Guitar Tricks Insider April/May Digital Edition | Page 16

CLASSIC CORNER: BACKTRACK CLASSIC CORNER: BACKTRACK We were fooling around. I see Keith Moon sitting at the organ like he’s the Phantom of the Opera. He’s doing these dramatic hand lifts. He’s playing the organ. God knows what he’s playing because we were in the control room. You couldn’t hear it. And I said to Pete, “Ha, it looks like he’s having a grand old time out there.” And Pete looks at me with a straight face and says, “Leslie, quite frankly, he is being totally serious at this moment.” That’s why he let me do that because we didn’t rehearse. It goes on for a while – the guitar solo in the longer “Baby Don’t Do It”. He just let me play over those changes. And I think, I hope this is right. I hope this works. He let me do my thing and I guess he was impressed enough with it – that it was exciting. Because we got all the way through. I remember one time while we were going over the song Kit Lambert comes running out into the studio with a sign that he wrote that said, “Good Work. Keep It Up.” Townshend stops and starts screaming at Kit. “Why the fuck would you interrupt us?” He was putting the sign in everybody’s face. Townshend almost hit him with the guitar. I was so hysterical. I’m a fat kid from Forrest Hills. What do I know? ■ Do you remember what guitar you used? A ‘56 Les Paul Jr. Sunburst. I gave it to Pete after we finished the session. Too often when great musicians get together it’s a good photo and fair music. This was great music and nobody has to be told you are on there. You are doing what you do best within their live recording. Love Ain’t for Keeping – The Who with Leslie West Baby Don’t Do It – The Who with Leslie West 16 DIGITAL EDITION APR/MAY APR/MAY DIGITAL EDITION 17