The Who's tour of North America in 1967, which included their star-making appearance at the Monterey International Pop Festival, introduced Daltrey to the rigors of playing large venues, where his voice would be drowned out by not only his bandmates' intense volume, but also the cavernous acoustics of music halls and outdoor festival stages. He had mastered the R&B and soul covers that made up the Detours and early Who set lists, but Townshend's original compositions, which bristled with kinetic energy on both a lyrical and instrumental level, left little room for smooth harmonies or modest deliveries. Initially, Daltrey was uncomfortable in his role as frontman for the Who. Upon realizing that his only other means of supporting himself had come as a sheet metal worker during his early days with the Detours, he recanted, and settled comfortably into his role as the voice for Townshend's odes to teenaged anger and anxiety. In 1965, Daltrey was briefly ejected from the Who after assaulting Moon for providing drugs to Townshend and Entwhistle. The group quickly gained a reputation for their explosive live performances, which were frequently capped by Townshend and Moon destroying their instruments, as well as gritty, R&B-driven songs like their first single, "I Can't Explain," "Anyway, Anyhow, Anywhere" and "Substitute." During this period, the band's leadership shifted away from Daltrey to Townshend, primarily due to the latter's songwriting ability, but also because Daltrey's preferred method of decision-making was to physically abuse his bandmates into siding with his opinion. The High Numbers released one single, "Zoot Suit/I'm the Face," which failed to generate any chart placement, before abandoning both Meaden and their new name in favor of filmmakers-turned-record producers Kit Lambert and Chris Stamp, who prompted their final name change to the Who. ![]() The Detours briefly changed their moniker to the High Numbers, a decision prompted by their then-manager, Peter Meaden, to appeal to the Mod movement. Keith Moon, a manic young drummer for another local act called the Beachcombers, eventually replaced Sandom, while Dawson's departure promoted Daltrey to lead vocals. Daltrey soon recruited Entwhistle and Townshend for the group, which initially included drummer Doug Sandom and singer Colin Dawson. In the late 1950s, he joined a skiffle group, the Detours, which soon became regulars on the pub and working men's club circuits. But like so many of his fellow musicians, the discovery of Elvis Presley and rock-n-roll in general turned his attention away from academics. All three attended Actor County Grammar School for Boys, where Daltrey showed an aptitude for studies. i>Going Back Home (2014) and his first solo album since 1992, Now That I Have You (2018), proved there was still much to offer.īorn Main the Hammersmith neighborhood of London, England, Roger Harry Daltrey was one of three children by Harry and Irene Daltrey, who raised him and his two sisters in the district of Acton, where future bandmates Pete Townshend and John Entwhistle also lived. Still astonishingly fit and firm of voice into his sixth decade, Roger Daltrey's enduring strength and charisma made him one of rock's most memorable frontmen, with a pair of late-career milestones, an R&B set with guitarist Wilko Johnson. ![]() He rejoined Townshend and Entwhistle in 1989 to celebrate the band's 25th anniversary, which led to a string of subsequent reunion tours and a well-received album, Endless Wire (2006). Daltrey began releasing solo records in 1973. His seemingly innocent appearance belied his incredible vocal range, which reached from a blues-driven growl to an ear-shattering scream, as evidenced by his cathartic exclamation at the end of 1971's "Won't Get Fooled Again." His singing talents and undeniably masculine stage presence led to a string of acting roles, most notably as the titular hero in Ken Russell's adaptation of "Tommy" (1975) and as a determined bank robber in "McVicar" (1980). Arguably one of the most commanding singers in rock-n-roll history, Roger Daltrey delivered maximum power as frontman for Britain's legendary the Who, from their inception in the early 1960s through their rise to international fame with the albums Tommy (1962), Who's Next (1971) and Who Are You (1978) and subsequent reunions over a period of nearly five decades.
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