![]() ![]() ![]() But if you just pick it, the melody of the chords is absolutely beautiful on an acoustic guitar. Because once you get into the rhythm, you’re limited in a certain way. I’ve been playing around on my little traveling acoustic guitar, and I discovered the beauty of the chords when they’re played really slow - and then I sing it quietly and explore the words even more. I’ve just been playing around with “Behind Blue Eyes,” for instance. I now see songs differently, and I explore them more. We’ve done it acoustically, which certainly gets out of the box, but people seem to want the full blast - the whole bit. But “Won’t Get Fooled Again” seems to be stuck in this box. Because with other songs, some nights they breeze out into some other areas and it’s wonderful. ![]() It’s the only song I have that problem with. But for some reason it never quite takes off from anywhere different than it was from the time I recorded it. The only song I get bored with playing, because it’s immovable from its arrangement, is “Won’t Get Fooled Again.” I mean, I love the song and I don’t mind singing it. With the maturity I have now and looking back on life, I’m more connected to our songs than ever. But in some ways it carries the most weight and carries the most importance. I’ve always understood that idea, and it was never ever going to be the most commercial. It’s very individual music, and it’s not for everybody. It’s not run-of-the-mill rock and roll - or rock. ![]() Of course, his song structures are incredible. He has the sensibility and the intellect to write from a very different perspective than most music writers. So last year, we resuscitated the song, and I said to Pete, “Can’t we just make this in sync with the rest of it, so it’s a groove or something?” We put another simple little off-beat in there, and it brought it all into time, and the song’s great now. It used to always throw us and I thought it was so bloody hokey. It has some great lyrics with a really nice guitar progression, but then when it got into the instrumental, the rhythm skipped. It took a long time to get together from 1968 to 2022, but we did it in the end. I would say “Naked Eye.” The song, where it’s recorded in live shows, was never very good up until last year when we changed the rhythm of the bridge for the instrumental piece between verses and brought it back into rhythm. If Daltrey gets his way, 2024 would be a big Who year, too. “Well,” he offered, “it’s one up from being some of the things we were called in the early days.” (We also found ourselves on a tangent about the joys of Seinfeld after I mentioned my weekend plans.) The band already has much of their 2023 mapped out with The Who With Orchestra Live at Wembley set for a March release as well as a summer tour throughout the United Kingdom. I’ve lived and I’ve seen too much.” He was nothing but affable, although he did take a pause when I equated the Who to being a legacy act. Let’s clear that up to start with because I ain’t going to go with the other crap. “But you might be offended, I warn you now. “I’ll talk about anything, whatever you like,” he tells me. I found myself connecting with Daltrey, as sprightly as ever, earlier this month as he prepares for a few solo shows. They were there when it was time to fight. It’s simple, really: You didn’t turn on the Who if you wanted to dance or seduce. While Townshend was the arbiter of the mod subculture with his lyrics and appetite for instrument destruction, Daltrey with his “primal roar,” as he likes to call it, was the master interpreter to rally their generation. The volatile intensity of Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon reflected their audience - it was always about their audience - as if they were holding up a cracked mirror to their own experiences with angst, isolation, and rage. The story of the Who has always been the story of society. Photo: Jack Robinson/Hulton Archive/Getty Images “I survived with three bloody addicts in a group. ![]()
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