Fact #130137
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Roger Daltrey (vocalist, The Who) : We played there every Tuesday night. When we first did the job, Tuesday was a slow night. That's why they let us in there. God, they didn't know what hit them. We were just a pub band. We were big in our own little area. But the great thing about The Marquee was that the West End of London, it was like the whole of England goes out from the West End of London, England, UK. So it expanded our audience potential by literally a million. And that in itself was very useful. I have to tell you, and I don't mean this as sour grapes or anything, but it is hard to play for fans who see you all the time; makes it much harder.
Pete Townshend : Keith used to get through a lot of drum kits. He used to get a lot of stuff free, but you could never know. I mean, just a set of skins for a drum kit is about $300 and, after every show, he'd just go bang bang bang through all the skins and then kick the whole thing over.
Roger Daltrey : We were getting fifty quid a night and Pete was smashing guitars worth £200 and amps worth twice that, every night. None of us had a car, and one of our managers had to get a job in a film to help pay off the debts.
Chris Stamp (co-manager) : It was costing hundreds of pounds a week in equipment to keep The Who on The Move. But this was an investment. It made the group known.
Keith Moon : We were playing a lot of Bo Diddley, Chuck Berry, Elmore James, B.B. King, and they are maximum R'n'B. You can't get any better. Most of the songs we played were their songs. Pete really got into his writing stride after Can't Explain. Of course any song we did get 'old of, we weren't playing straight from the record. We "Who'd" it, so that what came out was The Who, not a copy. (Source : Interview with Jeremy Hopkins, Rolling Stone, Dec 21, 1972)
Roger Daltrey : It all escalated from there. It happened so fast, it was amazing. You had the feeling anything could happen. We were the kids' group.
Chris Squire (bassist, Yes) : I stole quite a lot from John Entwistle. When I was sixteen I used to go to The Marquee religiously to watch The Who, so I got a lot of ideas from him.
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Pete Townshend : Keith used to get through a lot of drum kits. He used to get a lot of stuff free, but you could never know. I mean, just a set of skins for a drum kit is about $300 and, after every show, he'd just go bang bang bang through all the skins and then kick the whole thing over.
Roger Daltrey : We were getting fifty quid a night and Pete was smashing guitars worth £200 and amps worth twice that, every night. None of us had a car, and one of our managers had to get a job in a film to help pay off the debts.
Chris Stamp (co-manager) : It was costing hundreds of pounds a week in equipment to keep The Who on The Move. But this was an investment. It made the group known.
Keith Moon : We were playing a lot of Bo Diddley, Chuck Berry, Elmore James, B.B. King, and they are maximum R'n'B. You can't get any better. Most of the songs we played were their songs. Pete really got into his writing stride after Can't Explain. Of course any song we did get 'old of, we weren't playing straight from the record. We "Who'd" it, so that what came out was The Who, not a copy. (Source : Interview with Jeremy Hopkins, Rolling Stone, Dec 21, 1972)
Roger Daltrey : It all escalated from there. It happened so fast, it was amazing. You had the feeling anything could happen. We were the kids' group.
Chris Squire (bassist, Yes) : I stole quite a lot from John Entwistle. When I was sixteen I used to go to The Marquee religiously to watch The Who, so I got a lot of ideas from him.