Townshend would later explain that the venom and anger he exhibited was a result of his frustration with not being able to play his guitar as well as the blues musicians he idolised. He could hear the notes in his head, but he couldn't pick them out… yet. His famous arm windmilling and jumping around was intended to make his guitar work seem more 'lethal'. This all created a pent-up anger and frustration in the young guitarist that eventually boiled over that night in London.
The on-stage antics soon became a unique signature of The Who, and Townshend in particular. His performances became so physical that he started damaging his feet. And in 1967, he turned to a pair of air-cushioned 1460 boots to relieve his soles. In Townshend's own words, 'Their toughness combined with their softness and flexibility is what made them so perfect for the routines I performed on stage. I literally bounced.'
As the band rose to Mod king status, they brought our boots along for the ride. Townshend took them everywhere: ‘There would sometimes be a couple of things I’d take to bed with me. A bottle of cognac on one side, a Dr. Martens boot on the other.’
The on-stage antics soon became a unique signature of The Who, and Townshend in particular. His performances became so physical that he started damaging his feet. And in 1967, he turned to a pair of air-cushioned 1460 boots to relieve his soles. In Townshend's own words, 'Their toughness combined with their softness and flexibility is what made them so perfect for the routines I performed on stage. I literally bounced.'
As the band rose to Mod king status, they brought our boots along for the ride. Townshend took them everywhere: ‘There would sometimes be a couple of things I’d take to bed with me. A bottle of cognac on one side, a Dr. Martens boot on the other.’
