Happy 80th birthday, Roger Harry Daltrey!

In celebration of the one and only Roger Harry Daltrey’s milestone 80th birthday, I’m devoting my March posts to his often criminally underrated solo work. But first, let’s get started with lauding our birthday boy!

Roger Harry Daltrey was born 1 March 1944 in Hammersmith Hospital of East Acton, London. His mother Irene, a polio survivor, was told she’d never have any babies, so Roger’s creation was a true medical miracle. Irene and her husband Harry later had two daughters, Gillian and Carol. Low odds of conception don’t mean no odds!

Sadly, Roger’s baby sister Carol died of breast cancer at age 32. His other sister Gillian had to go away to a convalescent home in childhood when she was diagnosed with a heart murmur.

When he was three months old, Roger and his mum were evacuated to a farm in Scotland. Many people falsely believe the Blitz ended in 1941, but Germany was still bombing England. Roger was born in the third and most brutal month of Operation Steinbock, which lasted five months and was known as the Little Blitz. His dad was away at war, so they were particularly vulnerable. Roger’s paternal uncle died in a Japanese POW camp in Burma.

Roger went to Victoria Primary School and Acton County Grammar School. At the latter school, which was for academically promising students, he met Pete Townshend and John Entwistle. It wasn’t easy to grow up in a country recovering from a major war, esp. in a working-class family, but Roger didn’t feel consciously deprived. He just lived what he knew.

In 1957, Roger started getting into music, like many other young people coming of age in postwar Britain. He made his own guitar and joined The Detours as a lead singer. Two years later, his dad bought him a more professional guitar which enabled him to become the band’s lead guitarist.

That same year of 1959, on his fifteenth birthday, Roger was expelled from school for smoking, truancy, being disruptive, and being the unofficial school tailor. He was also falsely accused of shooting an air gun. Roger took it to school, but a friend fired it, not him. The pellet ricocheted off a wall and hit another boy in the eye, blinding him. British schools of the era being what they were, Roger was beaten. In his memoir, he said, “That teacher should have been reported for sexual abuse.”

In honour of the headmaster who told him he’d never amount to anything, he entitled his 2019 memoir Thanks a Lot, Mr. Kibblewhite. Roger hadn’t particularly liked school, since he had to move two miles away from all his old friends instead of starting with a crowd of people he already knew. He was also bullied by older boys on account of a jaw injury that made his face look strange. They also treated first-year boys like their servants, and found an easy target in Roger.

Roger didn’t feel like he learnt anything serious, and failed to find any teachers he connected with. He frequently played hooky, since he felt so profoundly unchallenged. During his second year, he finally stood up for himself against the bullies by hitting one with a chair, and they left him alone.

Over the years, Roger has been very candid about having problems with anger management when he was younger. His temper caused serious trouble with The Who later on, to the point the other guys wanted to kick him out. Since the band meant so much to him, he made a big effort to control his evil inclination as much as possible.

Roger began working as an electrician’s mate, but asked the employment agency for a new job six weeks later. He was sent to work as a tea boy in a computer cabinet factory, which turned out to be in a pathetic shed with old coke boilers. He slowly advanced through the ranks, but all along his heart belonged to rock, and eventually he quit to become a full-time musician.

In 1964, Roger married his girlfriend Jackie after getting her in trouble, and their son Simon was born later that year. Four years later, they divorced. He began dating Heather Taylor in 1968, and they married in 1971. Roger was very honest when he proposed, and said he wouldn’t live like a monk while on tour. That arrangement obviously worked for them, since they’re still happily married.

Roger has eight known children. His kids by Heather are daughters Rosie and Willow and son Jamie. Sadly, given the treatment of unmarried mothers in that era, his three daughters from one-night stands were put up for adoption. His son Mathias is from an affair with Swedish model Elisabeth Aronsson. In his infamous 1979 High Society interview, he described himself as a walking penis back in the day! (If you read that interview, you’ll never see baby oil and whipped cream the same way again!)

To date, he has fifteen grandkids.

In addition to his amazing work as The Who’s lead singer, Roger also had a solo career from 1973–1992, and has acted in dozens of films and TV shows. Roger donates a lot of his money to charity, esp. the Teenage Cancer Trust.

Roger kept his age amazingly well, looking decades younger until his sixties. Some of the ladies on my estrogen Who lists joked he slowed down the aging process by all that high-speed microphone twirling around himself!

We’re so lucky Roger is still with us and that he’s given us so many decades of wonderful music. Roger, may you have a very happy birthday and live as long as Moses!

Quadrophenia at 50, Part IV (What it means to me)

Quad is one of those albums that is so, so, SO very special to me and has continuously spoken to me so very deeply personally on my journey through life. Every time is like the first time all over again, a full 23 years since it first came into my life. And yet conversely, it also feels like it’s always been part of my life, even before it was.

I’m so old, and have loved Quad for so long, it’s now been in my life longer than it wasn’t. In the blink of an eye, I’m no longer twenty years old and a university junior with my whole life ahead of me. From the very first time I listened to it, I got Quad, after trying and failing to make sense of the title, lyrics, and Jimmy’s story in junior high. All I had to do was actually listen to it and stop overanalysing everything as though it needed deep or hidden meanings.

As much as I could’ve used Quad while I was going through some of the darkest nights of my soul as a teenager, it just wasn’t fated to come into my life until I was pushing twenty-one. I could only have understood and appreciated it properly at that age, and we can only ever know the exact reality we’re living. Anything else just isn’t right, since our lives weren’t mean to come together in that way.

So much of Quad totally flew over my head when I first started seriously reading the lyrics and Jimmy’s story at thirteen. I was that annoying, pretentious kid who was convinced absolutely everything needed a thorough analysis to make any sense or be worth much. (You don’t want to know what kind of goofy interpretations I had of classic pop and rock songs at that age, and the bizarre questions I had based on certain words and phrases!)

Quad just keeps on getting better and better with age, like a piano or fine wine. It plumbs down to the very depths of my heart, soul, and mind, then, now, always, forever. Though I’m now far older than Jimmy, I still deeply relate to him and his struggles. The exact general issues may no longer be the same, and Jimmy’s particular issues related to his time and place may never have applied to me, but the overall story is what resonates. It’s like how Shakespeare’s plays have been brilliantly adapted into radically different cultures and eras without losing the core impact and story.

Unless you have a ridiculously, unrealistically perfect life, you’ve struggled with fitting into a social set, tried to reconcile disparate parts of your personality (not to be confused with the very serious mental illness dissociative identity disorder!), been pulled in all sorts of wildly discordant directions, felt at odds with your family, tried and failed to find a romantic relationship, had trouble finding meaningful or well-paying work, played at being a different kind of person just to court social acceptance or successfully network your way up the ladder, desperately searched for peace within yourself.

None of those things are exclusive to being a teenager, though they certainly feel a lot more intense and world-ending when we’re younger.

Pete didn’t intend Jimmy’s story as a super-esoteric allergy where every tiny detail has deep hidden meaning, nor are the lyrics of “Doctor Jimmy” meant to be taken as a literal reading of Jimmy’s true nature. Merely reading lyrics is a poor substitute to listening to them actually being sung, accompanied by instrumentation, and set against the context of a full album.

The lyrics in question that bugged me so much since I first read it at thirteen, and required me to be lying down and very nervous when I first heard them: “You say she’s a virgin?/ Well, I’m gonna be the first in./Her fellow’s gonna kill me?/Oh, fucking will he.”

By this point in the story, Jimmy has reached the end of his rope and isn’t thinking clearly about anything. He doesn’t actually want to rape a virgin! The chorus line of “Doctor Jimmy and Mr. Jim” also evokes the split nature of Dr. Jekyll and Mr. Hyde, our highest, noblest nature struggling against our evil, base instinct no matter how badly we want to be good and decent all the time and defeat our demons.

The emotional power of Jimmy’s journey just keeps on building and building until finally reaching the sharp crash of “Doctor Jimmy” where he hits rock-bottom, followed by the tour de force of “The Rock” as the four themes appear separately, then tentatively begin merging, until they get faster and faster and finally emerge as one unified whole.

“Love, Reign O’er Me” is the most perfect finale to this impeccable masterpiece, Jimmy healing and making peace within himself, resolving to go back home and strive for a new kind of life for himself. He recognises there’s nothing more powerful than love, and lets himself be cleansed by the rain.

As I’ve gone on more of the journey through our life, Quad has come to mean more and more to me with each passing year. It’s gotten me through so many tough times, and always takes me to that special place and makes me feel like I’m twenty again and listening to it for the very first time.

Quadrophenia at 50, Part III (On the road)

As seemed natural for promoting a new album, The Who began touring Quad on 28 October 1973. However, they immediately encountered problem after problem with properly replicating the complex sounds of the studio album onstage. Describing the plot to the audience also took up a lot of valuable performance time. After only four months, the Quad tour came to an end, though a few of the songs remained part of the band’s regular live set.

Pete wanted pianist Chris Stainton, who’d played on the album, to join their tour as an official member. Roger, ever the antagonist and cardinal opposite to Pete, said no way, there should remain only the four actual bandmembers onstage. To get around the issue of reproducing those sounds well without other musicians, the band opted for taped backing tracks.

Though The Who had previously used taped backing tracks to great live success on such seminal songs as “Won’t Get Fooled Again” and “Baba O’Riley,” it didn’t exactly work out quite so well this time around. From the jump, the equipment malfunctioned, and when they did work, the band were compelled to play to the tapes instead of letting loose with their established, natural performance styles. Keith found it particularly hard to do this.

Additionally, there were only two days of rehearsals with the tapes before the tour began, and one of those rehearsals abruptly ended when Roger and Pete got in a fight and Roger punched Pete.

After the first concert at Stoke-on-Trent, “The Dirty Jobs,” “Is It in My Head?,” and “I’ve Had Enough” were dropped from the set. Then, a few tour dates later, at Newcastle, the “5:15” backing tapes started late. Pete, who had long struggled with anger management issues (which seem to have finally resolved as much as they ever will as he’s gotten older and calmer), was so pissed he dragged roadie and sound engineer Bobby Pridden onstage and cursed him out.

Not content simply to make such a humiliating public example of Bobby, Pete then proceeded to pick up some of the tapes and throw them all over the stage, kicked over his amplifier, and stalked offstage. Twenty minutes later, the band returned and played older songs.

Pete and Keith went on TV the next day to apologise and do damage control.

The U.S. leg of the tour kicked off on 20 November at San Francisco’s Cow Palace. After the huge failures on the British tour, the band were understandably nervous about proceeding, particularly Keith. Towards this end, Keith accepted some tranquilisers a fan offered him before the concert began.

Shortly after the show started, said fan collapsed and was rushed to hospital. Keith also began feeling the effects of the tranquilisers, and his playing became very erratic. Near the end of the concert, during “Won’t Get Fooled Again,” he passed out over his drums and was taken backstage.

Twenty minutes later, he reappeared and promptly collapsed again during “Magic Bus.” The band did a few songs without him while he was being taken to hospital, and Roger used a tambourine for percussion. Pete then apologised for what had happened and thanked the fans for putting up with a mere trio.

One of those fans, 19-year-old Scot Halpin, got the opportunity of a lifetime when Pete asked if anybody in attendance could play drums really well. He got some brandy to calm his nerves, and Pete reassured him, “You’ll be fine. I’m going to lead you. I’m going to cue you.” After the last song, Scot took a bow with the other three guys.

Scot got to go backstage with the band, where he and a friend got some drinks and snacks. Sadly, the concert jacket he got was stolen from him later that very same night.

After a day of recovery, Keith returned at a Los Angeles Forum concert, where he was once again playing at his usual maniac strength and skill. The rest of the U.S. shows were a success, since the band had gotten used to the backing track tapes.

That leg of the Quad tour wrapped up on 6 January 1974 at The Capital Centre. A final, very short leg began on 18 February in London, since the band wanted to make up for their initial embarrassing failures in their hometown. The final Quad concert with Keith took place on 24 February at the Palais de Sports in Lyon, France.

Thanks to modern technological advancements, The Who were able to take Quad on the road properly in a very successful tour from 29 June 1996–16 August 1997. By this point in his life, Roger’s own anger management issues had also significantly calmed down, and he was totally fine with other musicians joining them onstage to help with reproducing the complex sounds, providing other instruments, and playing characters in the story.

A recording from this tour was released in 2005 as part of the 3-CD set Tommy and Quadrophenia Live, which I don’t own.

Quad was performed again on 30 March 2010 at the Royal Albert Hall, part of the charity gigs for the Teenage Cancer Trust which The Who have done so much work for over the years. (Though honestly, I have a hard time thinking of them as The Who when only Roger and Pete are left of the original four.)

Another Quad tour launched in November 2012, running until July 2013. A final short tour came in September 2017, as Pete performed with Billy Idol, Alfie Boe, and an orchestra called Classic Quadrophenia.

Quadrophenia at 50, Part II (Behind the scenes, release, reception)

Quadrophenia, my all-time favouritest album, was released 29 October 1973, after a very long dry patch for The Who. Despite the monster success of Tommy (1969), Live at Leeds (1970), and Who’s Next (1971), the band nevertheless struggled with what they should release as a worthy follow-up in that same vein, something that would be both popular and stay true to their musical vision. To keep themselves in the public eye, they released a few singles and solo projects.

Pete, always one for grandiose, pretentious projects (as he himself freely describes it!), hit upon the idea of another musical narrative telling the story of someone’s life. Only unlike Tommy, this album would feature a character grounded in reality, whom the average listener could personally relate to.

Jimmy was created as a composite character based on six early Who fans, with the idea being that his story would be set in those days of the band’s genesis, as well as their Mod fanbase. Though he was based on six people, his personality was only split four ways, with one for each member of the band.

Very unusually, Pete wrote every single song on the album. All their other albums included at least one song each written by John, and occasionally a song by Roger as well. (It’s generally understood that the few songs credited to Keith were at least 90% written by John.) However, Pete deliberately made the demos sparse and incomplete so the other guys could help with the final arrangements.

The band built a studio in an old church hall on Thessaly Rd. in Battersea, London, called Ramport, specially for the recording of their new album. Because it didn’t have a proper mixing console for awhile, Pete’s buddy Ronnie Lane of the Small Faces (a lovely person who left us too soon, dying of MS at age 51 in 1997) lent his own mobile studio towards this purpose.

Longtime manager Kit Lambert missed some recording sessions and didn’t demonstrate a very good work ethic, which led Roger to demand his dismissal. In Kit’s place, they hired Ron Nevison, an American sound engineer brand-new to the industry. According to Ron, though, it was Pete who single-handedly produced the album.

Most of the songs were mixed together from each bandmember recording his part individually, since Pete made his demos sparse and incomplete. The only song completely put together in the studio was “5:15.” Pete and Ron mixed it together at the studio in Pete’s house.

Pete also made many field recordings for the songs, such as the whistle of a train near his house at Goring-on-Thames and waves washing over a beach in Cornwall, as well as learning how to play the cello for a good string section. By this point, he had enough money to afford buying his own cello instead of singing “Cello, cello, cello, cello, cello, cello, cello!” as he had on “A Quick One (While He’s Away)”!

Because of the OPEC oil embargo and its resulting shortage of vinyl, fans in both the U.K. and the U.S. had a hard time getting their hands on the album after its release. However, once it was able to be printed much more widely, the album shot to #2 in both the U.K. and U.S. No other Who album had ever charted that high in the U.S. Only Elton John’s Goodbye Yellow Brick Road kept it from reaching #1.

Critics, both then and now, have highly praised Quad for its sheer excellence, representing The Who at the very pinnacle of their musical powers, and telling a very relatable story of a character representing just about everyone normal who’s ever struggled through adolescence. The album has aged so well, and is frequently ranked highly on those incessant best-of lists.

Pete has gone on the record as naming Quad as the last truly great Who album, and the powerful burst of drumming at the end of “Love, Reign O’er Me” is also widely regarded as Keith’s final top-notch performance before his sad decline (both musically and personally) began.

Quadrophenia at 50, Part I (General overview)

My all-time favouritest album, The Who’s masterpiece Quadrophenia, turned fifty years old on 29 October 2023. This album has meant so, so, SO very much to me for 23 years now, and captivated me years before I finally was able to listen to it. You’ll hear much more about that in the post devoted to my personal relationship with the album!

Quadrophenia tells the story of a young Mod, Jimmy, who’s tortured by the four competing sides of his personality. (This is NOT dissociative identity disorder, but rather typical adolescent inner turmoil and figuring oneself out.) No one understands him—parents, shrink, friends, rivals, teachers, other adult authority figures.

Jimmy flits through a series of unfulfilling, dead-end jobs, struggles with drug use, fails to win the affections of any of the girls he likes, fights with his parents, clashes with other kids in the rival Rockers group (who were much tougher than the Mods), fails to achieve lasting popularity with his peers, loses his girlfriend to another guy, contemplates suicide, just one disappointment after another.

Things come to a head when he discovers the Ace Face, the leader of his local Mod group, is a lowly bellboy at a hotel. This is the last straw for Jimmy, who can’t take any further rejections, disappointments, and disillusionments. He steals a boat and sails out to a rock overlooking the sea, where he again contemplates suicide.

It starts raining, and Jimmy sits on the rock thinking through his troubled life. Then the four competing aspects of his personality announce themselves, separately at first, but gradually starting to merge into one, faster and faster, until finally Jimmy is at peace with himself.

Track listing:

“I Am the Sea”
“The Real Me” (#82 on the U.S. Cash Box chart; #92 on Billboard)
“Quadrophenia” (instrumental)
“Cut My Hair”
“The Punk and the Godfather”
“I’m One”
“The Dirty Jobs”
“Helpless Dancer” (Roger’s theme)
“Is It in My Head?”
“I’ve Had Enough”
“5:15” (#20 in the U.K.; #46 in Germany)
“Sea and Sand”
“Drowned”
“Bell Boy” (Keith’s theme)
“Doctor Jimmy” (including “Is It Me?,” John’s theme)
“The Rock” (instrumental, one of the most powerful and emotional moments for me)
“Love, Reign O’er Me” (Pete’s theme, another extremely emotional journey every single time) (#31 in Canada; #54 on the U.S. Cash Box list; #76 on U.S. Billboard)

Quad was made into a movie in 1979 (which I later came to realise I only saw a censored version of on VH1 in 1996), starring Phil Daniels as Jimmy and Sting as the Ace Face. Theatrical productions have been staged in 2005–2006, 2007–09, 2013, and 2017.

In 2011, Quad was given a deluxe 5-CD boxed set treatment (which I don’t have), featuring two discs of demos, some discards from the final original album, and some songs in 5.1 surround sound. It also comes with a 100-page book that includes an essay by Pete about the making of the album, plus photos.

Also in 2011, the original two-disc album was rereleased with some of the demos as bonus tracks (also an edition I don’t have). Another reissue came in 2014, with a new remixing in 5.1 surround sound plus the 2011 deluxe edition stereo remix and the 1973 original stereo mix.

I’ve always been happy with just the original 1973 version on the first CD remastering and the vinyl! Why attempt to gild the lily when it was already perfect?

My favourite tracks are “Helpless Dancer” (which I’ve used as my screen name on several message boards), “Love, Reign O’er Me,” “Cut My Hair,” “The Punk and the Godfather,” “The Rock,” “Sea and Sand,” and “The Real Me.”