They wear similar shirts and vests in contrasting colors. playing a bass, perform in a promotional portrait for, 'The Return of the Smothers Brothers,' 1970s. But when word got out and the show aired, we couldn't have done anything better to get The Who known in America.Ĭirca 1975: American comedians and singers Tom Smothers (L), playing a guitar, and Dick Smothers. For a good 24 hours, it was a pretty bleak scenario. You know what the Hollywood studios are like. It involved all of the fire marshals, too. The Smothers Brothers nearly got fired from CBS, and, if that had happened, we would have been mortified. You just had to love him, although it was incredibly serious at the time. You think, "What’s he doing?" He wasn't trying to make his hair look good, he was trying to put it out! It was on fire, smoldering.Ĭlash: What did you say to Keith after that happened?ĭaltrey: It was a typical day on the road with Keith. Pete was standing there to the side, and you see the camera go over to him because I had disappeared. If you watch it, I completely disappear off camera. All I know is that it blew me out of the way. I can laugh about it now - I think she fainted - but there was a huge kerfluffle on the side of the stage. When the drum exploded, Bette nearly dropped dead of a heart attack. She was dressed in her most famous role as Elizabeth I, a great medieval Queen. How could anyone forget it? On that show with us was Mickey Rooney, someone we had watched on film as kids, and Bette Davis, the legendary film star from that golden period of Hollywood. What are your recollections of that?ĭaltrey: My memory of the whole day is extraordinary. Your late drummer, Keith Moon, had loaded his bass drum with more than enough explosives to create drama at the end of your song sets. Amsterdam, Netherlands on Aug(Photo by Gijsbert Hanekroot/Redferns) RedfernsĬlash: Let's go back to 1967 and The Who's infamous appearance on the Smothers Brothers Comedy Hour. ĪMSTERDAM, NETHERLANDS - AUGUST 17: Keith Moon from The Who performs live on stage at Rai. But apparently that doesn't happen with everything you do, especially when jamming. When we got to the bridge part, I added some lyrics, and, if you add any lyrics to a song, you're one of the writers. We were rehearsing, getting it down on stage at the Marquee Club. Pete had a sketch for a song, but didn't have a bridge for it. What's he like to work with in a songwriting capacity?ĭaltrey: It happened by accident. It's as simple as that.Ĭlash: You and Townshend wrote a song way back when called, "Anyway, Anyhow, Anywhere." Townshend created most of your material over the band's life, so this collaboration is rare. ![]() We never really had a strong relationship off of the stage, though. When we're playing well, it starts to kick in properly. But when we get on stage, there's a chemistry that's created. Art said that their history is like the weather.ĭaltrey: What kind of weather ? Our relationship is a working one, and that's about as far as it goes. The two, of course, have been doing gigs almost as long as you and Pete have. Clash: I once asked Art Garfunkel about his relationship with Paul Simon.
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