0:00:02 > 0:00:05This programme contains strong language
0:00:05 > 0:00:08# Substitute your lies for fact...#
0:00:11 > 0:00:17# I can see for miles and miles I can see for miles and miles...#
0:00:20 > 0:00:24The Who started as a band with four very different individuals
0:00:24 > 0:00:26with very, very different needs.
0:00:26 > 0:00:29Got a few hits,
0:00:29 > 0:00:32managed to pull off Tommy,
0:00:32 > 0:00:38managed to pull off some kind of amazing live stage energy.
0:00:38 > 0:00:39APPLAUSE AND CHEERING
0:00:39 > 0:00:42# Touch me...#
0:00:45 > 0:00:48'A special TUC conference in London has voted...'
0:00:48 > 0:00:52'New challenges and burdens created by the oil crisis...'
0:00:52 > 0:00:54'As the gas situation gets worse...'
0:00:54 > 0:00:56'The miners need some inducement to come to talks...'
0:00:56 > 0:00:59'I think the three-day week should be called off at once.'
0:00:59 > 0:01:03'Ten years on from The Who's first successes comes the release
0:01:03 > 0:01:06'this weekend of a new double album that could be a step on,
0:01:06 > 0:01:09'even from Tommy, Quadrophenia.'
0:01:09 > 0:01:12# Love...
0:01:14 > 0:01:17# Reign on me...#
0:01:17 > 0:01:22When we got to Quadrophenia, talking 1973,
0:01:22 > 0:01:26something strange was happening to the internal politics of the band.
0:01:26 > 0:01:30It was quite clear that Keith Moon was certifiably insane
0:01:30 > 0:01:34and that if he hadn't had a drum kit to play with, he probably would have ended up in jail.
0:01:36 > 0:01:40John Entwistle simply wasn't happy because he was a songwriter,
0:01:40 > 0:01:45and it seemed as though for him, the band had come all about me and my ideas.
0:01:45 > 0:01:48Roger wanted something which meant he could swing his hair and looked glamorous
0:01:48 > 0:01:51and take his chest off and be a superstar.
0:01:55 > 0:01:59I had difficulties as well. Lifehouse, which followed Tommy, failed.
0:01:59 > 0:02:03The accusation was, "You failed with your big idea
0:02:03 > 0:02:06"because you're an arty-farty pretentious twat."
0:02:08 > 0:02:10It felt, to me, as though we were drifting apart.
0:02:11 > 0:02:14So my first mission, my first part of the brief that
0:02:14 > 0:02:20I gave myself was replace Tommy as a performing vehicle, that was it.
0:02:21 > 0:02:26# I don't mind other guys dancing with my girl
0:02:28 > 0:02:29# That's fine
0:02:29 > 0:02:32# I know them all pretty well...#
0:02:32 > 0:02:35# Is it me for a moment...
0:02:35 > 0:02:39# For a moment, for a moment... #
0:02:39 > 0:02:44So my story was, I'd bought this riverside property out...
0:02:44 > 0:02:49It's actually in a place called Cleeve on the River Thames.
0:02:49 > 0:02:51One day I got this call
0:02:51 > 0:02:55about Eric who was wallowing
0:02:55 > 0:02:58down in his house in the country,
0:02:58 > 0:03:01and would I go down and see Eric?
0:03:02 > 0:03:06Eric had done an album and ended up as a heroin user.
0:03:06 > 0:03:10I remember going down and seeing him. He was very courteous, very kind, very dignified, very loving,
0:03:10 > 0:03:13very friendly as he always was to me.
0:03:13 > 0:03:15But I was affected by it.
0:03:15 > 0:03:18I start to think about how we can...
0:03:20 > 0:03:24..Not rescue Eric, but just to kind of stimulate him.
0:03:24 > 0:03:28I turned to a couple of my mates, Ronnie Wood, Stevie Winwood
0:03:28 > 0:03:31and we came here, to this house, to rehearse.
0:03:33 > 0:03:36And we were in the room over there and we all gathered together.
0:03:36 > 0:03:40I was nodding off and Rick the bass player said, "Try this." I said, "What is it?"
0:03:40 > 0:03:43He said it is a kind of a popper thing,
0:03:43 > 0:03:45he said, it wakes you up, and it was amyl nitrate.
0:03:45 > 0:03:50And I took it and I went, "Oh, that's fun, a bit of a buzz,"
0:03:50 > 0:03:54and then played. I did not get stuck on it but I used it quite a bit.
0:03:55 > 0:03:59Once the concert with Eric in January 1973 was over, I suppose
0:03:59 > 0:04:03I must have had some sort of come down from the lack of amyl nitrate.
0:04:05 > 0:04:07On a dark, wet winter weekend at the cottage at Cleeve,
0:04:07 > 0:04:11with the river running faster than usual,
0:04:11 > 0:04:13I had a flashback to when I was 19 years old.
0:04:15 > 0:04:18The Who had just played this amazing gig at the Aquarium Ballroom
0:04:18 > 0:04:21in Brighton and I was with my art school friend Des Reed.
0:04:23 > 0:04:26After the gig we missed the train home.
0:04:26 > 0:04:29So we hung out and we went down under the pier
0:04:29 > 0:04:33and there were all these boys in parkas
0:04:33 > 0:04:35with the fucking tide coming up around their feet.
0:04:35 > 0:04:38They didn't seem to understand that they were going to drown!
0:04:44 > 0:04:47Under the pier, I was coming down from taking purple hearts,
0:04:47 > 0:04:50the fashionable uppers of the period.
0:04:50 > 0:04:53Sitting there at Cleeve, that day nine years later,
0:04:53 > 0:04:57that same feeling came flooding back of feeling depressed,
0:04:57 > 0:04:59lost and hopeless and I grabbed a notebook.
0:04:59 > 0:05:02Quickly when I was still in this sad and lonely mood,
0:05:02 > 0:05:07I scribbled out the story that is on the inside sleeve of the original album of Quadrophenia.
0:05:07 > 0:05:10This was the story of a mod called Jimmy.
0:05:11 > 0:05:16Jimmy was a normal boy, with normal needs, passing through the normal
0:05:16 > 0:05:20things of childhood, but what made everything so much more complicated
0:05:20 > 0:05:25for him was he had a bipolar problem, he was schizophrenic.
0:05:26 > 0:05:30I think that Jimmy is meant to be, instead of schizophrenic,
0:05:30 > 0:05:35he is meant to be quadrophrenic, and that is the original concept,
0:05:35 > 0:05:38to have Jimmy have these four personalities.
0:05:42 > 0:05:44So Quadrophenia was a double-album,
0:05:44 > 0:05:47in the old days of vinyl that meant you had two 12 inch vinyl discs.
0:05:48 > 0:05:53And it's that difficult, dodgy '70s thing, the concept album.
0:05:53 > 0:05:59A sensitive story of a mod on a journey of self-discovery,
0:05:59 > 0:06:04but played by The Who - tough, muscular, physical, a man's band.
0:06:09 > 0:06:11What I know is that I'm going to be on a stage
0:06:11 > 0:06:15with a bunch of yobbos with an electric guitar.
0:06:15 > 0:06:18I'm going to have to turn it up, I'm going to have to jump up and down,
0:06:18 > 0:06:20I'm going to have to tell them to fuck off and shut up.
0:06:20 > 0:06:25This is Pete, the writer, trying to serve Keith and John and Roger,
0:06:25 > 0:06:27giving them really stimulating, useful
0:06:27 > 0:06:31fucking stuff that they can express their stage personalities through.
0:06:34 > 0:06:37The Who's sound has got those warring elements in it.
0:06:37 > 0:06:40On the one hand they are a street fighting band, doing all that physical,
0:06:40 > 0:06:42visceral side on the one hand,
0:06:42 > 0:06:45on the other hand that spiritual, whimsical,
0:06:45 > 0:06:49melancholic lyrical side and banging them together, often in one song.
0:06:52 > 0:06:57This bit of paper is kind of, on the top line you've got me,
0:06:57 > 0:06:59Roger, John, Keith.
0:06:59 > 0:07:02The next line is good, bad, romance.
0:07:02 > 0:07:06They are joined together with the word sex, insanity.
0:07:06 > 0:07:10The idea that each of these themes would produce songs.
0:07:10 > 0:07:14In actual fact, this is just a musical blueprint for what
0:07:14 > 0:07:17I wanted to do.
0:07:17 > 0:07:20Pete, you know, is working very hard.
0:07:20 > 0:07:24I don't know quite what on but...
0:07:24 > 0:07:27You know, I think it'll be good.
0:07:27 > 0:07:31The trouble is with Pete, working with him,
0:07:31 > 0:07:34he had these wonderful little kernels of ideas
0:07:34 > 0:07:37but then he would want to pitch them and make them into stories.
0:07:37 > 0:07:40But we got the essence of it.
0:07:40 > 0:07:43This guy's got all the personalities of every member in the band
0:07:43 > 0:07:45and it's just one guy.
0:07:45 > 0:07:49And that was enough for me to say, "Great idea, let's go for it."
0:07:49 > 0:07:51This is how the album starts, OK.
0:07:54 > 0:07:55WAVES CRASH
0:07:58 > 0:08:01No other Who album starts with ambient noise.
0:08:02 > 0:08:07And it very specifically is putting you in a place,
0:08:07 > 0:08:11it sets a scene, which none of the other Who albums did.
0:08:14 > 0:08:16Once we had the sea noise going,
0:08:16 > 0:08:20we just introduced each theme of the four themes.
0:08:20 > 0:08:22The first thing you hear is I Am The Sea,
0:08:22 > 0:08:25the breathy sound of, "I am the sea."
0:08:34 > 0:08:37And do-dee-do-do-do, which is the Helpless Dancer.
0:08:42 > 0:08:46Then you hear, is it me for a moment, which is the romantic side
0:08:46 > 0:08:47and so on.
0:08:47 > 0:08:53# Is it me, for a moment For a moment, for a moment...#
0:08:54 > 0:08:57Instead of having a straight overture,
0:08:57 > 0:09:02you get pieces of the songs and it comes back as memories.
0:09:02 > 0:09:06# Bellboy, bellboy...#
0:09:09 > 0:09:12You're automatically put on that rock.
0:09:12 > 0:09:18# Love...
0:09:18 > 0:09:22# Reign o'er me. #
0:09:22 > 0:09:25And you hear the themes and then bang into the first track which is,
0:09:25 > 0:09:27Can You See The Real Me?
0:09:27 > 0:09:33# Can you see the real me, can ya? Can ya? #
0:09:46 > 0:09:50He's at the doctor, he's going to the shrink,
0:09:50 > 0:09:53he's going to the priest, he's going to his mother for advice,
0:09:53 > 0:09:57and I wanted to establish very, very quickly
0:09:57 > 0:10:03that this is not just a troubled boy, this is a boy that has mental illness.
0:10:03 > 0:10:07He's bipolar or he's manic-depressive.
0:10:07 > 0:10:13And this idea of him being, you know, doubly schizophrenic.
0:10:17 > 0:10:20# I went back to my mother
0:10:20 > 0:10:23# I said, I'm crazy, ma, help me
0:10:23 > 0:10:27# She said, I know how it feels, son
0:10:27 > 0:10:30# Cos it runs in the family
0:10:31 > 0:10:37# Can you see the real me, mother, mother?
0:10:37 > 0:10:41# Can you see the real me, mother
0:10:41 > 0:10:44# Whoa, Mama... #
0:10:44 > 0:10:46Once you hear that track,
0:10:46 > 0:10:49you know that this is going to be the revelation of a condition.
0:10:50 > 0:10:53Jimmy gets up in the morning, goes to see his shrink,
0:10:53 > 0:10:57goes to see his priest because his mum is a deep, dark Catholic.
0:10:58 > 0:11:02Goes to look up at this girl's bedroom that he's in love with
0:11:02 > 0:11:03who won't shag him.
0:11:03 > 0:11:06# The cracks between the paving stones
0:11:06 > 0:11:08# Like rivers of flowing veins... #
0:11:08 > 0:11:12You're going right inside the boy's head. You know where you are,
0:11:12 > 0:11:14you've come from the peace of the sea,
0:11:14 > 0:11:16and the idea that this is a little bit of this,
0:11:16 > 0:11:19and a little bit of that and then, bang, you're into the action.
0:11:19 > 0:11:21# Lives in this yellow house
0:11:22 > 0:11:25# Yesterday she passed me by
0:11:25 > 0:11:27# She doesn't want to know me now... #
0:11:29 > 0:11:32When I first heard it, a friend of mine had it and they had
0:11:32 > 0:11:35the gatefold sleeve and everything and I loved it, but it was
0:11:35 > 0:11:40quite costly, so they recorded it for me on what was back then a C90.
0:11:40 > 0:11:44I remember for ages thinking that he'd started on side two
0:11:44 > 0:11:46because it begins with "I went back to the doctor."
0:11:46 > 0:11:49It's like you've jumped right into the middle of the stream,
0:11:49 > 0:11:51you've come right into the middle of the ride,
0:11:51 > 0:11:55come right into the middle of a rush, and that is brilliant.
0:11:55 > 0:12:00# Can you see the real me, mother?
0:12:00 > 0:12:03# Can you see the real me, me, me, me, me,
0:12:03 > 0:12:08me, me, me, me, me m-m-me....#
0:12:08 > 0:12:101, 2, 3, 4...
0:12:15 > 0:12:20Pete decided that as part of the album, he'd have this lavish,
0:12:20 > 0:12:25very generous big photo book to illustrate the story and also,
0:12:25 > 0:12:27the other thing is I think he thought it would help explain
0:12:27 > 0:12:30the story, particularly to the Americans who didn't understand it.
0:12:30 > 0:12:36Ethan Russell's photos put you in that place.
0:12:36 > 0:12:40As an American, you were able to understand
0:12:40 > 0:12:43because you were able to see it, you were able to see his room,
0:12:43 > 0:12:48you saw the life and it told you the story better than a movie,
0:12:48 > 0:12:51better than a video. It's all there.
0:12:54 > 0:12:59The first cover I did for The Who was the album Who's Next, here.
0:13:00 > 0:13:04I was back in the United States. I got a call from Pete.
0:13:05 > 0:13:09He was pretty stressed already because he'd been
0:13:09 > 0:13:12working on this forever and you could feel this tremendous
0:13:12 > 0:13:15energy of him sort of wanting to birth this thing, you know.
0:13:15 > 0:13:18So he played me the material and he told me the story.
0:13:20 > 0:13:24And we went out to try and sort of build that world.
0:13:29 > 0:13:32We're here in Battersea in the Patmore Estate.
0:13:32 > 0:13:35My sister Maxine and I used to live across the road here,
0:13:35 > 0:13:37in this block of flats here.
0:13:37 > 0:13:40Our foster sister Jane used to live in this block of flats here
0:13:40 > 0:13:41and the three of us used to hang out,
0:13:41 > 0:13:45generally around on that corner block there.
0:13:45 > 0:13:48Along here, which used to be a church hall,
0:13:48 > 0:13:51became Ramport Studios which was owned by The Who,
0:13:51 > 0:13:52back in the early '70s.
0:13:56 > 0:14:01This is myself here. I would have been just coming up to 15.
0:14:01 > 0:14:04That was an original mod outfit.
0:14:04 > 0:14:07I had my hair cut very short and cropped and black eyeliner,
0:14:07 > 0:14:10which you can't see through the black and white picture.
0:14:10 > 0:14:11That's me.
0:14:11 > 0:14:17And I've got on a pencil skirt, a pinstripe pencil skirt,
0:14:17 > 0:14:22Hush Puppy shoes and a navy blue twinset,
0:14:22 > 0:14:26little jumper underneath, a cardigan and like Julie,
0:14:26 > 0:14:30my hair cut very short, mod-style haircut.
0:14:30 > 0:14:34The girls came up, too young to go in the pub
0:14:34 > 0:14:39but they knew that I was looking for someone to play Jimmy.
0:14:41 > 0:14:45Chad was one of the local guys that lived near the pub.
0:14:45 > 0:14:48We thought he had the look for the main character of Quadrophenia
0:14:48 > 0:14:50so we introduced him to Georgiana.
0:14:50 > 0:14:52I saw the attitude.
0:14:52 > 0:14:57I saw the class and the attitude and the sort of, you know...
0:14:58 > 0:15:00..his wheels were spinning a bit, you know.
0:15:02 > 0:15:05And he was the real thing. He had love-hate tattooed on his hands.
0:15:05 > 0:15:08Pretty early on in life for that, you know.
0:15:08 > 0:15:10He was often in bed.
0:15:10 > 0:15:13They would have to go and get him up at the flats, I remember that.
0:15:13 > 0:15:16Because he'd had too much to drink, or maybe drugs,
0:15:16 > 0:15:18I don't know what, I won't swear that either,
0:15:18 > 0:15:21but he was often not on location when he was supposed to be.
0:15:22 > 0:15:25About two thirds through the shoot Chad came up to me and says,
0:15:25 > 0:15:27"I've got to go to court."
0:15:27 > 0:15:30I said what have you got to go to court for? He said, "I stole a bus."
0:15:30 > 0:15:34And I said, "You stole a bus?" And he said "Yes, I stole a bus."
0:15:34 > 0:15:35I said, "OK."
0:15:35 > 0:15:38He walks up to the judge and the judge says, "What did you do?"
0:15:38 > 0:15:42He said, "I took her for a drive." I can't do the accent.
0:15:42 > 0:15:45He said, "what are you doing now?" He says, "I'm a male model."
0:15:45 > 0:15:50And I'm sitting in the back, and he says, "Who do you work for?" "I work for The 'Oo."
0:15:51 > 0:15:55And the judge turns to me and says, "Is this true?" And I said, "Yes."
0:15:55 > 0:16:00He says, "You need him?" And I said, "Yes, absolutely I need him." So he let him off.
0:16:28 > 0:16:33Pete always had this thing about mods, even before they were mods.
0:16:34 > 0:16:37I like to be subsumed in a gang.
0:16:37 > 0:16:40And so I love that feeling of being safe in the mod movement.
0:16:40 > 0:16:45I felt safer in a gang of mods than I did in the band, I can tell you that!
0:16:47 > 0:16:51There was this hierarchical structure.
0:16:51 > 0:16:53At the top you would have these top faces.
0:16:53 > 0:16:56These were the mods that really looked really smart
0:16:56 > 0:16:59and seemed to be able to afford new suits a lot.
0:16:59 > 0:17:02There were the numbers and there was tickets.
0:17:02 > 0:17:03The tickets were the little kids.
0:17:03 > 0:17:06The one that I came across was Seven And Sixers,
0:17:06 > 0:17:10and I never knew why they were called Seven And Sixers and it was cos
0:17:10 > 0:17:14the T-shirts they wore were seven and six in Woolworths.
0:17:14 > 0:17:18What will the well-dressed mod be wearing this Whit weekend?
0:17:18 > 0:17:22I will be wearing white hipster slacks or blue hipster slacks
0:17:22 > 0:17:27with either a cycling shirt, a zip here and stripes across there,
0:17:27 > 0:17:30mainly with white ground or a blue ground.
0:17:30 > 0:17:35Or a T-shirt with a large emblem on the front or back.
0:17:35 > 0:17:38Roger talks about the mod movement only happening
0:17:38 > 0:17:43because in those days, '62, '63, '64, a young man could get a job.
0:17:43 > 0:17:48We were the first generation to have money and creative energy because
0:17:48 > 0:17:53previous to that everybody had been slaving to pay the bloody bills
0:17:53 > 0:17:55and living on the ration book.
0:17:55 > 0:17:59To be a face, you had to go out to work. You couldn't be a face
0:17:59 > 0:18:05if you're a school kid because you didn't have enough money to buy
0:18:05 > 0:18:10the scooter, to pay for the petrol to pay for the girlfriends and the burgers and the drinks.
0:18:10 > 0:18:14The mods were hard-working youngsters
0:18:14 > 0:18:18and it was all about spending your money on clothes.
0:18:20 > 0:18:23ARCHIVE: A new booming outfitting business both meets and creates
0:18:23 > 0:18:27the mod demand for elegance in a young man.
0:18:27 > 0:18:29This shop now has 18 branches in London
0:18:29 > 0:18:33and a turnover of half a million a year.
0:18:33 > 0:18:38They'd see Italian students and kids over here on holiday
0:18:38 > 0:18:42in central London and were admiring their clothes
0:18:42 > 0:18:47and saying, "Look at the cut on their clothes." Stuff that we didn't have.
0:18:47 > 0:18:48I don't like red on you anyway.
0:18:48 > 0:18:54From all these different elements emerged this sort of movement
0:18:54 > 0:18:57with its strict rules that were never written down
0:18:57 > 0:18:59but they seemed to understand them.
0:18:59 > 0:19:00That's a very mod neck.
0:19:00 > 0:19:04That rollneck's all right, a suede front, it's different.
0:19:04 > 0:19:07- That's true, yeah.- This is great, I like this.- It's fabulous.
0:19:07 > 0:19:11If I left a deposit for that, John, can I come back next week?
0:19:11 > 0:19:13- Yeah, certainly.- Is that OK?
0:19:21 > 0:19:24That's not yours, my love.
0:19:24 > 0:19:27If you saw a teddy boy, you'd know he was a teddy boy
0:19:27 > 0:19:31but if you saw a mod, your mods could work in an advertising agency,
0:19:31 > 0:19:35no-one would know they were mods. They just looked like a neat kid.
0:19:35 > 0:19:38But to other mods, they gave all the signals.
0:19:38 > 0:19:40Maybe a slightly effeminate kid
0:19:40 > 0:19:42and that's where I thought the real courage came.
0:19:42 > 0:19:45They used to do their own sewing and stuff.
0:19:45 > 0:19:50These great big guys would say, "I'll take in those trousers!"
0:19:50 > 0:19:55Roger made drainpipes and put the zips in himself!
0:19:55 > 0:19:58He put zips in drainpipes!
0:19:58 > 0:20:02It was perfect because for the first time in generations
0:20:02 > 0:20:04you dressed as you wanted to
0:20:04 > 0:20:09and at work you probably were a shipping clerk or a filing clerk.
0:20:09 > 0:20:11You were management material.
0:20:11 > 0:20:14And you got, "Oh, he's a very tidy young man,
0:20:14 > 0:20:16"he's going up the ladder, mate."
0:20:16 > 0:20:18Mods had real strict taste rules
0:20:18 > 0:20:22and it was difficult to know what was in, and what was out.
0:20:22 > 0:20:26I remember people talking about the way to stand outside
0:20:26 > 0:20:31the Scene Club, you had to stand with your hand in your pocket...
0:20:31 > 0:20:34All these sort of ways to maintain your cool.
0:20:34 > 0:20:37My hair was a disaster. I hated it.
0:20:37 > 0:20:40When I looked in the mirror,
0:20:40 > 0:20:42I saw somebody like Art Garfunkel.
0:20:42 > 0:20:45Roger had exactly the same problem.
0:20:45 > 0:20:50- He was constantly straightening his hair.- Dippity-do.
0:20:50 > 0:20:53Dippity-do. He found this American gel that would straighten your hair
0:20:53 > 0:20:55long enough to get through a gig.
0:20:55 > 0:20:58And I think the main driving force then was fashion.
0:20:58 > 0:21:02But then it became the music and the other things.
0:21:02 > 0:21:04And the other thing is you've to put it in context of the time,
0:21:04 > 0:21:08it was like people identifying with this new, modern, clean world.
0:21:13 > 0:21:17This is Cut My Hair, it's like the first proper song on the album.
0:21:21 > 0:21:24The album should have started with Cut My Hair because that's where the story starts.
0:21:24 > 0:21:28On Cut My Hair you've got a...
0:21:28 > 0:21:31This piano part, very nursery,
0:21:31 > 0:21:33gentle piano.
0:21:35 > 0:21:41Against which you get the story of the boy complaining about why
0:21:41 > 0:21:45he has to fuck around with his hair basically.
0:21:45 > 0:21:48# If I have to cut my hair
0:21:48 > 0:21:51# I've got to move with the fashion
0:21:51 > 0:21:53# Or be outcast. #
0:21:53 > 0:21:58It's interesting because what it's about is a mixture of that
0:21:58 > 0:22:01refrain when we were young
0:22:01 > 0:22:04and the hair was long which was, "Get your hair cut!"
0:22:04 > 0:22:08And suddenly all of that being turned on its head by the mod movement where a face
0:22:08 > 0:22:13would turn to you and say, "Get your hair cut."
0:22:13 > 0:22:16And you'd think, "Hold on a minute, you're only three or four
0:22:16 > 0:22:20"years older than me, don't fucking tell me to get my haircut!"
0:22:20 > 0:22:23# And I'm leaping along
0:22:23 > 0:22:27# I'm dressed right for a beach fight
0:22:27 > 0:22:30# But I just can't explain
0:22:30 > 0:22:34# Why that uncertain feeling is still
0:22:34 > 0:22:37# Here in my brain. #
0:22:37 > 0:22:42If you were raised in a modern neighbourhood, you had to fit in with those people.
0:22:42 > 0:22:47So, we sat down and had our hair cut. Which I hated.
0:22:47 > 0:22:50It had taken me nearly a year
0:22:50 > 0:22:53to grow my Beatle fringe down to here.
0:22:53 > 0:22:56I was taken to this guy called Jack the barber,
0:22:56 > 0:22:58more like Sweeney Todd!
0:22:59 > 0:23:03I remember going back to my house with Keith Moon
0:23:03 > 0:23:09and smashing the mirror in my room because I hated it. Horrible.
0:23:09 > 0:23:12I kind of rebelled against it, went out and bought myself a jacket
0:23:12 > 0:23:18and trousers and I felt OK about it. Except for my hair.
0:23:18 > 0:23:21# Zoot suit, white jacket with side vents
0:23:21 > 0:23:24# Five inches long. #
0:23:24 > 0:23:28My initial reaction to it was, "It's about me."
0:23:28 > 0:23:31The essence of Townshend's writing is that
0:23:31 > 0:23:36he writes about the adolescent problems and they never change
0:23:36 > 0:23:41and that's why if you take away the mod tunic, the mod uniform,
0:23:41 > 0:23:46what you're left with is the universal adolescent problem.
0:23:50 > 0:23:54What's happening at the very end is he's thinking, "This is shit."
0:23:54 > 0:24:01He can't deal with it. And at the end you get this abject self-pity which Jimmy is...
0:24:01 > 0:24:04Falls into regularly. This sense of, "I can't do this."
0:24:04 > 0:24:08# We have the same old row again and again
0:24:11 > 0:24:15# Why do I have to move with the times?
0:24:15 > 0:24:18# Of kids that hardly notice I'm around
0:24:18 > 0:24:23# I work myself to death just to fit in. #
0:24:23 > 0:24:27So, it sets up this thing that starting at the beginning
0:24:27 > 0:24:30of Quadrophenia that he's becoming disenchanted with
0:24:30 > 0:24:34the burden of being a mod, of trying to fit in,
0:24:34 > 0:24:36of having the right shoes, the right shirt.
0:24:36 > 0:24:39He's not getting what he wants.
0:24:40 > 0:24:42# It's all a game
0:24:42 > 0:24:45# And inside I'm just the same
0:24:45 > 0:24:50# My fried egg makes me sick first thing in the morning. #
0:24:52 > 0:24:55ARCHIVE: ..A gang of nearly 1000 youths entered the Grand Hotel
0:24:55 > 0:24:59in pursuit of two leather-clad rockers.
0:24:59 > 0:25:02South Coast police have warned that if the fights between rival gangs
0:25:02 > 0:25:07of mods and rockers continue strict security measures will be
0:25:07 > 0:25:11in force at railway station both in London and on the south coast.
0:25:11 > 0:25:14Brighton was just one of those places that was popping.
0:25:14 > 0:25:17Say me and my friends went to a dance hall once,
0:25:17 > 0:25:20there was a load of rockers there, they were taking the mick out of us.
0:25:20 > 0:25:23You can't let a load of kids take the Mickey out of you, can you?
0:25:23 > 0:25:26- So, what do you do? - Well, you have a punch-up about it.
0:25:26 > 0:25:28- What do you fight with?- With fists!
0:25:31 > 0:25:33The first trouble was in Clacton.
0:25:33 > 0:25:37And afterwards I think Margate and then it was Brighton.
0:25:37 > 0:25:41You had about 30 little mods
0:25:41 > 0:25:42versus three big rockers.
0:25:42 > 0:25:45They were all running up, "Come on, then!" And all this stuff.
0:25:45 > 0:25:47We were posing and stuff like that.
0:25:50 > 0:25:55- It's the rockers that started. They screw you.- What does screw mean?
0:25:55 > 0:25:58You know, look you up and down and think, "That's a funny
0:25:58 > 0:26:01"way of dressing." Think you're a poof or something like that.
0:26:03 > 0:26:06The really cool mods hated the fact that there was this
0:26:06 > 0:26:08violence on the beach. They hated it.
0:26:08 > 0:26:12"Bunch of wankers! Going and fighting with rockers."
0:26:12 > 0:26:14Ha! That kind of thing.
0:26:16 > 0:26:19# As I was laying in a hospital bed... #
0:26:24 > 0:26:28ARCHIVE: The beat they dance to is another difference between mods and rockers.
0:26:28 > 0:26:31At this mod club, The Chez Don, in the East End of London,
0:26:31 > 0:26:34the rhythm is blue and strong enough to lean against.
0:26:34 > 0:26:38The mod girls dance with each other and no-one bothers to talk
0:26:38 > 0:26:40since you can't hear yourself speak.
0:26:40 > 0:26:43Rockers don't show their faces here. It would only lead to trouble.
0:26:49 > 0:26:51This is the famous Goldhawk club.
0:26:51 > 0:26:55I'm opening the door to the dance hall.
0:26:55 > 0:26:58Along here and on the other side
0:26:58 > 0:27:02was a whole bunch of settees where a lot of necking went on!
0:27:02 > 0:27:07And there was kissing and French kissing and tongues and stuff.
0:27:17 > 0:27:21- # Got a feeling inside - Can't explain
0:27:21 > 0:27:24- # It's a certain kind - Can't explain
0:27:24 > 0:27:27- # I feel hot and cold - Can't explain
0:27:27 > 0:27:31- # Yeah, down in my soul, yeah - Can't explain... #
0:27:31 > 0:27:35We'd just done Ready Steady Go, they had been there in the audience,
0:27:35 > 0:27:38we went to the Goldhawk Club and played I Can't Explain,
0:27:38 > 0:27:41we played it again and again and again.
0:27:41 > 0:27:45# The things you've said, well, maybe they're true... #
0:27:45 > 0:27:48And I thought, "God Almighty! What's going on?"
0:27:48 > 0:27:52"The Who are playing probably my favourite song of all time."
0:27:52 > 0:27:57They've played I Can't Explain three times, what's going on?
0:27:57 > 0:27:59# When I feel blue
0:27:59 > 0:28:02- # But I can't explain - Can't explain
0:28:02 > 0:28:05"Play it again, play it again!" Dah, da-da, dah-da-da!
0:28:05 > 0:28:10You know, fucking glorious night at the Goldhawk Club that their boys
0:28:10 > 0:28:14had gone on Ready Steady Go which was the big mod programme of the day.
0:28:16 > 0:28:22I sort of elected myself as some kind of delegate and I came here,
0:28:22 > 0:28:27I knocked on this door, this very door we're looking at.
0:28:27 > 0:28:31Irish Jack walks forward and says "There's something we want to tell you."
0:28:31 > 0:28:36I said, "Look, this song is exactly what we're trying to say."
0:28:36 > 0:28:37You've said it for us.
0:28:37 > 0:28:40I can't explain because this is what mods were about.
0:28:40 > 0:28:42They couldn't explain.
0:28:42 > 0:28:45None of us could explain, we didn't have the articulation.
0:28:45 > 0:28:48So, I said to him quite patronising, "Jack,
0:28:48 > 0:28:52"you want to be to write more songs for you about the fact you
0:28:52 > 0:28:55"can't explain what it is you want me to explain
0:28:55 > 0:28:57"and I can't explain what it is you want to explain?"
0:28:57 > 0:28:59Jack immediately goes, "That's it!"
0:28:59 > 0:29:03So, in words, Pete Townshend became the song laureate of the mods
0:29:03 > 0:29:07in Shepherd's Bush, Hammersmith, Acton, Ealing.
0:29:34 > 0:29:37# You declared you'd be three inches taller
0:29:37 > 0:29:40# You only became what we made you. #
0:29:40 > 0:29:43There's a fabulous postcard, we're about 18/19,
0:29:43 > 0:29:46we look like perfect little girly mods.
0:29:46 > 0:29:52That's the band that Jimmy looked at and went, "That's me!"
0:29:52 > 0:29:57Then he goes into that band and finds that these four people,
0:29:57 > 0:30:00each one of them is a deeply eccentric and complex and difficult
0:30:00 > 0:30:03and fucked up individual and they're each in their own way.
0:30:03 > 0:30:05# I'm the guy in the sky
0:30:05 > 0:30:07# Flying high, flashing eyes
0:30:07 > 0:30:09# No surprise I told lies
0:30:09 > 0:30:12# I'm the punk in the gutter. #
0:30:12 > 0:30:15All of those youth movements are built on false idols.
0:30:15 > 0:30:19They're all built on the idea of loving something and never meet your idols.
0:30:19 > 0:30:22There's that crushing sense of disappointment.
0:30:22 > 0:30:25They're not the people you think they are.
0:30:34 > 0:30:37This was the only time The Who were in the entire book.
0:30:37 > 0:30:41We shot about 4am in the morning so we wouldn't have any traffic
0:30:41 > 0:30:45and it was the Hammersmith Odeon, that was the idea.
0:30:45 > 0:30:47And in the story it's where Jimmy sees The Who,
0:30:47 > 0:30:50otherwise they don't intersect in the story.
0:30:50 > 0:30:55He's feeling inferior, his hero's scooter is bust
0:30:55 > 0:30:57and these guys have a limo.
0:30:57 > 0:31:01# I have to be careful not to preach
0:31:01 > 0:31:04# I can't pretend that I can teach
0:31:04 > 0:31:07# And yet I've lived your future out
0:31:07 > 0:31:12# By pounding stages like a clown
0:31:12 > 0:31:16# And on the dance floor broken glass
0:31:16 > 0:31:20# And bloody faces slowly pass
0:31:20 > 0:31:24# The numbered seats in empty rows
0:31:24 > 0:31:29# It all belongs to me you know. #
0:31:31 > 0:31:34OK!
0:31:34 > 0:31:39There's this idea of The Who, who had these kind of mod roots,
0:31:39 > 0:31:42and they later became a great big bloated rock band.
0:31:42 > 0:31:46The distance between them being almost '70s rock stars
0:31:46 > 0:31:51and the '60s roots of what they were is played up in this photograph.
0:31:51 > 0:31:57You get this image of Jimmy, the mod, from the 1960s, clearly,
0:31:57 > 0:32:00down on one knee and out here's the band coming out of Hammersmith Odeon
0:32:00 > 0:32:05but the band appear to be like a '70s rock band and the interesting
0:32:05 > 0:32:10thing is it's the distance between him and them, that's the time shift.
0:32:10 > 0:32:12This is when the album is recorded,
0:32:12 > 0:32:15this is the distance between these two things.
0:32:15 > 0:32:17It's important.
0:32:17 > 0:32:19# I'm the guy in the sky
0:32:19 > 0:32:21# Flying high, flashing eyes
0:32:21 > 0:32:23# No surprise I told lies
0:32:23 > 0:32:25# I'm the punk in the gutter. #
0:32:25 > 0:32:30He just happens to pass his ex-heroes, The Who,
0:32:30 > 0:32:36and says to them, "You bunch of... You fucking let me down." That's all it's about.
0:32:36 > 0:32:41This one song, Punk And The Godfather, that was it.
0:32:41 > 0:32:44# I don't mind
0:32:44 > 0:32:48# Other guys dancing with my girl
0:32:48 > 0:32:50# That's fine
0:32:50 > 0:32:53# I know them all pretty well... #
0:32:53 > 0:32:56# Is it me for a moment? #
0:33:02 > 0:33:06Records traditionally have tracks with gaps in between.
0:33:06 > 0:33:09What Quadrophenia has is a soundscape
0:33:09 > 0:33:14and the thing it's closest to is it's a film soundtrack.
0:33:14 > 0:33:19So, between the tracks you get the sound of Jimmy's life, losing his bike,
0:33:19 > 0:33:21losing his dirty job,
0:33:21 > 0:33:24living rough on the streets alone.
0:33:26 > 0:33:31The sound of the train in the station, the whistle.
0:33:31 > 0:33:35The boiling kettle and a fried egg.
0:33:35 > 0:33:39In a sense, it's using sound as music.
0:33:39 > 0:33:43For sea and sand, for example, I literally walked down a beach
0:33:43 > 0:33:46with a stereo mic singing sea and sand.
0:33:46 > 0:33:49# Here by the sea and sand. #
0:33:57 > 0:34:01But Quadrophenia had a sound, it was one sound from start to finish,
0:34:01 > 0:34:03and that sound was the sound of the backing track.
0:34:03 > 0:34:06TRAIN RUSHES PAST
0:34:12 > 0:34:15What had happened was the Who couldn't find a studio that they liked,
0:34:15 > 0:34:17so they said, "Let's buy a place and build our own,"
0:34:17 > 0:34:19because they had some money then,
0:34:19 > 0:34:22so they found this church in Battersea, in Thessaly Road, Battersea.
0:34:22 > 0:34:26Thessaly Road was really a storage facility.
0:34:26 > 0:34:31Pete Townshend came down one day to see where all his guitars were.
0:34:32 > 0:34:35Blimey.
0:34:35 > 0:34:38I'm surprised how spacious it is.
0:34:41 > 0:34:45He looked around, he gave a click of his fingers, and he said,
0:34:45 > 0:34:48"This has got good resonance."
0:34:48 > 0:34:51It had, you know, a bright...
0:34:51 > 0:34:54It's still got quite a bright sound in here.
0:34:54 > 0:34:57But it was brighter than this, it was quite a bright...
0:34:57 > 0:34:59And that was unusual at the time.
0:34:59 > 0:35:03Most studios in London were a little bit deader than this one.
0:35:04 > 0:35:08He said, "This would make a bloody good studio."
0:35:08 > 0:35:10So, I goes, "Right, turn it into a studio."
0:35:10 > 0:35:14There's a window, you can see, here,
0:35:14 > 0:35:17just there, which would have allowed you to see from this room...
0:35:17 > 0:35:21If you are sitting down, you could see into the control room,
0:35:21 > 0:35:25which would have been there, where the doctor's waiting room is.
0:35:25 > 0:35:29The main intention was that the control room should be quadraphonic.
0:35:29 > 0:35:34There were no rooms in the UK, or in America at the time,
0:35:34 > 0:35:37that had four speakers, one in each corner. There just weren't any.
0:35:37 > 0:35:40This is an acoustic ceiling, designed...
0:35:40 > 0:35:43They're always designed like this, with this dish,
0:35:43 > 0:35:46and you can see that that would have been one of the plinths
0:35:46 > 0:35:49on which we hung one of the quadraphonic speakers,
0:35:49 > 0:35:51another one there, another one there.
0:35:51 > 0:35:55You can see that the room is designed in a quadraphonic shape.
0:35:55 > 0:35:59The mixing desk would've been here, tape machines there.
0:36:07 > 0:36:10I had the idea to do something in quadraphonic
0:36:10 > 0:36:13before I was certain about the story of Quadrophenia.
0:36:15 > 0:36:19And the band that were doing the most experimentation with it
0:36:19 > 0:36:22were Pink Floyd, and they'd done a couple of shows where
0:36:22 > 0:36:25they'd introduced quadraphonic sound into their live shows.
0:36:25 > 0:36:28# Money... Dum, dum, dum, dum, tchk... #
0:36:28 > 0:36:31would come out in the back right, this great big chink,
0:36:31 > 0:36:35then it would come out there, and then it goes round and round and round. It was very exciting.
0:36:37 > 0:36:43So, we had a test unit sent over, and Pete hated it.
0:36:43 > 0:36:46The separation wasn't... It was like a big mono.
0:36:46 > 0:36:50And Pete said, "You know, I am not going to make
0:36:50 > 0:36:54"a quadraphonic album that sounds worse than the stereo."
0:36:55 > 0:36:59These days, on a computer, you can do this kind of thing in 15 seconds.
0:36:59 > 0:37:02Back then, it was much harder.
0:37:03 > 0:37:06We actually never mixed anything in quadraphonic.
0:37:06 > 0:37:09Quadrophenia is strictly a stereo album.
0:37:09 > 0:37:13At the same time as trying to do that, everything was up in the air.
0:37:13 > 0:37:16They were building the studio and trying to record this thing
0:37:16 > 0:37:18in the studio, while there were builders in there.
0:37:18 > 0:37:21There's people under the desk, undoing things.
0:37:21 > 0:37:24He says, "Hold on a minute, another take,"
0:37:24 > 0:37:26and then they start... It was utter chaos.
0:37:26 > 0:37:29What was different about our studio to everybody else's,
0:37:29 > 0:37:32that we had the bar IN the fucking studio.
0:37:32 > 0:37:35You know, you'd kind of go, "Na, na, na, nee, na,"
0:37:35 > 0:37:37and then pour yourself a pint of beer,
0:37:37 > 0:37:39or a pint of brandy, whatever it was, right there.
0:37:39 > 0:37:41You didn't have to reach out very far.
0:37:41 > 0:37:46The average Who session, not for Roger, but for John, Keith and I,
0:37:46 > 0:37:49would start, we'd roll up, it would be two o'clock.
0:37:49 > 0:37:52By four o'clock, we would have had enough brandy
0:37:52 > 0:37:57to start fiddling around. We would be telling stories.
0:37:57 > 0:38:00Roger hated all that stuff, he just thought it was time-wasting.
0:38:02 > 0:38:04We were building round the making of Quadrophenia,
0:38:04 > 0:38:07and we didn't know our arse from our elbow.
0:38:07 > 0:38:08We didn't know what we were doing.
0:38:08 > 0:38:13When the desk got put in, Pete said, "Let's hear what it sounds like,"
0:38:13 > 0:38:15and all of us in the control room,
0:38:15 > 0:38:17our ears and noses started to bleed.
0:38:17 > 0:38:20I have a ruptured eardrum to this day, because of it.
0:38:20 > 0:38:22We measured it.
0:38:22 > 0:38:28It was louder than standing by the four engines of Concorde at full throttle.
0:38:29 > 0:38:34It was 140 decibels, and one guitar blast...
0:38:35 > 0:38:37..just projectile bleeding!
0:38:37 > 0:38:39SHE LAUGHS
0:38:41 > 0:38:44As well as the studio falling apart,
0:38:44 > 0:38:50Townshend was in danger of losing his long-term creative ally and producer.
0:38:50 > 0:38:52By the start of Quadrophenia, Townshend was still
0:38:52 > 0:38:57under the illusion that Kit Lambert was going to be around to help him.
0:38:57 > 0:39:00Kit Lambert and Chris Stone, their co-managers,
0:39:00 > 0:39:01got into heroin and stuff.
0:39:01 > 0:39:05So, they were kind of not looking after business,
0:39:05 > 0:39:09or so Roger thought, because Roger found out that all the money
0:39:09 > 0:39:12hadn't been accounted for, and there was some money missing.
0:39:12 > 0:39:14That was a really sad period, actually.
0:39:14 > 0:39:17Kit wanted to be THE producer, as such.
0:39:17 > 0:39:20Kit Lambert, who had supposed to have been co-producing with me,
0:39:20 > 0:39:23had stopped coming.
0:39:23 > 0:39:27I took him out, and in the end I got so angry with Kit
0:39:27 > 0:39:30over his behaviour, that I started to threaten him physically,
0:39:30 > 0:39:33and funnily enough, Roger came out,
0:39:33 > 0:39:37and calmed me down, and got Kit Lambert away,
0:39:37 > 0:39:40and then we never really worked together again.
0:39:45 > 0:39:48And daddy was long gone. Townshend was on his own.
0:39:50 > 0:39:55It was pretty difficult, I didn't realise the extent of their drug use.
0:39:56 > 0:39:58And I didn't realise
0:39:58 > 0:40:03just how much destructive behaviour was going on.
0:40:03 > 0:40:07And I guess that Pete felt incredible pressure.
0:40:18 > 0:40:21The local community were really good to us.
0:40:21 > 0:40:23They loved having the Who there,
0:40:23 > 0:40:26and that was in the days when the power station was working.
0:40:26 > 0:40:30You know, we had kids from the estate used to come in
0:40:30 > 0:40:32and sit down in the front, sometimes.
0:40:34 > 0:40:375.15 was one of the songs that they let us listen to,
0:40:37 > 0:40:38which was exciting.
0:40:38 > 0:40:42Roger would say things like, "Girls, would you buy this song?" We would say yes or no.
0:40:42 > 0:40:45"Do you think it would get to number one?"
0:40:45 > 0:40:47The band now that haven't had a single out for two years.
0:40:47 > 0:40:50They've taken a track off their forthcoming LP,
0:40:50 > 0:40:52Quadrophenia, I think it's called,
0:40:52 > 0:40:54and it's 5.15, and it's The Who!
0:41:01 > 0:41:05The thing about 5.15 was that it was a sound check riff.
0:41:05 > 0:41:07We were just getting the sound together,
0:41:07 > 0:41:10and then we moved on to another song, but we were just riffing away.
0:41:10 > 0:41:14# Why should I care?
0:41:14 > 0:41:17# Why should I care...? #
0:41:23 > 0:41:26This song is built around this riff coming up.
0:41:26 > 0:41:29GUITAR MUSIC PLAYS
0:41:33 > 0:41:36And then the horns complement that.
0:41:42 > 0:41:45If I go back and play you what John plays,
0:41:45 > 0:41:48you can hear that he plays an emulation of the guitar.
0:41:48 > 0:41:51HORNS ECHO GUITAR CHORDS
0:41:52 > 0:41:54HE SINGS ALONG
0:41:56 > 0:41:58He's playing my guitar part for me...
0:42:00 > 0:42:03..With the droning, which I always had in the background.
0:42:03 > 0:42:05# Girls of fifteen
0:42:05 > 0:42:07# Sexually knowing
0:42:07 > 0:42:09# The ushers are sniffing
0:42:09 > 0:42:11# Eau de Cologne-ing... #
0:42:11 > 0:42:14And the ushers are sniffing, eau de Cologne-ing,
0:42:14 > 0:42:18was a reference to the young girls at the Beatles concert in Blackpool.
0:42:18 > 0:42:21The whole of Blackpool... this Blackpool theatre
0:42:21 > 0:42:25smelt of urine. I mean, it was just beyond belief.
0:42:25 > 0:42:28Every single girl in the audience must have pissed themselves
0:42:28 > 0:42:31in excitement, and they were sprinkling eau de Cologne
0:42:31 > 0:42:34on all the seats, because it was apparently what you do,
0:42:34 > 0:42:36was you sprinkle eau de Cologne.
0:42:36 > 0:42:37# Girls of fifteen
0:42:37 > 0:42:39# Sexually knowing
0:42:39 > 0:42:41# The ushers are sniffing
0:42:41 > 0:42:43# Eau de Cologne-ing
0:42:43 > 0:42:45# The seats are seductive
0:42:45 > 0:42:47# Celibate sitting
0:42:47 > 0:42:49# Pretty girls digging
0:42:49 > 0:42:51# Prettier women
0:42:51 > 0:42:53# Magically bored
0:42:53 > 0:42:55# On a quiet street corner
0:42:55 > 0:42:57# Free frustration
0:42:57 > 0:42:59# In our minds and our toes
0:42:59 > 0:43:01# Quiet storm water
0:43:01 > 0:43:02# M-M-My generation
0:43:02 > 0:43:04# Uppers and downers
0:43:04 > 0:43:08# Either way, blood flows... #
0:43:08 > 0:43:10Jimmy's fallen out of love with his idols,
0:43:10 > 0:43:12he's been thrown out of his home.
0:43:12 > 0:43:14The scooter's been crashed.
0:43:14 > 0:43:17Right, now what you do? This is the going off into the wilderness,
0:43:17 > 0:43:20cos actually what he's doing, he's going off in search of Xanadu.
0:43:22 > 0:43:24# ..Inside, outside
0:43:24 > 0:43:26# Leave me alone... #
0:43:26 > 0:43:29'He's going back to find the thing that makes sense to him,
0:43:29 > 0:43:32'you know, being on the beach, being down in Brighton,
0:43:32 > 0:43:34'being part of the whole mod culture thing.'
0:43:34 > 0:43:38# ..Out of my brain on the 5.15... #
0:43:38 > 0:43:41'And he's going off in search of something
0:43:41 > 0:43:43'that he already knows is gone.
0:43:43 > 0:43:46'That, I think, is why that song is so powerful,
0:43:46 > 0:43:50'because it's the sense that something has already been lost.'
0:44:32 > 0:44:33He goes back to Brighton,
0:44:33 > 0:44:36but there's that lovely idea that Townshend captures,
0:44:36 > 0:44:40a very English idea of going to a seaside town after the fair's left. You're off season.
0:44:42 > 0:44:44But, actually, there's a strange beauty in it,
0:44:44 > 0:44:47and the beauty is that he feels calm by the sea and the sand,
0:44:47 > 0:44:50because everything else has passed away.
0:44:50 > 0:44:53# Here by the sea and sand
0:44:54 > 0:44:56# Nothing ever goes as planned
0:44:56 > 0:44:59# I just couldn't face going home
0:44:59 > 0:45:03# It was just a drag on my own... #
0:45:03 > 0:45:06Jimmy is drawn to - and this is the reason
0:45:06 > 0:45:09why he is not the same as everyone else -
0:45:09 > 0:45:11is that he goes and talks to the sea.
0:45:11 > 0:45:15The image of him looking out at something much bigger than all of this.
0:45:15 > 0:45:18Brighton, the mod culture thing, is happening behind here,
0:45:18 > 0:45:20on the promenade, on the pier, but actually what he's doing
0:45:20 > 0:45:22is looking out at the vast expanse of the sea,
0:45:22 > 0:45:25and the sea is speaking to him.
0:45:28 > 0:45:32# Let me flow into the ocean
0:45:32 > 0:45:34# Let me get back to the sea
0:45:35 > 0:45:39# Let me be stormy and let me be calm
0:45:41 > 0:45:45# Let the tide in and set me free... #
0:45:48 > 0:45:52That was a song written about the spiritual journey.
0:45:52 > 0:45:54# ..I want to drown... #
0:45:57 > 0:46:00It's about, "Let me get back to the sea.
0:46:00 > 0:46:04"Let me get back to the ocean," meaning, "Let me get back to God,"
0:46:04 > 0:46:08which is brought on by walking on the beach, by the sea.
0:46:08 > 0:46:10There's nobody there but him, he's on his own.
0:46:10 > 0:46:14# ..Let me flow into the ocean
0:46:14 > 0:46:17# Let me get back to the sea
0:46:18 > 0:46:22# Let me be stormy and let me be calm
0:46:22 > 0:46:27# Let the tide in, rush over me
0:46:29 > 0:46:33# You know, I want to drown, drown
0:46:33 > 0:46:36# Drown, drown, drown
0:46:37 > 0:46:41# I want to drown, drown
0:46:41 > 0:46:44# Drown, drown, drown
0:46:44 > 0:46:48# I want to drown, drown
0:46:48 > 0:46:51# Drown, drown, drown... #
0:46:55 > 0:46:58It's interesting that out of that calm and peace
0:46:58 > 0:47:01comes the story's whole turning point, where Jimmy meets up
0:47:01 > 0:47:03with this key figure from his past,
0:47:03 > 0:47:05the leader of the mods, the Ace Face.
0:47:07 > 0:47:11The idea is that Jimmy goes back and he finds this character,
0:47:11 > 0:47:14the Ace Face, who he really, really idolised,
0:47:14 > 0:47:17but in fact, the guy who was smashing in the hotel doors with him
0:47:17 > 0:47:20just recently is now working as a bellboy.
0:47:36 > 0:47:39# The beach is a place where a man can feel
0:47:40 > 0:47:44# He's the only soul in the world that's real... #
0:47:44 > 0:47:51Jimmy sees his hero in the harsh midday sun being nobody.
0:47:51 > 0:47:54# ..Well, I see a face coming through the haze
0:47:56 > 0:47:59# I remember him from those crazy days... #
0:47:59 > 0:48:03And if this person, who was so exalted, who was so perfect,
0:48:03 > 0:48:06that he idolised, is nothing,
0:48:06 > 0:48:09then Jimmy has nothing, he is nothing.
0:48:09 > 0:48:14# ..Riding up in front of a hundred faces
0:48:14 > 0:48:17# I don't suppose you would remember me
0:48:17 > 0:48:21# But I used to follow you back in '63... #
0:48:22 > 0:48:26Jimmy's rank disillusion at the idea that the person
0:48:26 > 0:48:30he idolised is a fucking bellboy.
0:48:36 > 0:48:38# ..I've got a good job
0:48:38 > 0:48:40# And I'm newly born
0:48:40 > 0:48:44# You should see me dressed up in my uniform
0:48:44 > 0:48:47# I work in a hotel All gilt and flash
0:48:47 > 0:48:51# Remember the gaff where the doors we smashed?
0:48:51 > 0:48:53# Bell boy
0:48:53 > 0:48:55# I got to get running now... #
0:48:55 > 0:49:00It was quite difficult working with Keith as a singer, because he acted, rather than sang.
0:49:00 > 0:49:02# ..Carry the bloody baggage out
0:49:02 > 0:49:04# Bell boy
0:49:04 > 0:49:07# Always running at someone's heel... #
0:49:07 > 0:49:08I loved the way he did that.
0:49:11 > 0:49:14It's the kind of thing you could imagine a bellboy doing,
0:49:14 > 0:49:15working at a posh hotel.
0:49:15 > 0:49:18"Cor blimey," like this, with his mates,
0:49:18 > 0:49:21and then when after a tip, it's, "Hello, sir."
0:49:23 > 0:49:27I was uncomfortable with turning the bellboy into a comedy figure,
0:49:27 > 0:49:31because I thought, "This is the only time that the Ace Face sings."
0:49:31 > 0:49:35# ..Remembering when stars were in reach
0:49:37 > 0:49:39# I wander in early to work... #
0:49:39 > 0:49:42A couple of times, I said to him, "It's not a comedy."
0:49:42 > 0:49:45# ..Spend my day licking boots for my perks... #
0:49:47 > 0:49:49Whoosh! That would have gone...
0:49:50 > 0:49:53# ..The beach is a place where a man can feel
0:49:53 > 0:49:57# He's the only soul in the world that's real... #
0:49:58 > 0:50:01INTERVIEWER: What was Keith like in 1973?
0:50:01 > 0:50:06Just a little bit more drunk than he was in 1972!
0:50:10 > 0:50:12The extraordinary thing about Keith
0:50:12 > 0:50:14was that whatever you felt about him as a drummer,
0:50:14 > 0:50:18and I didn't think very much of him as a drummer...
0:50:18 > 0:50:20HE LAUGHS
0:50:20 > 0:50:23It's kind of sacrilege, isn't it? But I didn't.
0:50:23 > 0:50:25He listened.
0:50:25 > 0:50:28People would call him a sloppy drummer, and he never was a sloppy drummer.
0:50:28 > 0:50:33He had an extraordinary metronome. He made the music dramatic.
0:50:37 > 0:50:41What he wouldn't do is play, "Boom, boom, bup, ba, boom, ba."
0:50:41 > 0:50:43He'd be, "Blrr-plplrprl! Bing, bing, bing!
0:50:43 > 0:50:46"Bing, bing, bing! Tiddle, bing, bing!
0:50:46 > 0:50:48"Biddle, bing, bing," you know?
0:50:48 > 0:50:51And I'd be going, "Boom, boom, bang, bang, boom,"
0:50:51 > 0:50:53because somebody had to!
0:51:01 > 0:51:03# ..People often change
0:51:03 > 0:51:04# But when I look in your eyes
0:51:04 > 0:51:08# You could learn a lot from a life like mine
0:51:08 > 0:51:10# The secret to me
0:51:10 > 0:51:12# It ain't flown like a flag
0:51:12 > 0:51:15# I wear it behind this bloody little badge
0:51:15 > 0:51:16# What says...
0:51:16 > 0:51:18# Bell boy... #
0:51:18 > 0:51:21He was at the top of his game in '73, '73-'74,
0:51:21 > 0:51:24absolute top of his game.
0:51:24 > 0:51:27He was magnificent, and funny as hell.
0:51:29 > 0:51:31You know, I tell the funny stories about him showing up
0:51:31 > 0:51:33and saying, "Come outside and look at my new car!"
0:51:33 > 0:51:36We'd go out and there'd be a Rolls-Royce.
0:51:36 > 0:51:38We'd say, "That's fabulous, Keith, great."
0:51:38 > 0:51:41Then two hours later, we'd have somebody from Jack Barclay's -
0:51:41 > 0:51:44"Where do I send the invoice for Keith Moon's new car?
0:51:44 > 0:51:47"He said we've got to send it to the Who group. Is it the Who group?"
0:51:47 > 0:51:49I said, "No, you send it to Keith Moon."
0:51:49 > 0:51:52"No, no, no. We have to send it to the Who group."
0:51:52 > 0:51:54"No, we're not fucking paying for it, OK?
0:51:54 > 0:51:56"This is his car, let him pay for it."
0:51:56 > 0:51:57"No, no, you don't understand..."
0:51:57 > 0:52:00"No, you don't fucking understand. We're not paying for his car."
0:52:00 > 0:52:02Ah! That's better!
0:52:05 > 0:52:08Phil, what-what-what-what-what...
0:52:09 > 0:52:12'I think today you'd say he had ADHD
0:52:12 > 0:52:14'and he needed some Ritalin, or something.'
0:52:16 > 0:52:19LAUGHTER
0:52:19 > 0:52:24But taking cocaine and Mandrax and brandy was exacerbating it.
0:52:25 > 0:52:27It was always a mixture with Keith.
0:52:27 > 0:52:32You know, fun one minute and a bit frightening the next.
0:52:32 > 0:52:35Never felt afraid OF him, but frightened for him
0:52:35 > 0:52:37and people around him.
0:52:37 > 0:52:43And he wasn't at his best as a human being at that time.
0:52:43 > 0:52:45I don't think any of us were, really.
0:52:45 > 0:52:47I shouldn't really single him out.
0:53:00 > 0:53:02There's a credit on the inside of the sleeve which says,
0:53:02 > 0:53:06"Quadrophenia in its entirety by Pete Townshend."
0:53:08 > 0:53:13Townshend writes, records the entire album himself in demo form
0:53:13 > 0:53:16and then, when he brought it to the Who, they did it again.
0:53:18 > 0:53:22Quadrophenia was definitely like a Pete Townshend solo project.
0:53:22 > 0:53:25It was all Townshend from start to finish, his own...
0:53:25 > 0:53:29They probably knew nothing about it till he came and said, "Here it is."
0:53:29 > 0:53:33So, you could see how Roger and maybe the others would feel
0:53:33 > 0:53:36a little bit resentful, because it could be construed
0:53:36 > 0:53:39as being used like session musicians, you know.
0:53:39 > 0:53:44I hear it said that Pete produced the album, which in a sense he did.
0:53:44 > 0:53:46But the one thing he never, ever produced was the vocals.
0:53:46 > 0:53:50He's never there when I record my vocals, ever. I won't have that.
0:53:51 > 0:53:55Roger was always tough, assertive, masculine.
0:53:55 > 0:54:00So there was always that sense that you had to be careful what you said around him, you really did.
0:54:00 > 0:54:03Pete's a very complicated character,
0:54:03 > 0:54:07incredibly complicated, as you can see by the songs he writes.
0:54:08 > 0:54:10They had an addiction to friction.
0:54:10 > 0:54:13It's almost like they're two jigsaw pieces,
0:54:13 > 0:54:15and when you bring them together they fit together.
0:54:17 > 0:54:19It's an absolute love-hate...
0:54:19 > 0:54:23Not hate, but it's a love-anger relationship.
0:54:28 > 0:54:30And I think if you take away the love-anger,
0:54:30 > 0:54:33you take away the creative source.
0:54:33 > 0:54:36You take away the driving dynamic.
0:55:08 > 0:55:10So he steals a boat, in the story,
0:55:10 > 0:55:13and goes out to sea and almost drowns.
0:55:13 > 0:55:16It's clearly written as, is this going to be what happens
0:55:16 > 0:55:19to this boy whose life's kind of fallen apart?
0:55:19 > 0:55:23Who's twice schizophrenic, pilled out, lost, he's got nothing,
0:55:23 > 0:55:26doesn't have a girl, doesn't have a bike,
0:55:26 > 0:55:27doesn't have anything.
0:55:27 > 0:55:30And that's kind of what we're shooting.
0:55:30 > 0:55:33And then he's now really adrift.
0:55:33 > 0:55:35And then this, which I just kind of love.
0:55:35 > 0:55:37Love Reign O'er Me.
0:55:48 > 0:55:51# Only love... #
0:55:51 > 0:55:53What's interesting about...
0:55:55 > 0:55:58..the opening here is that what you hear from Roger
0:55:58 > 0:56:01is incredible tenderness.
0:56:03 > 0:56:06You don't hear the heartfelt bawling,
0:56:06 > 0:56:09screaming bear that you hear later on.
0:56:10 > 0:56:12# Only love
0:56:12 > 0:56:15# Can make it rain
0:56:15 > 0:56:18# The way the beach
0:56:18 > 0:56:20# Is kissed by the sea
0:56:22 > 0:56:25# Only love
0:56:25 > 0:56:27# Can make it rain
0:56:27 > 0:56:31# Like the set of lovers
0:56:31 > 0:56:33# Laying in the fields... #
0:56:33 > 0:56:36Then you get to this impassioned scream.
0:56:36 > 0:56:39# ..Love!
0:56:40 > 0:56:43# Reign o'er me... #
0:56:44 > 0:56:48If nothing else, Love Reign O'er Me shows that Jimmy's a man.
0:56:48 > 0:56:50# ..Love... #
0:56:50 > 0:56:53A boy wants to be noticed at a club,
0:56:53 > 0:56:55wants a jacket.
0:56:55 > 0:56:58Here, at the end, Jimmy is finally becoming a man
0:56:58 > 0:57:00and asking for things that men want.
0:57:00 > 0:57:02# ..Reign o'er me
0:57:06 > 0:57:09# Only love
0:57:09 > 0:57:10# Can bring the rain... #
0:57:10 > 0:57:12Jimmy is the hero, at last.
0:57:12 > 0:57:14It's not about The Who, it's not about Roger,
0:57:14 > 0:57:17it's not about Pete, not about John, not about the mods,
0:57:17 > 0:57:20it's not about Ace Face, not about drugs, or any of that stuff.
0:57:20 > 0:57:24It's just about Jimmy and what it is that he's finally got to,
0:57:24 > 0:57:26is that he realises that he's been looking outside himself,
0:57:26 > 0:57:30and what he has to do now is to try to ask the question internally,
0:57:30 > 0:57:32and that what this song does.
0:57:32 > 0:57:34# ..Love!
0:57:37 > 0:57:40# Reign o'er me
0:57:40 > 0:57:44# Reign o'er me, reign o'er me
0:57:44 > 0:57:47# Love!
0:57:49 > 0:57:52# Reign o'er me
0:57:52 > 0:57:59# Reign o'er me, reign o'er me... #
0:58:09 > 0:58:14The poignancy for me was that, as a composer, working with The Who
0:58:14 > 0:58:18was so great because they used to give me this unbelievable licence.
0:58:18 > 0:58:21They didn't share my spiritual beliefs - that's fine -
0:58:21 > 0:58:23they didn't share my spiritual beliefs but they allowed me
0:58:23 > 0:58:26to have them, and to express them through my work.
0:58:26 > 0:58:28And when it came to a song like Love Reign O'er Me,
0:58:28 > 0:58:31which is a spiritual prayer to nothing and everything,
0:58:31 > 0:58:34Roger gave it his bollocks.
0:58:39 > 0:58:42This is Roger coming in in a second.
0:58:44 > 0:58:47'I did it as a scream from the street.'
0:58:48 > 0:58:52I wanted it to be like the ultimate anger, the ultimate passion,
0:58:52 > 0:58:53the ultimate orgasm, you know.
0:58:55 > 0:58:59'I wanted it to be like every emotion we've ever had.'
0:58:59 > 0:59:01# ..Lo-o-o-ove!
0:59:03 > 0:59:05# Reign o'er me
0:59:05 > 0:59:09# Reign over me, over me, over me
0:59:09 > 0:59:12# Whoa! Love! #
0:59:12 > 0:59:16Because then it's unconditional to the track.
0:59:16 > 0:59:19And love should be always unconditional.
0:59:19 > 0:59:23# O-o-o'er me... #
0:59:27 > 0:59:29You get this sense of Roger
0:59:29 > 0:59:32producing this deep scream from his heart,
0:59:32 > 0:59:33from Jimmy's heart.
0:59:35 > 0:59:38# ..Love... #
0:59:40 > 0:59:42HE CHUCKLES
0:59:49 > 0:59:54The end of Quadrophenia is left ambiguous.
0:59:54 > 0:59:57The illusion of drowning and water
0:59:57 > 1:00:02is throughout the album, and that can be death or rebirth.
1:00:03 > 1:00:06The question of what happens to Jimmy next,
1:00:06 > 1:00:11I really like the fact that it's in the hands of the listener.
1:00:27 > 1:00:31We're going to go on the road again. We're doing a tour of Europe.
1:00:31 > 1:00:33Then we do America
1:00:33 > 1:00:36and we come back to Europe
1:00:36 > 1:00:38and then we do America again.
1:00:38 > 1:00:39We've got two American tours lined up.
1:00:39 > 1:00:42The day that we finished the stereo mix,
1:00:42 > 1:00:44our managers booked a fucking tour.
1:00:46 > 1:00:52So I had two weeks to rehearse, to develop the stage's quadraphonic sound,
1:00:52 > 1:00:54which was impossible.
1:00:54 > 1:00:57We didn't have the time. So they overworked us.
1:00:58 > 1:01:01I didn't take into account properly at that time
1:01:01 > 1:01:03the load that Pete had,
1:01:03 > 1:01:05what with the mixing and everything else.
1:01:05 > 1:01:07I was trying to help them survive.
1:01:09 > 1:01:11Speaking for myself, I was dead meat.
1:01:11 > 1:01:15Actually completely exhausted. I'm sure Roger was exhausted too.
1:01:15 > 1:01:20We had employed a bunch of people that were our friends
1:01:20 > 1:01:22to film the rehearsal
1:01:22 > 1:01:27and I think we got through to Doctor Jimmy
1:01:27 > 1:01:31and they'd been sitting on their boxes with cameras
1:01:31 > 1:01:34and I just said to them, "You can sit on your fucking arses all afternoon
1:01:34 > 1:01:36"cos I'm not singing this again.
1:01:36 > 1:01:39"I thought you were supposed to be filming this?"
1:01:39 > 1:01:42I don't know why, but for some reason
1:01:42 > 1:01:45this other side of Pete came over and started poking me.
1:01:45 > 1:01:48"They do what I tell them to do!"
1:01:48 > 1:01:50And doing this to me.
1:01:50 > 1:01:53All the roadies jump on me and start holding my arms.
1:01:53 > 1:01:55I started to scream at him
1:01:55 > 1:02:00and I can't remember the details but we ended up in a physical grappling.
1:02:00 > 1:02:03He pulled his guitar off and, as he brought it down,
1:02:03 > 1:02:05he tried to hit me on the head with it.
1:02:05 > 1:02:08And it glanced off my shoulder, like that.
1:02:08 > 1:02:11Then he threw a punch and it went one way and I moved that way.
1:02:11 > 1:02:14Then he threw the other punch, and as he was coming forward
1:02:14 > 1:02:18with his right hand this way, I upper-cutted him.
1:02:18 > 1:02:21And he hit me and I passed out.
1:02:21 > 1:02:24AUDIENCE CHEERS
1:02:36 > 1:02:39- ANNOUNCER:- Here they are...The Who!
1:02:39 > 1:02:42At the shows, you could see they'd introduced our new work
1:02:42 > 1:02:46and the audience were going, "Yeah", and it would start and they'd go...
1:02:46 > 1:02:50We'd like to carry on our present act
1:02:50 > 1:02:52with our new album,
1:02:52 > 1:02:55or parts of it.
1:02:55 > 1:02:59I don't know what they expected, but the audience, it was new to them.
1:02:59 > 1:03:04'Then what started to happen is that Roger started to tell the story.'
1:03:04 > 1:03:09This one's about his feelings when he gets down to the seaside.
1:03:09 > 1:03:11Every time we played a song, he was stopping and saying,
1:03:11 > 1:03:13"Now Jimmy has fucked off with his dad.
1:03:13 > 1:03:14"He's going to go and get a job."
1:03:18 > 1:03:21The next song is about a guy
1:03:21 > 1:03:25who sees an old gang leader who's working as a bellhop.
1:03:25 > 1:03:28When somebody's talking on stage, you can't hear it.
1:03:28 > 1:03:30Half the time you're, "What did he say?"
1:03:30 > 1:03:34So you had that confusion going on at these Quadrophenia shows.
1:03:38 > 1:03:41So I probably gave Pete a load of problems he didn't need.
1:03:44 > 1:03:47After that, things fell apart.
1:03:51 > 1:03:55It was the first night of the Quadrophenia US shows
1:03:55 > 1:04:00and Moon takes elephant tranquiliser and he starts off strong enough,
1:04:00 > 1:04:02and a few songs in, he collapses.
1:04:05 > 1:04:08He's out cold.
1:04:08 > 1:04:13I think he's gone and eaten something he shouldn't have eaten.
1:04:13 > 1:04:15It's your foreign food.
1:04:17 > 1:04:22I'm afraid the horrible truth is,
1:04:22 > 1:04:25that without him, we're not a group.
1:04:26 > 1:04:29Yeah, he did that kind of thing all the time.
1:04:29 > 1:04:33It's just that this time, the drugs were too powerful for him.
1:04:41 > 1:04:44He's still a bit sort of dodgy.
1:04:46 > 1:04:48But he'll be all right.
1:04:59 > 1:05:01He is dragged off stage and they take a break
1:05:01 > 1:05:04and they come back and he makes it through
1:05:04 > 1:05:08and then by the end of Won't Get Fooled Again, he's dead.
1:05:08 > 1:05:10He is lifeless, he's Jell-O.
1:05:22 > 1:05:24Can anybody play the drums?
1:05:26 > 1:05:30And then they had this fan, Scott Halpin, come play drums with them.
1:05:30 > 1:05:32Scott!
1:05:32 > 1:05:35And that's how they kicked off what already was a difficult tour.
1:05:39 > 1:05:44We managed to kind of soldier on. We could put a brave face on it.
1:05:44 > 1:05:46I could tell funny stories about it
1:05:46 > 1:05:50and we could all have a good laugh, but it was tragic.
1:05:50 > 1:05:54It was really tragic, cos Keith was being a fool.
1:06:04 > 1:06:06We got good reviews and the album sold well,
1:06:06 > 1:06:09but when we came back to Europe the following year,
1:06:09 > 1:06:10we weren't even playing it.
1:06:10 > 1:06:13Went back to playing Tommy.
1:06:16 > 1:06:20And what's interesting about this album is it kind of worked.
1:06:20 > 1:06:24We never really ever made a truly great album again.
1:06:36 > 1:06:39You pulled this letter out, it's a painful letter,
1:06:39 > 1:06:43but this is the man I was at a point.
1:06:43 > 1:06:47Ted Oldman was our lawyer at the time
1:06:47 > 1:06:53and in this last week of recording here I think I just thought,
1:06:53 > 1:06:55"I've had it with this.
1:06:55 > 1:06:57"This is not going to happen. We're not going to get an album.
1:07:00 > 1:07:01"We're screwed in some way."
1:07:01 > 1:07:04I probably had a bad day, but it says,
1:07:04 > 1:07:07"Dear Ted, I'm writing to you in strictest confidence to ask advice
1:07:07 > 1:07:12"and to seek guidance on a matter I feel only you can help me with.
1:07:12 > 1:07:15"I've spoken to my wife and very intimate friends about this,
1:07:15 > 1:07:18"but I found the making of this current record a great strain.
1:07:18 > 1:07:21"The studio building problems, the writing problems
1:07:21 > 1:07:24"and, of course, Kit and Keith have been aggravations
1:07:24 > 1:07:25"to an already difficult time.
1:07:25 > 1:07:28"I've been building up to this for many years now
1:07:28 > 1:07:30"and I feel that, as of now,
1:07:30 > 1:07:33"the record we are making and the current tours we are undertaking
1:07:33 > 1:07:37"will be the last I want to be involved with as The Who as a group.
1:07:37 > 1:07:40"I'm losing any impetus either to write for The Who as a vehicle
1:07:40 > 1:07:42"or play with its members as a musician."
1:07:42 > 1:07:44You know we were done. We were definitely done.
1:07:44 > 1:07:48And this letter is indicative of the fact that
1:07:48 > 1:07:52I would have gone home in that week and taken my wife aside
1:07:52 > 1:07:55and said, "You know, we haven't had a holiday for fucking two years.
1:07:55 > 1:07:57"I've hardly seen you.
1:07:57 > 1:08:00"We probably haven't made love for six weeks, six months,
1:08:00 > 1:08:02"God knows what.
1:08:02 > 1:08:05"I probably missed you at Christmas. I probably missed our anniversary.
1:08:05 > 1:08:09"I'm sorry. It was all a fucking complete waste of time."
1:08:09 > 1:08:11That's probably what I would have said to her.
1:08:11 > 1:08:12And she probably would have said to me,
1:08:12 > 1:08:15"Well, if that's how you feel you should stop, sweetheart."
1:08:15 > 1:08:18And I write this letter and I didn't send it.
1:08:36 > 1:08:39MUSIC: "Drowned" by The Who
1:08:43 > 1:08:47# There are men high up there fishing
1:08:47 > 1:08:50# Haven't seen quite enough of the world
1:08:50 > 1:08:54# I ain't seen a sign of my hero
1:08:54 > 1:08:59# And I'm still diving down for pearls
1:08:59 > 1:09:02# Let me flow into the ocean
1:09:02 > 1:09:06# Let me get back to the sea
1:09:06 > 1:09:08# Let me be stormy and let me be calm
1:09:08 > 1:09:13# Let the tide in and set me free. #