video.
    
    /ox

I agree that Kieth was totally awesome...when I saw them in '76 (san Diego)
it was akin to a religious experience, something only two other bands have 
ever done for me (since It'll get asked they were: Deep Purple December 1972 -
the "Made In Japan" tour, and Yes Tale from the Topographic Oceans tour)

I still think they're early stuff sounds crude and rather off...but they were
innovative and hot live, listen to Live at Leeds for a good example.

Speaking of Live at Leeds, on Magic Bus what does Pete use on his guitar to make
that wavery, chorusy etc sound? Keep in mind this was before the chorus and
probably before the phase shifter.

dbii

    Are you talking about that spacey bridge section just before the main
    song kicks in?  If so, that's just studio effects; some reverse
    tracking and phasing.  The story is that they totally flubbed that
    section live, so in the mixdown they processed it up to hide the gaff.
    
    That's the only chorusy part I can remember in that tune, but then
    again it's been awhile since I listened to LaL.
    
    /uncle_ernie
    

When I saw them in '76 he did it live...by then there were some phase shifters
etc. to be bought...

Seem like it's between verses...I'll have to dig out my copy and listen again.

dbii

>    To be fair, I think the Who's look c.1964-66 was fairly typical of mod
>    bands of the time in the UK (right down to Daltrey's hairstyle,
    
    That may be, but it looks pretty silly looking back at it now.  Not
    that we didn't have some silly looking fashions here in the States
    too...
          
    Greg

re: silly looking fashions...

Yeah remember elephant bells?

wagawaga!

dbii

    >That may be, but it looks pretty silly looking back at it now.  Not
    >that we didn't have some silly looking fashions here in the States
    >too...
    
    Well, I guess this is all pretty subjective. I tend to think of mod
    haircuts in Britain (or "mushroom head" cuts as sported by American
    bands such as the Standells and the Byrds) as looking "dated" rather
    than "silly".
    
    In fact, if you compare them to the pony tails and reversed baseball
    caps of today, I think they look pretty cool! If only I had a pound for
    every jerk who seems to think that wearing his hair in a pony tail
    makes him a Very Creative Person... ;-)
    
    Dom

    Re.: "rough sounding" early recordings/songs.
    
    I'm inclined to agree, but Rock itself was in its adolescence. The
    standards for what made a chart-topping record were very different than
    today. The Brill building slick sound was about as sophisticated as it
    got back then. British recording studios were extremely primitive, as
    well.
    
    Now, if you're a musician, you'll probably have recollections of a song
    you wrote and (maybe) performed when you first started; it was at least 
    as good as your current best, right? At the time, teenage love songs
    were pretty much the rule. Teenage angst songs were just really getting 
    started.
    
    Pete himself criticized his playing of early on. In fact, one of the 
    reasons he came up with windmilling his arm to strike the strings was
    to compensate visually for his lack of riffing prowess.
    
    Of course, everyone's entitled to their opinion, but as for me, I still
    get cranked when I hear the opening chords of "Substitute", "My
    Generation", "I'm A Boy", "Happy Jack"................
    
    Bill 

    >                                         If only I had a pound for
    >every jerk who seems to think that wearing his hair in a pony tail
    >makes him a Very Creative Person... ;-)
    
    Up yours whanker.
    
    -b
    
    (who wears a pony tail because he doesn't like hair in his face)

    >>                                         If only I had a pound for
    >>every jerk who seems to think that wearing his hair in a pony tail
    >>makes him a Very Creative Person... ;-)
    
    >Up yours whanker.
    
    Bugger off, tart!
    
    
    Sorry if it hit close to home, but I would have to agree with the above
    (seen too many 'cats' in the scene with their 'tails and gotee's,
    "man...")        

    God, I *love* this! :-)
    
    Lesse, where can we go from here...
    
    Nob off you git!
    
    -b
    
    (who, although he has a pony tail, is incapable of growing a gotee, and
    never refers to anyone as a 'cat'...)

    >>every jerk who seems to think that wearing his hair in a pony tail
    >>makes him a Very Creative Person... ;-)
    
    >Up yours whanker.
    
    >-b
    
    >(who wears a pony tail because he doesn't like hair in his face)
    
    
    Isn't the W word spelled without an "h"? Or maybe you're a Very Very
    Creative Person ;-)
    
    If you don't fall into the category I was referring to, you needn't get
    offended...eh? Or were you just trying to prove my point?
    
    Dom (who doesn't particularly like his hair in his face either, but hit
    upon an alternative solution some 30 odd years ago)

    >Isn't the W word spelled without an "h"? Or maybe you're a Very Very
    >Creative Person ;-)
    
    	Maybe it is wanker. Your familiarity with its spelling is
    	noted. :-)
    
    Dom (who doesn't particularly like his hair in his face either, but hit
    upon an alternative solution some 30 odd years ago)

    	Yeah, well, baldness isn't an option for me. :-)
    
    -b

    Cool, man, cool.

    the word is "WANKER"....!I know cuz I use it often enough to insult
    people here in teh US!
    
    I occassionally have a pony tail too cuz my hair gets in teh way but
    never will I wear a baseball cap at a "jaunty" angle.It just looks
    retarded.
    
    
    
    						ian

    >>Dom (who doesn't particularly like his hair in his face either, but hit
    >>upon an alternative solution some 30 odd years ago)

    >	Yeah, well, baldness isn't an option for me. :-)
    
    Are all guys with pony tails as bitchy as you? ;-)
    
    Now, one of the things I meant to say (before the hairy rathole got
    under way) was that the "primitive" sound of the Who's early records
    was, IMO, what made them great. Same goes for the Kinks. I don't think
    their post-1970 stuff is by any means unlistenable, but to me they
    sound a whole lot more like any other rock band.
    
    So if it's a choice between "My Generation" and "Won't Get Fooled
    Again" (or "Till The End Of The Day" and "Lola"!), I know where my
    loyalties lie...
    
    Dom

    >Are all guys with pony tails as bitchy as you? ;-)
    
    It was all in fun... I was hoping we could continue the British insults
    thread, but apparently there aren't enough Monty Python fans here! :-)
    
    Truth is, I'm not bitchy at all. Well, much. :-)
    
    -b

    >It was all in fun... I was hoping we could continue the British insults
    >thread, but apparently there aren't enough Monty Python fans here! :-)
    
    >Truth is, I'm not bitchy at all. Well, much. :-)
    
    Whaaaat? I consider myself something of a Monty Python fanatic, but
    that particular sketch must have eluded me ;-)
    
    Dom

    I meant MP only in the sense that they're a treasure-trove of
    insults and British witicism... where I first learned of things
    like wankers, tarts, gits, buggering off, nobbing off... all
    the really useful stuff. :-) :-)
    
    -b

    
    Another giant of Rock guitar goes over the hill.  Pete Townshend is 50
    years old today.