Fact #103804
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Short story:
The Who, billed as 'The High Numbers (Re The Who)' play at The Railway Hotel, Harrow And Wealdstone, London, UK, where they are seen by Kit Lambert, later to become their co-manager.Full article:
Keith Moon (drummer, The Who) : We were with (for management) a man who made doorknobs - young, naive lads that we were. This man's suggestions were the only ones we got, except the lewd ones from the audience. We really didn't have faith in ourselves then.
Then, when we settled in, the suggestions seemed ludicrous, so we decided to get rid of him, and Kit Lambert came to see us playing at the Railway 'Otel in 'Arrow. We had a meeting. We didn't like each other at first, really. Kit and Chris. They went 'round together. And they were . . . are . . . as incongruous a team as we are. You got Chris on one hand [goes into unintelligible East London cockney].' "Oh well, fuck it, jus, jus whack 'im in-a 'ead, 'it 'im in - balls an' all." And Kit says (slipping into a proper Oxonian): "Well, I don't agree, Chris; the thing is . . . the whole thing needs to be thought out in damned fine detail."
These people were perfect for us, because there's me, bouncing about, full of pills, full of everything I could get me 'ands on . . . and there's Pete, very serious, never laughed, always cool, a grass-'ead. I was working at about ten times the speed Pete was.
(Source : Interview with Jeremy Hopkins, Rolling Stone, Dec 21, 1972)
Richard Barnes (friend of Pete Townshend) : Kit turned up at the Railway Hotel in Harrow And Wealdstone, where I was promoting The High Numbers. I was shit scared of him, because he looked so straight. He was around thirty years old and was wearing a really expensive Savile Row suit. He looked trouble.
Kit Lambert : On a stage made entirely of beer crates and with a ceiling so low you could stick a guitar through it without even trying, lit by a single red light bulb, were The High Numbers. Roger Daltrey with his teeth crossed at the front, moving from foot to foot like a zombie. John Entwistle, immobile, looking like a stationary blob. Pete Townshend like a lanky beanpole. Behind them, Keith Moon sitting on a bicycle saddle with his ridiculous eyes in his round moon face, bashing away for dear life, sending them all up and ogling the audience. They were all quarrelling among themselves between numbers, yet there was an evil excitement about it all.
Roger Daltrey : He (Lambert) seemed completely out of place, really flamboyant. He had this upper-class accent that was so out of kilter with everyone else's. He said, 'Hi, I'm a film producer.' He wanted to make a film about the West London Mods. He was sharp, he had ideas. You couldn't help being impressed.
Keith Moon : We didn't like each other at first, really. They were as incongruous a team as we were. You got Chris, on the one hand, who's yer typical East Ender, and Kit with his Oxford accent. These people were perfect for us, because there's me, bouncing about, full of pills, full of everything I could get my hands on
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Then, when we settled in, the suggestions seemed ludicrous, so we decided to get rid of him, and Kit Lambert came to see us playing at the Railway 'Otel in 'Arrow. We had a meeting. We didn't like each other at first, really. Kit and Chris. They went 'round together. And they were . . . are . . . as incongruous a team as we are. You got Chris on one hand [goes into unintelligible East London cockney].' "Oh well, fuck it, jus, jus whack 'im in-a 'ead, 'it 'im in - balls an' all." And Kit says (slipping into a proper Oxonian): "Well, I don't agree, Chris; the thing is . . . the whole thing needs to be thought out in damned fine detail."
These people were perfect for us, because there's me, bouncing about, full of pills, full of everything I could get me 'ands on . . . and there's Pete, very serious, never laughed, always cool, a grass-'ead. I was working at about ten times the speed Pete was.
(Source : Interview with Jeremy Hopkins, Rolling Stone, Dec 21, 1972)
Richard Barnes (friend of Pete Townshend) : Kit turned up at the Railway Hotel in Harrow And Wealdstone, where I was promoting The High Numbers. I was shit scared of him, because he looked so straight. He was around thirty years old and was wearing a really expensive Savile Row suit. He looked trouble.
Kit Lambert : On a stage made entirely of beer crates and with a ceiling so low you could stick a guitar through it without even trying, lit by a single red light bulb, were The High Numbers. Roger Daltrey with his teeth crossed at the front, moving from foot to foot like a zombie. John Entwistle, immobile, looking like a stationary blob. Pete Townshend like a lanky beanpole. Behind them, Keith Moon sitting on a bicycle saddle with his ridiculous eyes in his round moon face, bashing away for dear life, sending them all up and ogling the audience. They were all quarrelling among themselves between numbers, yet there was an evil excitement about it all.
Roger Daltrey : He (Lambert) seemed completely out of place, really flamboyant. He had this upper-class accent that was so out of kilter with everyone else's. He said, 'Hi, I'm a film producer.' He wanted to make a film about the West London Mods. He was sharp, he had ideas. You couldn't help being impressed.
Keith Moon : We didn't like each other at first, really. They were as incongruous a team as we were. You got Chris, on the one hand, who's yer typical East Ender, and Kit with his Oxford accent. These people were perfect for us, because there's me, bouncing about, full of pills, full of everything I could get my hands on