![]() Accordingly, it was arranged to book the Young Vic theatre in Waterloo, London, and an audience was assembled, but the process didn’t really work. While it was still being considered as a film project, Pete Townshend planned to ‘workshop’ the process, in front of an interactive audience to demo up the material for and with the band. One particularly forward-looking idea, which no-one understood at the time, was ‘The Grid’, a way of connecting everyone in the world electronically, ie the Internet. In the process, the project was intended to explore elements of science fiction, electronics, mysticism and what was to become known as virtual reality. ![]() The ‘Lifehouse’ was the place where the music was played and where the young people would collect to discover rock music as a powerful, almost religious cult. Planned as the follow up to Tommy, the album was inspired by Townshend’s experiences on the Tommy tour, but in the process of trying to develop it as a concept, the project was eventually abandoned as a rock opera in favour of creating a more traditional rock album, which became Who’s Next.Īccording to the sleeve notes of the expanded CD reissue of Who’s Next, the script of Lifehouse was set in the near future and concerned a totalitarian society devoid of rock music, in which the oppressed youth discover that rock had a purifying, liberating effect upon themselves. The follow-up, Who’s Next, The Who’s fifth album, had its roots in the futuristic rock opera Lifehouse project, which composer/guitarist/singer Pete Townshend has variously described as intended to be both recorded live and as the music for a scripted film project. Two shows were consequently scheduled, one at the University of Leeds and the other in Hull, for the express purpose of recording and releasing a live album which resulted in Live At Leeds. However, the band balked at the prospect of listening to approximately 80 hours of accumulated recordings to decide which would make the best album and it was rumoured that the tapes were subsequently burned to prevent bootlegging. ![]() After releasing Tommy in mid-1969, The Who went on an extended world tour to promote it, and returned to England at year’s end with a desire to release a live album from the tour.
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