The Who rip it all up with "Won't Get Fooled Again", recorded live on May 25th, 1978 at Shepperton Studios for Jeff Stein's awesome rockumentary "The Kids Are Alright".

These six camera angles are included in the DVD's Special Features and presented a special challenge for me as an editor. I thought it would be amazing to sync them all up.

Also note that I've panned Entwistle's bass to the left channel and full mix to the right.

Many thanks to my friend Angshu for introducing me to The Who's music. Please do check out my edit of Baba O'Riley as well!

Buy the DVD; I want to stay on Vimeo!
Cheers ~ Dave

REGARDING DRUM OVERDUBS:
from "Dear Boy: The Life of Keith Moon" (Tony Fletcher, 2010).
amazon.com/Dear-Boy-Life-Keith-Moon/dp/1844498077
taken from Chapter 38:

"Late in August [1978], Keith was called in to CTS studios in Wembley where the soundtrack for The Kids Are Alright had been put together. He needed to overdub some drums to replace his lax playing of 'Won't Get Fooled Again' and 'Baba O'Riley' at the Shepperton concert. There was also a montage of guitar-and-drum destruction from over the years for which the original recordings were ropey, and on which Keith could have some fun.

Pete Wandless, who as house engineer at CTS had spent the past few weeks alongside Cy Längsten and John Entwistle, synching up and improving the footage of the early Who, watched Keith walk in that day. "I could barely recognise him. I knew it was him, but he was very puffy, very slow. He just looked like he was past it. His skin had taken on that pallor people have when they really are not looking after themselves, quite a grayish colour. I was quite shocked when I saw him, because he wasn't the guy I'd been watching on the screen for the last three weeks. Keith was the youngest member of the band and yet he looked ten years older than the rest of them."

Keith couldn't remember Pete's name, which didn't offend the engineer although he thought they'd met enough times over the years and recent weeks. But when Keith began calling Cyrano by a different name too, it was obvious, as Längsten recalls, that "He was gone." (Tranquillised,' thought Wandless.) He kept asking Richard Dorse to bring him more of the pills he said he was taking to cope with his alcohol withdrawal. As far as anyone else could tell, the drugs offered no improvement. At least in the old days when Keith was drunk, he could play. Now he could not even do that.

"He got halfway through, and we had to stop the tape," says Wandless. "He leaned forward resting on his two drum sticks on the toms, and he looked through the glass, like, 'God do I have to do this? It's hard work.'"

"It was pretty sad," recalls Längsten of Keith's persona and performance that day. But eventually they got the Shepperton footage dubbed in all the right places. They moved on to the montage, and "He refused to play a drum solo," recalls Entwistle. It was exasperating. All they wanted him to do was play like he always had done over the years -- a free-form rampage over the drums. Keith started playing and singing Boris Pickett's 'Monster Mash' instead.

But, recalls Langsten, "That was the great thing about Keith. As out of it as he would get, he could always make you laugh. It was hilarious and tedious. He was like that a lot of the time. During the time that it was tedious you would also have tears coming out of your eyes, he was so magical and so special."

Eventually, they got what they needed. Just. He'd made them laugh - though mostly, he'd driven them to despair. Par for the course, perhaps, but still it was pitiful to see him so out of it, so dependent on drugs when he claimed he was getting healthy.
Keith never played the drums again."

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