This is the work of a genuine GENIUS. There was so much great music in the early 70's that much of his stuff was kind of passed over at the time without much thought..but this is truly groundbreaking for the time. Rock music does not have to just be about lead guitar shredding to be good; it's about unique content and composition - and that's where this guy has left so much overwhelming evidence that he is arguably he best overall R & R song writer and musician - ever.
Now take your demo and add some Entwistle and a dash of Moon, then a pinch of Daltrey . Mix well and your classic Who dish will be ready for all to love.
As another person commenting said, that beginning is transcendent with it’s musical glow and the rest of the demo is beautiful. I thank Pete for this awesome works of art no matter what anyone’s opinion is about him or his music. God bless
The intro is arguably the most brilliant thing in the song, but it was cut! And the doubling up of the synth at the end is simply transcendent. Though the synth may be the same in the studio version, it sounds much more stunning here, maybe because it is more prominent in the mix. I also love the dual guitars at the end. Absolute musical genius, as far as I'm concerned.
Whenever I revisit PT’s Demos here on CZcams (and just how grateful for CZcams are we; after all?) I know I’m in for lots of good vibrations for quite a while! I stay up all night (it’s just what happens, lol) listening to as many of PT ‘s Demos as I can; consequences Be Damned! So I’ve been on Sister Disco now for many many repeats. Sometimes that happens; where I’m like my 4-year old was with her Snow White Movie; and I listen to Pete singing the same song many times over and over and over without pause; and I love it! While immersed in Sister Disco; and especially after that epic intro, I begin to think about PT in his little studio; sometimes frantically turning those knobs; experimenting with sounds and his equipment and performing tasks that will forever be lost on me. I do know he was laying down sounds he created from his own psyche (dare I say: and from my own, too? It sure feels like it!) Soon enough though, I’m not thinking at all; only ‘feeling’ and ‘experiencing’; and then...don’t ask me how; but next thing is, I’m looking at your comment where you (lovingly, imo) mention how brilliant the intro is and that the doubling up of synth at the end is “simply transcendent”; etc etc; while I’m simultaneously listening to the excellence of this Version of Sister Disco for the 11th time in-a-row. Sublime. I can say right here and now that I doubly enjoyed taking-in your deftly written description and opinion of SD with my eyes whilst I was following along to Pete’s musical creation with my ears! The crucial part of this story for me is how there’s a commonality in both of our opinion’s of Pete and his work. As a lifelong (47 years!) WhoHead, I’ve rarely come across another person who appreciates, admires, loves, and respects the Genius who is Pete Townshend as much as I do! It was heartwarming to read your eloquent words; which were as impassioned and authentic as my own love is for Pete Townshend and The Who! The Who Is Love And I Love The Who! Long Live The Who!
lifehouse evolved as the years and pete got older so there would of course be many more songs but it's all part of pete's vision he's conception of the lifehouse.
Much greater than the "official" version on "Who are You?" What would have been the most interesting would have been The Who, Moon and all, playing this arrangrment.....
I think I like it better than the Who's version, too -- although the Who's version features one of the greatest rock basslines of all time by John Entwistle.
@@pierregauchez267 Pete was a great bass player. However, while this demo is more interesting than the official Who version of the song, I consider Entwistle's bassline on that version awesome (all those wild slides & glisses in the verses, etc.).
Wait a minute! This was part of the Lifehouse project? How could that be true? There was no such thing as Disco in 1970 and 71 when they were recording Lifehouse.
As stated by Pete: "For this track I spent a lot of hours programming my analogue sequencers in my ARP 2500 studio synthesizer. It isn't quite Kraftwerk, but in 1976 I don't think they were doing much better." So, he prob wrote it by 1976
Ya, no shit. Disco wasn't even a thing when Lifehouse was conceived. I love Pete, but he has a way of restructuring the past to suit his present. But then again, he's Pete, he can do whatever the fuck he wants and I'll still be listening.
Well, you know the Hypnotized Never Lie. He can spit out like a sewerhole, and still receive your kiss. How can he measure up to anyone now, after such a love as this? ;-)
The story goes that Daltrey encouraged Pete to take another stab at the Lifehouse project in late 1977/early 1978 and that Sister Disco and Music Must Change were written as possibilities for an updated Lifehouse story. I think there is additional information about this in the liner notes to Who's Next or Who Are You.
Is this the ARP 2500, or one of Pete's other synths using some kind of external sequencer? Also curious how he got all the separate synth parts to sync up in this pre-MIDI era.
Pretty sure it's the 2500 although the patches are so simple it could have been any of his synths (probably not his VCS3, however, this doesn't sound like it). There was probably some kind of time code or sync pulse recorded on one of the tape tracks, fed into the synth to fire the sequencer, envelope generators, etc.; since it's all just voltages I'm pretty sure it would have been easy to convert taped pulses into gate and trigger signals that the synth could work with. It's also possible that Pete had gotten his hands on a Roland MC-4 or some other early microprocessor-controlled hardware sequencer that could be programmed with multiple on-the-fly-selectable sequences. He probably would have had to do some punching in as well for the different synth patches in any case.
My ex brother-in-law, Dennis Colin, created the ARP 2600. He worked for ARP from 1969-1971. He is now deceased. A couple of UK documentary film makers met my niece on a plane from San Fran Freako, CA, USA, to Boston. They befriended her when they found out who her father was and asked to film Dennis. He agreed to be filmed at his home in rural NH. I was there when the film makers arrived. I heard part of the interview live before stepping out of the small attic interview room. Dennis lit up a cigarette and I am very alergic to smoke. I am still awaiting to hear the full interview! Dennis Colin has been nearly erased from sound technology history. I hope that documentary got produced.
Townshend is beyond rock….he’s in a music category by himself.
Did you know his first solo album inspired Paul McCartney to record his solo record entirely by himself?
A brilliant song, underrated in my opinion.
Pete is a legend.
This is the work of a genuine GENIUS. There was so much great music in the early 70's that much of his stuff was kind of passed over at the time without much thought..but this is truly groundbreaking for the time. Rock music does not have to just be about lead guitar shredding to be good; it's about unique content and composition - and that's where this guy has left so much overwhelming evidence that he is arguably he best overall R & R song writer and musician - ever.
Now take your demo and add some Entwistle and a dash of Moon, then a pinch of Daltrey . Mix well and your classic Who dish will be ready for all to love.
I love it just like this!
The bassline is fucking great, especially on the chorus !
Damn I like this version way more
As another person commenting said, that beginning is transcendent with it’s musical glow and the rest of the demo is beautiful. I thank Pete for this awesome works of art no matter what anyone’s opinion is about him or his music. God bless
The intro is arguably the most brilliant thing in the song, but it was cut! And the doubling up of the synth at the end is simply transcendent. Though the synth may be the same in the studio version, it sounds much more stunning here, maybe because it is more prominent in the mix. I also love the dual guitars at the end. Absolute musical genius, as far as I'm concerned.
This was still the age of the LP. songs had to be shortened to fit on the limited time of vinyl.
You gave such a lovely comment; I enjoyed each and every word....several times over!
Whenever I revisit PT’s Demos here on CZcams (and just how grateful for CZcams are we; after all?) I know I’m in for lots of good vibrations for quite a while! I stay up all night (it’s just what happens, lol) listening to as many of PT ‘s Demos as I can; consequences Be Damned! So I’ve been on Sister Disco now for many many repeats. Sometimes that happens; where I’m like my
4-year old was with her Snow White Movie; and I listen to Pete singing the same song many times over and over and over without pause; and I love it! While immersed in Sister Disco; and especially after that epic intro, I begin to think about PT in his little studio; sometimes frantically turning those knobs; experimenting with sounds and his equipment and performing tasks that will forever be lost on me. I do know he was laying down sounds he created from his own psyche (dare I say: and from my own, too? It sure feels like it!) Soon enough though, I’m not thinking at all; only ‘feeling’ and ‘experiencing’; and then...don’t ask me how; but next thing is, I’m looking at your comment where you (lovingly, imo) mention how brilliant the intro is and that the doubling up of synth at the end is “simply transcendent”; etc etc; while I’m simultaneously listening to the excellence of this Version of Sister Disco for the 11th time
in-a-row. Sublime. I can say right here and now that I doubly enjoyed taking-in your deftly written description and opinion of SD with my eyes whilst I was following along to Pete’s musical creation with my ears! The crucial part of this story for me is how there’s a commonality in both of our opinion’s of Pete and his work. As a lifelong (47 years!) WhoHead, I’ve rarely come across another person who appreciates, admires, loves, and respects the Genius who is Pete Townshend as much as I do! It was heartwarming to read your eloquent words; which
were as impassioned and authentic as my own love is for Pete Townshend and The Who! The Who Is Love And I Love The Who!
Long Live The Who!
This song is incredible with that intro synth. To me, it is an out of this world type of sound. Truly incredible
@@catherinefitzpatrick9144 - wonder-full , Cath !! - And .. how you're expressing my feelings too ! THANK YOU EVER-SO-MUCH !!!
WAY better than the album cut. So much was lost in the 'rocked-up' album version.
I demo di pete sono strepitosi e mettono in evidenza il suo genio
musicale number one🥰
DarthMurray: cannot thank you enough for these precious PT demos you’ve shared with us!
Agreed
Los demos de Peter tienen una magia y encantos únicos, que no son iguales a cuando cantan todo el grupo
Made the mistake of using this as a ringtone once. Every time I hear it now, I think some idiot's trying to interrupt my day.
Ahahahaaaaa! 😄
The demo?
it is really interesting to see the song in the producing states, it shows how much the band and producer contribute to the song
I wish Pete sung this song on the record. Have always preferred this version, genius.
Pete's formula was simple... The Guitar plays 3 "magic chords" while Keyboards, run all over the damn place!
Just one note, puuuure and eeeaasyyy
This is amazing!
When the Who played this in the '82 "final tour", there were ending lyrics, similar to this demo. Sooooo much better.
D's D's D's demos are the bomb
Narrow-minded lyrics from a confused man who went on to BF boys.
Disco was great.
5:10, The complete Pete goes mad! 😋
everyone knows Brian Wilson was a genius at his peak. Pete was also a genius at his peak
Hell yeah
Oh yeah wat about TODD RUNDGREN
lifehouse evolved as the years and pete got older so there would of course be many more songs but it's all part of pete's vision he's conception of the lifehouse.
Much greater than the "official" version on "Who are You?" What would have been the most interesting would have been
The Who, Moon and all, playing this arrangrment.....
I think I like it better than the Who's version, too -- although the Who's version features one of the greatest rock basslines of all time by John Entwistle.
@@norbertk9595 Paradoxically I find this Townshend's bass line here much richer and more melodic than the Entwistle line especially on the chorus.
@@pierregauchez267 Pete was a great bass player.
However, while this demo is more interesting than the official Who version of the song, I consider Entwistle's bassline on that version awesome (all those wild slides & glisses in the verses, etc.).
Everything that is right about music
The 80’s Pete was the best.
These demo's are less compromised and feel 'free' compared to the Who recordings.
i love the ending
I love the beginning! lol
@@catherinefitzpatrick9144 - both are magnificent !! - though i'm probably more into those guitars talking to each other ...
Yup, just because those songs are on lifehouse chronicles, it doesn't mean that they all were written around 1970-1971.
Are there detailed liner notes by Pete on 'Lifehouse Chronicles'?
From this to the version on who r u. Trippy the difference. Not really a fan of this tune but Pete Townshend rules!!!
Ya ya
Sounds much better than the final version with the caveman voice of Daltrey
“Caveman voice” Lol
Behold the ARP!
it's so baroque
I can't believe The Who's version cut out this amazing intro.
Makes it "music" as opposed to being merely as song.. ...
Wait a minute! This was part of the Lifehouse project? How could that be true? There was no such thing as Disco in 1970 and 71 when they were recording Lifehouse.
Pete revisited Lifehouse later on, in 1978 too
As stated by Pete: "For this track I spent a lot of hours programming my analogue sequencers in my ARP 2500 studio synthesizer. It isn't quite Kraftwerk, but in 1976 I don't think they were doing much better."
So, he prob wrote it by 1976
Double tracked or flange delay lead vocal.
Call me crazy but I don't think this song was intended for Lifehouse I... Possibly it would have been intended for Lifehouse II.
Ya, no shit. Disco wasn't even a thing when Lifehouse was conceived. I love Pete, but he has a way of restructuring the past to suit his present. But then again, he's Pete, he can do whatever the fuck he wants and I'll still be listening.
Well, you know the Hypnotized Never Lie. He can spit out like a sewerhole, and still receive your kiss.
How can he measure up to anyone now, after such a love as this? ;-)
While the "disco" lyrics may not have been meant for Lifehouse, the music surely was.
The story goes that Daltrey encouraged Pete to take another stab at the Lifehouse project in late 1977/early 1978 and that Sister Disco and Music Must Change were written as possibilities for an updated Lifehouse story. I think there is additional information about this in the liner notes to Who's Next or Who Are You.
@@silverthreadprintmarketing1116 I love ‘The Music Must Change’!
Is this the ARP 2500, or one of Pete's other synths using some kind of external sequencer? Also curious how he got all the separate synth parts to sync up in this pre-MIDI era.
Pretty sure it's the 2500 although the patches are so simple it could have been any of his synths (probably not his VCS3, however, this doesn't sound like it). There was probably some kind of time code or sync pulse recorded on one of the tape tracks, fed into the synth to fire the sequencer, envelope generators, etc.; since it's all just voltages I'm pretty sure it would have been easy to convert taped pulses into gate and trigger signals that the synth could work with. It's also possible that Pete had gotten his hands on a Roland MC-4 or some other early microprocessor-controlled hardware sequencer that could be programmed with multiple on-the-fly-selectable sequences. He probably would have had to do some punching in as well for the different synth patches in any case.
My ex brother-in-law, Dennis Colin, created the ARP 2600. He worked for ARP from 1969-1971. He is now deceased. A couple of UK documentary film makers met my niece on a plane from San Fran Freako, CA, USA, to Boston. They befriended her when they found out who her father was and asked to film Dennis. He agreed to be filmed at his home in rural NH. I was there when the film makers arrived. I heard part of the interview live before stepping out of the small attic interview room. Dennis lit up a cigarette and I am very alergic to smoke. I am still awaiting to hear the full interview! Dennis Colin has been nearly erased from sound technology history. I hope that documentary got produced.
Does anybody know what he's using for percussion?
maybe an Arp synth?
it's like baba o' riley
Give blood
sounds like a violin
no. not at all.
Pete's voice sounds very weird on this -- not quite like himself...
Sounds a lot like Roger in fact.
Johnny Puddu yes, its daltrey singing
CobraStallone Rambo No it’s Pete.... he just has effects on his voice. Listen again..... it’s Pete.
To me it sounds like Pete trying to imitate Roger, or at least how he wants Roger to sing it.
Pete went punk on this one