I got it all here in my head
There’s nothing more needs to be said
I’m just bangin’ on my old piano
I’m getting in tune to the straight and narrow
“This is a valuable Pete Townshend recording with traffic noises in the back. It’s a collector’s item, so it must be treasured. And it’s ‘So Sad About Us’ and is one of the very rare recordings of Pete Townshend alone, unaccompanied by himself on his guitar.“
The above words are Pete Townshend’s slightly furtive, though sarcastic introduction to a demo recording for a song released on the Who’s second album A Quick One (or Happy Jack in the US), which was originally written for the Merseys in 1966. “So Sad About Us” has been covered by everyone from the Jam and the Breeders to Shaun Cassidy and even Seattle band the Cowboys. (I selected it as one of my favorite songs in my Revolution of the Heart song review series as well.) This demo opens Pete’s collection of such recordings titled Scoop, that presents only a fraction of the home brewed music created throughout his career. More of these recordings have subsequently been included on various box sets, deluxe editions and reissues from the Who’s and Pete Townshend’s catalogs. A book could probably be written to keep track of what’s been released and where to find material from this vast archive.
As “So Sad About Us” shows, Pete’s early demos were a bit rough, but often charming, usually recorded using reel-to-reel tape decks set up in his apartment. As his home studio space and equipment expanded and improved, Townshend’s engineering proficiency also grew. Recording professionals have commented how good his studio work became over time. By the 1970s, many of the demos he presented as songs for Who albums actually sound remarkably close to what ended up on finished releases.
I’ve always been fascinated by the recording process, and Townshend is one of my favorite musicians and songwriters, so his demos are a treasure trove for me. There is an overwhelming wealth of material already out there and recently someone asked Pete on social media if he was considering another Scoop archival release. He replied he had been thinking about doing so at that very moment. So hopefully even more may be coming out of the vaults at some point. Here is a selective annotated discography that covers some of my favorites from the Townshend archives.
Pete’s first solo album, 1972’s Who Came First, includes the first official release of demos for “Pure and Easy,” “Let’s See Action” and “Time is Passing.” All three songs were intended for the planned Lifehouse concept album that became Who’s Next, though the Who’s own versions did eventually end up on other releases. The first two sound like perfect Who-like rockers, even in demo form (the refrain for “Pure and Easy” was incorporated into the ending of “The Song is Over” on Who’s Next). “Time is Passing” is a wistful acoustic country folk number. Interestingly, the keyboard and slide guitar parts on the original demo are faintly heard in the background of the rowdier Who take.
Most of the rest of the album, along with the abundance of bonus tracks included on subsequent CD reissues, are solo Townshend home recordings as well. The simple homesick, on-the road folk song “Sheraton Gibson” was inspired by Bob Dylan’s Self Portrait album. In a 1996 interview, Townshend says that after hearing Dylan’s LP, he “put myself on the spot and made songs up as I went along. . . I came up with eight, and I totally made them up, start to finish, every detail, nothing added, nothing taken away, and what you hear is what I wrote.” Some of the highlights found in the extras include a great early rendition of “The Seeker” with alternate lyrics, the piano and harmonica backed “Day of Silence” and breezy “Sleeping Dog” are two meditative odes to the unvarnished pleasures of life, while “Nothing is Everything” is a prototype for “Let’s See Action” (a demo of a demo??). Who Came First is unique in Townshend’s discography. It’s a work that almost exclusively displays his unadorned, contemplative side, something he would not reveal so apparently until Rough Mix, his lovely 1977 collaboration with Ronnie Lane.
More than ten years later, the first volume of Scoop was finally issued in 1983. Hearing these gems from the vault was revelatory for curious fans. Of course there are early run throughs of classic Who tunes, such as “Squeeze Box” (unexpectedly dominated by jaunty organ chords); the early single “Circles” is given a light treatment, couched in acoustic guitar strums and Townshend’s double tracked vocals; an echo-laden “Magic Bus” comes across as mysteriously sinister amid all its clattering percussion, background screams and scat-singing; “Cache Cache” from 1981’s Face Dances receives a more passionate presentation in Pete’s hands, while his vocals on the the epic ballad “Love Reign O’er Me” are full of heart-tugging resignation.
As great as these demos are, it is the previously unheard songs that quickly became favorites. Among the first selections on the album are four songs that all exhibit Townshend’s keen ear for unique sounds. “Zelda” is punctuated by wiry, sawing viols and manic vocals; Motown rhythms emerge from a wall of echoes on “Politician;” the lively guitars-and-drums country rockabilly shuffle make “Dirty Water” take off into the stratosphere; and layers of watery guitars and vocals accentuate the hazy despondence of “Melancholia.” Other surprises include the driving rocker “Popular,” which would become the title tune for the 1982 It’s Hard album, along with the techno rap of “Body Language.” Two of the most beautifully beguiling takes are the blissfully lazy “Goin’ Fishin'” and the spiritually pondering “You Came Back.” The former is an elegy to enjoying nature while still respecting it.
Throwing stones into the river
Watching ripples splashing over
Wadding the bank where horses are grazing
Reflection shatter quite amazing
But soon I quietly ask, is this the way for me?
I twist my vacuum flask and have a cup of tea
Goin’ fishin’ never catch none
If I did, I’d surely wince
The latter is a bright waltz rumination on reincarnation, highlighted by Townshend’s sunny harmonies and chopping rhythm guitars. As satisfying as such non-stop excellence like this was, Scoop certainly left fans wanting more.
It would be four years until Another Scoop appeared in 1987. This second collection differs from the first in that it includes an even greater number of Who related recordings and contains more experimental works from Townshend’s later career. The hit single “You Better You Bet” blasts open the set with an embryonic rendition that out rocks the glossy Face Dances version. “Don’t Let Go the Coat” from the same LP sounds clunky in comparison to the relaxed, flowing take here, highlighted by nearly country flavored guitar solos. Early era Who is represented with a wonderfully driving acoustic “Substitute” that sounds remarkably close to the way the Who performed it during their 2019 unplugged shows. The stripped back demo of the surf-blues hybrid of “Call Me Lightning” comes off brilliantly even more off kilter than the original single and “La-La-La Lies” retains its R&B power by employing only simple bass riffs and handclaps. The quintessential “Pictures of Lily” and “The Kids Are Alright” show that even without their full Who arrangements, Townshend’s sharp sense of melody still astounds.
One of the most unusual pieces on Another Scoop is the 1983 electronic experiment titled “Ask Yourself,” written for an aborted Who album called Siege. Ever since Who’s Next, Pete has pioneered the use of synthesizers and other electronic keyboards in rock music, and on this song he immerses himself in their chilly textures, recalling Laurie Anderson‘s similar avant-garde work. (I was shocked to stumble upon a video for “Ask Yourself” while I was conducting research for this post.) Dramatic grand piano chords backed by synth string washes form an instrumental exploration titled “Prelude, the Right to Write,” while “The Ferryman” is a stirring orchestral recitation that was revived for a planned 2018 musical called The Seeker. These seemingly atypical compositions are a fascinating glimpse into an often overlooked side to Pete Townshend’s songwriting.
Ever since the original plans for Lifehouse were abandoned, Townshend held on to his desire to complete the project. In 2000, Lifehouse Chronicles, a lavish 6-CD boxset was made available via his website. Two discs feature a 1999 BBC radio drama based on a script by Townshend. The production presents a dystopian future where the earth is so polluted, the population is confined to their dwellings. Everyone wears environmental life suits connected to an information service called The Grid, which distributes entertainment and propaganda to the masses. Renegades hack The Grid and organize a concert to liberate and unify the audience by creating a personalized song for each attendee to perform all together at the show’s finale, thus creating the universal “One True Note.” Two more CDs contain orchestral and electronic themes and variations, along with new contemporary reworkings of the songs “Who Are You,” “Behind Blue Eyes” and “Won’t Get Fooled Again.” A highlight is the majestic, gentle rerecording of “Pure and Easy,” which may outshine many previous iterations.
But the core of the Lifehouse Chronicles remains the 24 demos that show Townshend at his creative peak. Curiously, three songs from the 1978 Who Are You album are included. It has never been clear if they were actually originally written for Lifehouse in the early 1970s, or if Pete thought these later demos fit the concept (I believe this is the case). All his songs on Who’s Next are here in their intimate glory, as well as those released on singles of the era, such as “Relay,” “Join Together” and “I Don’t Even Know Myself.” Once again, it is the rarities that dazzle. Both “Mary” and “Greyhound Girl” are tender, passionate ballads, easily two of the most memorable in Pete’s catalog. But the biggest surprise of all the demos is “Teenage Wasteland,” a less electronic, less urgent companion to “Baba O’Riley,” which Townshend said “was supposed to be the overture but didn’t quite land.” That may be true for him, but the song is still a stunningly gorgeous, moving performance. Driven by sensitive piano lines instead of burbling synths, it evokes the same themes as the completed song, but with far more delicate subtlety The “Don’t Cry / Don’t raise your eye / It’s only teenage wasteland” interlude comes off as a plaintive spiritual plea rather than an expression of righteousness. It’s one of my very favorite Pete Townshend offerings.
The sprawling Scoop 3 appeared in 2001 and is quite different from the previous Scoop volumes. Its 34 tracks are spread over three LPs, rather than two, and concentrates far more on Townshend’s later solo career. Only a handful of Who-related demos make the cut this time. I never much liked “Athena” from It’s Hard, but an early draft of the song renamed “Theresa” is a charming, fleet-footed jazzy workout. The best song on It’s Hard is perhaps “Eminence Front,” a thumping, synth and guitar cautionary anthem to greed. This Scoop version was recorded in a single take in 1995 as a rehearsal for an upcoming solo concert. Pete’s piano is augmented by subtle electronics and his resigned vocal gives the performance the ambiance of a late night jazz club. “How Can You Do It Alone” from Face Dances continues to display a jazz influence, proving that lighter arrangements may have prevented that album from sounding so generic. The Mexican-flavored solo acoustic guitar vamp “Marty Robbins” would be resurrected as a full-blown Who song for 2006’s Endless Wire album.
“Dirty Water” returns as a simple, but effective solo blues turn, while “Can You Really Dance” is a largely instrumental horn-driven R&B jam recorded for a planned video production. The gentle lullaby “Squirm Squirm” was inspired by Pete watching his newborn son sleeping. Hushed, ghostly voices and effects accent pretty guitar picking and harmony vocals. Created entirely on various synths and drum machines, the appropriately titled “Man and Machines” was written for Lou Reed to sing on the Iron Man album, but not used. The jaunty “Maxims for Lunch” is another all electronic piece that humorously depicts a pretentious couple’s lunch date, and a rough, but earnest bluegrass banjo on “I Am Afraid” then returns the proceedings to more organic instrumentation. The soaring “Lonely Words” also visits the country genre with singing steel guitar fills amid an almost Phil Spector-like production. Scoop 3 disappointed some fans at the time of release because of its reliance on later, unfamiliar material. But in hindsight, the third Scoop of demos is probably the most in-depth, revealing overview of Townshend’s impressive talents as a composer and recording engineer.
The Who have released massive boxsets for most of their studio albums, all containing a CD or two of demos. I could easily write a whole review about these deluxe releases, but for now, I’ll limit myself to a brief overview. The Quadrophenia Super Deluxe set has the entire concept album in demo form, plus a number of unreleased tracks. Most of the arrangements are close to the final Who versions, but have a slightly looser, spontaneous feel. I love the sound of “I’ve Had Enough,” which accentuates the catchy, bubbling bass riff that runs through the song. As the “Love Reign O’er Me” interlude breaks in, the sparser arrangement only heightens its emotional intensity. Just as affecting is the unreleased “Any More,” which has Townshend employing some striking upper range vocals to augment a delicately haunting piano melody.
The ambitious creative spirit of The Who Sell Out sessions is captured by an astounding amount of demos, outtakes, alternate versions and mixes, as well as single releases and their b-sides, all spread over five CDs. However, in the beginning, all this recording wasn’t quite as care free as it now comes across. Pete recounted in a recent interview, “I think The Who Sell Out was tough for all of us. I remember a lot of sessions when Roger [Daltrey] just wasn’t around. That’s why I sang quite a few songs on the album. . . [Manager] Kit Lambert decided to take the idea of doing a radio show a bit further and bring commercials in. . . I remember going into the office and saying, ‘We don’t have an album!’ But then we brought in the last burst of creative energy with the adverts.” The 14 demos include a rumbling run through of the “Jaguar” radio spot and a banjo-led version of “Little Billy,” an actual anti-smoking ad written for, but not used by the American Cancer Society. An early version of “Sunrise” called “Thinking All the While” sounds more like “Magic Bus” with its lazy, clattering percussion than the tentative ballad it became. The plane crash scenario of “Glow Girl” introduces lyrical and musical themes that would turn up later in Tommy, while the frantic “Inside Outside,” about the rigors of touring the USA, recalls surf-era Beach Boys.
The latest Who boxset entry is the gargantuan 10-disc Who’s Next | Life House release (don’t ask me why Lifehouse is now two words). Townshend gets another shot to spotlight and expand upon his lost pet masterwork with a graphic novel included to tell the story once again (I’ve only streamed the set so have not read it). The Chronicle demos make another appearance, though some are now unedited or remixed. They are now joined by the easy going “There’s a Fortune in Those Hills,” the hymn-like “Finally Over” and an alternate instrumental “First Editing Demo” of “Baba O’Riley” (note that none of the Who Are You songs are here). Even though I was already familiar with a good amount of music included in the box, hearing these demos alongside the virtual mountain of outtakes, alternate mixes, singles, raw studio sessions and live recordings confirms that the Who were startlingly prolific and just maybe the greatest band in the world at the time.
Pete Townshend is one of the first recording artists to officially release his home demos via Who Came First in 1972. The fact that he is also such a singular musician and songwriter only adds to the rewards of hearing this work. It has been some time since I’ve taken a deep dive into these archival releases and it’s reinforced my appreciation of Townshend’s talents. I look forward to perhaps hearing and discovering more of his “homeworking” demos someday.
SELECTED DISCOGRAPHY
Who Came First 1972
Scoop 1983
Another Scoop 1987
Psychoderelict 1993
Pete has said he incorporated ideas and songs from Lifehouse into this musical drama about an aging rock star who abandoned an ambitious project in the 1970s (that sounds suspiciously like Lifehouse). His manager and a conniving DJ blackmail him to generate publicity to resurrect his career. The full musical with dialogue is nearly unlistenable. The music only CD is more accessible.
Classic Albums: Who’s Next 1999
An outstanding DVD about the making of the album featuring interviews with band members and recording engineers, who play and examine the original multitrack tapes. Pete also performs a couple songs solo.
Lifehouse Chronicles 2000
Scoop 3 2001
Scooped 2002
A best of compilation of Scoop tracks.
Music from Lifehouse 2002
A great concert DVD of Townshend performing material from Lifehouse with a full band and orchestra.
The Genuine Scoop 2003
An unauthorized 5-CD set that puts much of the Scoop demos in chronological order and adds a few that are officially unreleased.
Quadrophenia (Super Deluxe) 2011
Tommy (Super Deluxe) 2013
My Generation (Super Deluxe) 2016
The Who Sell Out (Super Deluxe) 2021
Who’s Next | Life House (Super Deluxe) 2023
MARCH 29, 2024
Letter to the Vatican 