WHAT I'M DOING EVERYDAY
I am shut away in my home studio at the moment working to restore the demos of Quadrophenia. Bob Pridden is doing surround-sound mixes of selected tracks. Jon Astley is remastering the original vinyl mix, and evaluating his own 1996 remix (the one where you can properly hear Roger's astonishing vocals). I am sitting in a pile of notes, desk diaries, photos (I took a lot of my own between 1971-1973 when Quadrophenia emerged), original lyrics and writing liner notes.
I am really enjoying this work. Bob's mixes are mind-blowing. My demos are among the best I've ever done, and include some real quirky tracks that didn't make it onto the final album. I still find studio work strange – I have to have the speakers very low in volume, not what I'm used to. This package, due in October if all goes well, is another Live at Leeds and Hull – or even another Lifehouse Chronicles – in the making. You are going to love it. I hope so, because I am missing this summer sunshine to get it completed on time.
In my recent interview with my friend Simon Garfield for INTELLIGENT LIFE, I professed some difficulty in my interaction with fans as I grow older. What is so wonderful about working on Quadrophenia is that back in 1970, all the way through to the recording in 1973, the primary challenge for me was to tell the story of the Who's fans and at the same time address the wayward creative needs of the band as individuals and artists. The Who, and Jimmy as a kind of model for one or all of our fans, really had developed a powerful symbiosis that deserved a project like Quadrophenia both to honour the mechanism and address why it started to fail almost a soon as it had begun
So I am enjoying working with the music, but I'm enjoying writing about it too.
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