Nearly three decades after its release, It’s Hard remains strikingly relevant, echoing contemporary global issues. In a candid interview, Pete Townshend, the iconic guitarist and songwriter of The Who, delves into this album, his creative process, and future endeavors. This in-depth conversation offers a unique glimpse into the mind of a rock legend, exploring his reflections on past works and his vision for what’s next.
Oldawg: Looking back nearly 30 years after its release, It’s Hard feels unfortunately representative of today’s world, particularly tracks like “John’s Dangerous,” “Eminence Front,” and “Cooks County.” What are your feelings about It’s Hard today?
P.T.: It’s Hard stands out in The Who’s discography because it’s the only album where all band members agreed on a pre-set concept. I was grappling with the direction of my songwriting for The Who and sought guidance from the band. The consensus was clear: everyone wanted to address the unfulfilled post-war dream, a promise that rock music had, in part, fueled.
My current perspective on It’s Hard is complex. In early 1982, as I began working on it, I was just recovering from an Ativan detox program. Upon returning home, I found the band already in the studio with Andy Fairweather Low filling in on guitar. I felt pressured to jump into work immediately, especially as I was also finishing my solo album, Chinese Eyes. These two albums, though distinct, feel connected to me. This perspective, however, wasn’t shared by critics, fans, or even my bandmates in The Who.
Clashwho: You’ve mentioned facing difficulties writing new material, feeling uneasy revisiting familiar territory. This echoes Bono’s comment about an Edge guitar lick sounding “too U2,” to which Edge replied, “Fuck it. We ARE U2.” Is there any possibility of a similar epiphany for you?
P.T.: I believe the context of my statement might be slightly misconstrued. Cynthia Fox, a DJ from KLOS in L.A., recently posed a similar question. My response was: “I recognize saying that (along with the recent ‘I can’t write hit songs anymore’ remark), but the context was different, I’m quite sure of that. I think in the latter statement it was that I can’t BRING MYSELF to try to write hit songs anymore. Diane Warren is a prime example—that’s her objective, and she excels at it. I pursued that path in my early years, but then shifted to serving The Who and its audience more specifically. We didn’t need hits. In fact, pursuing hits would have been counterproductive to my creative process for The Who. As for the former—the desire for constant innovation—I find songwriting challenging in general these days. If it were as straightforward as Julia Cameron suggests in The Artist’s Way, we’d all be prolific songwriters. You know, when you recommended her book, The Artist’s Way, it genuinely helped me, and I remain a fan. I believe her core message is simply to GET STARTED! My mantra, perhaps, is: CREATIVITY is getting started. ART is finishing things. In art college, I learned that every artist needs a cause (and perhaps pure, aimless creativity could be that cause). But I was also taught that every artist needs a patron (to avoid starvation) and a brief (to understand what to create for that patron). With The Who, all three criteria were met. I consider myself very fortunate.”
Today, I see little value in producing music that lacks innovation or personal challenge. My passion lies in pushing creative boundaries. It’s a gift I give myself, whenever possible. But rest assured, inspiration still strikes, even during a walk in the park!
A11who: Pete, how is Floss progressing? Has it evolved from your initial comments on this site two years ago? Do you still envision it primarily as a live performance piece?
P.T.: Floss remains a work in progress, and yes, it has evolved significantly. However, my vision for it remains centered around a live event, a composition and story designed for the stage rather than a traditional album release.
Spamhead: I’m a huge fan of your 1993 solo LP Psychoderelict. Did you enjoy creating Psychoderelict and touring the U.S. to promote it?
P.T.: I thoroughly enjoyed every moment of it. The final show at Jones Beach in NY was arguably the best rock performance I’ve ever given outside of The Who. I am immensely proud of the Psychoderelict album. It marked the last collaboration with my dear friend Richard Barnes. While he might have overly edited my initial script and perhaps added a few too many cheesy jokes, his direction, alongside Wayne Cilento (choreographer of Tommy on Broadway), wonderfully brought the stage show to life, in my opinion.
Behindblueeyes: Pete, I recall you mentioning the possibility of a Lifehouse concert utilizing music created by the “sitters” of the Lifehouse website. Is this project still in development, something we might see in the future?
P.T.: If I live long enough, it will happen. It’s a project I often contemplate.
Billybill: There have been hints of Quadrophenia performances in 2012. Following the last performance at the RAH in 2010, you mentioned some issues with the presentation/narrative of that version. Do you still feel the same way, and if you and Roger perform it again, do you plan to revamp it?
P.T.: I personally haven’t had any issues with that Quadrophenia version. Roger, however, has, which is why we didn’t tour it that fall or this year. Perhaps I was speaking for him when I alluded to problems, or “we” having problems. Roger believes he can resolve the issues he perceives, though I’m not entirely sure what they are. I suspect Roger feels he is now too mature to embody Jimmy as a young man convincingly. However, I’ve always viewed our role as performers as storytellers, narrating Jimmy’s story. Roger is giving this considerable thought while touring his solo Tommy production globally. I might grow impatient waiting! But in fairness, Roger has previously been known to wait for me… He seems to be enjoying himself, which is great.
Freeddom18x: Are there any plans to release the Quadrophenia performance from the Royal Albert Hall in 2010 for the Teenage Cancer Trust on CD and/or DVD?
P.T.: Unfortunately, I can’t answer that due to likely legal reasons. Perhaps our webmaster could direct this question to Who manager Robert Rosenberg for a definitive answer? I would personally love to see this significant concert released on DVD; I felt it was truly triumphant. There’s a dissenting opinion that the two string players were inaudible, but my view is that those holding that opinion should have remained in the lobby.
**Who Manager R.R.: We already have a Quadrophenia Live DVD available—the 2005 release from the 1996/97 tour—and we are contractually restricted from releasing another until 2015.
Grego23: I’m eagerly anticipating your autobiography. Is there a possibility of a book tour after its publication?
P.T.: Yes, I will undertake a book tour of sorts. However, the book deal isn’t finalized yet—still in negotiations. You may know that a significant portion of the book is already written. I spent part of my summer vacation reviewing it and brainstorming ways to enhance it. I’m very pleased with it and believe readers will enjoy it too.
Roughmix: Do you have other projects written with your distinctive “voice,” similar to The Horse’s Neck?
P.T.: Yes, I believe I do. In fact, some of my stories and essays from over the years might find their way into my autobiography as supplementary material. Floss is a case in point; I’ve written a short novel outlining the story. It’s quite entertaining, but like The Boy Who Heard Music, it’s crafted to inspire and support songwriting rather than stand alone as a conventional novel. There’s an important point about the term “voice.” My editor for Horse’s Neck, Robert McCrum, encouraged me to make all the submitted stories about myself, inserting my name where the narrator or central character might have been. Originally, my stories were fictional, albeit drawn from my life experiences. He felt readers would inevitably seek “Pete” in every story. I am, after all, a musician, not an author, and Robert suggested fans would attribute every story to me, even if entirely fictional. I agreed with his assessment.
Dixonu: Have you ever considered an “unplugged” tour with Roger? You have a wealth of material perfectly suited to that format, and I would love to see you two in an intimate theater/club setting.
P.T.: No, I haven’t considered it. I don’t particularly enjoy working with Roger in that format, although I know fans appreciate it. In that context, I feel like I’m merely accompanying Roger because he enjoys playing guitar and reinterpreting my songs acoustically in his own style. I do this myself, of course, and individually, we both succeed in reinterpreting old Who songs acoustically. But when we perform together, I feel the music demands to be honored in its original form, and I feel uneasy when Roger starts to loosen up songs like “Who Are You” or “Behind Blue Eyes”—but only when I’m playing with him. As a solo artist, he’s entitled to do whatever he wishes. Another crucial point is that Roger and I, despite our renewed friendship and alliances, don’t share deep intimacy as performers. We operate on different planes. Roger projects to the back of the venue, while I focus on the front rows. We rarely make eye contact.
Mrwisty: What are your thoughts, if any, on T.S. Eliot’s Four Quartets?
P.T.: Hiya, MrWisty, my old buddy… I think this question is better suited for Roger. I do admire your photographs. Why not share some on The Who website? Start a trend.
Getitgoin: We want to hear (and own) every demo you’ve ever recorded, every studio outtake by The Who, every Who rehearsal ever recorded, and every single Who concert in your archive. What’s the hold up?
P.T.: You’re living in a dream, my friend. I want to hear all that too!
END OF PART ONE
