Roger Daltrey spoke about the ongoing sessions for the Who's 12th studio set currently in production with Pete Townshend laying down tracks at various studios in and around London. Bllboard reported that during the singer's appearance 31st International Live Music Conference in London the singer shed light on the the new album, explaining, “We're just doing a new album at the moment. . . I just love my job of being the guy who takes what Pete's written as a solo song, looking at it and thinking, 'How do I make this work to move an audience?' It's that process for me that makes making records still worth it. Otherwise it's two guys in two different studios. We don't go in and make records like we used to. I wish it was that way but we're not a band. Since John (Entwistle) and Keith (Moon) died we're not a band in that sense. But equally, we can make music and as long as I can put a vocal on that has elevated a song from: there was a Pete Townshend song, to: there is a Who song, I'm happy.”

Daltrey went on to praise Townshend's work, saying, “People throw the word genius around pretty easily, but when it comes to music and songwriting you have to say that, Townshend, in rock music and popular music, is probably one of the most important composers of the 20th century. In that sense his music does contain genius.”

Although hardly a choir boy, during the Who's legendary stretch on the road throughout the 1970's, Roger Daltrey remained the anchor of the band when nearly everything else was careening out of control: “I was in a band with three addicts. Two alcoholics and Keith would take anything. I don't know how he survived as long as he did. You'd say, 'Do you want one of these Keith?' And he wouldn't want one. He'd want ten. He was bomb proof. He really was. But it was all hiding other stuff that he had inside him. He was so talented and he was so insecure. He would have you laughing till you had to walk out of the room because you couldn't laugh anymore. He was the funniest man I've ever met in my life. But under that was this incredible frailty and vulnerability and he couldn't channel his talent in a way that he could use creatively. He was a fantastic actor, but he could never do more than a cameo because he could never do the same thing twice. Keith had a lot of tragedy in his life and he never really came out of those tragedies. It was all buried inside him and he was trying to drown it with alcohol and the other drugs.”

Although he's in no way forgotten the band's incredible history, Roger Daltrey recognizes that the Who remains very much a part of the now — both in terms of the business and a still growing legion of fans: “It's nice to have survived, because we did lose a lot of friends on the way. It is extraordinary — and (to) still able to be able to draw an audience that in some ways is, y'know — to what young bands kind of draw — is enormous; thanks to things, like CSI and our songs being on there and other bands picking up Who music and saying that it influenced them. Their fans come and see us and they say: 'Woo, this is something different.' I mean, it's true, Who music is very different from most rock n' roll that's out there.”

IN OTHER WHO NEWS

Pete Townshend continues recording in London, with hopes of having the new Who album completed for a possible May release. He posted an update on TheWho.com, saying in part, “Really, it’s still just me on the music, with Dave Sardy producing, Jim Monti on the computer, Myles Clarke assisting on computer, Simon Law doing guitars. I’m playing vitamin pills and bass guitar. Roger is doing vocal rehearsals on the songs somewhere else . . . as I’ve said before. I did a publishing conference last night to announce my novel, but forgot to take pictures. . . so no Instagram on that. Our video helper Brian Beaver needed some time to rest his brain — like me he’s been working flat out, but unlike me he isn’t working on his own creative stuff. So I wish him well, and I apologise for my crappy video while he’s away.”

Pete Townshend told us that the modern Who audience, which factors in many younger, less die-hard fans than back in the '60s, '70s, and '80s, is more concerned with being entertained than in previous eras: “What's actually changed for us is that our audience has actually become the audience. It's not the Who audience anymore, it is the audience. When you go and play a festival now, you see young people who are willing to sit and watch the (Red Hot) Chili Peppers, you know, the Who, this artist, that artist and so on.”

Source: Pulse of Radio