1/5/2024 0 Comments Dream on led zeplinI don’t live that highfalutin Gucci lifestyle.” It protected me from the idea that there was any decadence going on around the Who. I’ve always felt happy to say to people in our audience, “I’m like you. This period of difficulty, of dissolution, disenfranchisement, loss, confusion, was sparked by a moral shift. I had a little house in the London suburbs, with three bedrooms. People like Elton John and the Stones all seemed to be living in castles in the South of France. After “Tommy,” somebody made a lot of money, but it wasn’t us. We toured a lot and had hit records, but we didn’t make any money. I don’t know how the other guys got on, for heaven’s sake. In the early days of the Who, everything was split four ways except my writing royalties, which sustained me. Overnight you became rich, but that didn’t work out well for you, did it? In 1976, your accountant discovered that you had a bank account neither of you had known about, with $1.5 million of publishing money. The idea of dying and being born again isn’t such a good deal, in fact, if we have to start all over again and try to get it right. His whole thesis is rooted in karma and the repetitive lifetimes of reincarnation. It could have to do with the fact that in 1967, I started following Meher Baba, the Indian teacher. Nobody else was.Įventually I do start to feel deeper feelings that I would describe as grief. I was touched and dismayed by Charlie Watts weeping. I haven’t, and it’s not something I’m entirely comfortable about. And you also say, “I feel very little when someone close to me dies.” Have you figured out why that is? You ask yourself why you’re not more upset. You tell a story about seeing Rolling Stones drummer Charlie Watts cry at Keith Moon’s funeral. I’m probably at the end of my crazy days. I’m not going to be able to change much about the way that I feel about what’s happened. I’ll be 77 at my next birthday, and I’m probably at the end of heart-searching in my career. That period was jam-packed with stuff, some of it incredibly intense, including the beginning of the breakdown of my marriage to Karen, my first wife, whom I met when we were kids. So I don’t know why he didn’t continue the Who, but he didn’t. Since then, Roger Daltrey has attempted to build a solo career, particularly recently, because I don’t tour as much as he would like. I expected the band to go on, to be honest, in one form or another, and was surprised when it didn’t. ![]() In 1982, I decided that I’d muddled everything up and had taken on too much, and I announced that I was leaving the Who. I was under great pressure, with respect to writing songs. I had a very good solo deal with Atlantic, and we managed to pull off a spectacular album deal for the Who with Warner Bros. When the idea was presented to me, it was to cover the period when I was under the most difficulty as an artist, which was after Keith Moon’s death and after Cincinnati. ![]() But it wasn’t meant to cover such a large period. I looked at interviews I’ve done in the past, and my autobiography. ![]() Did you do any research about that period? “Somebody Saved Me” covers a long period of time, from 1978 to 2002.
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