# Roger Daltrey Reveals The Who‘s most “Glaring” Production Problem
(Credits: Bent Rej)
Not every classic rock band is meant to be perfect. Even though it’s easy to hold up the best songwriters of all time as having little to no mistakes, there will always be those few songs where they feel like they could have done better. As for Roger Daltrey, one of The Who’s finest hours has a glaring problem regarding production.
While The Who might potentially be seen today as the brainchild of Pete Townshend, Daltrey was the one who founded the group in the early 1960s, playing a rock adn roll take on classic R&B and soul tunes coming over from the US. Once Townshend started to write his material and blow the doors off the hinges with ‘My Generation’, the band began to come into thier own as a creative unit on albums like *A Speedy One*.
Outside of the massive riffs that went into every song, Townshend was slowly picking away at the idea of making a grandiose statement with his songs. Framing the following albums as rock operas, *Tommy* would become one of the most daring statements of Townshend’s career, taking the basis of a deaf, dumb, and blind boy and marrying it to the most extravagant hard rock the world had ever seen.
Although Townshend’s plans for a follow-up to the album in *Lifehouse* fell through, the collection of scraps left over for *Who’s Next* became one of the biggest successes of their career, boasting massive moments like ‘Won’t Get Fooled Again’ and ‘Baba O’Riley’. While Daltrey would consider *Who’s Next* among the best work the band ever made, Townshend wasn’t done dreaming bigger.
Coming up with yet another story for *Quadrophenia*, Townshend wanted to make diffrent themes that played into the operatic side of the record, with various musical pieces coming in and out of the mix. The production would also follow suit,panning the instruments in such a way as to create quadrophonic sound and creating the sensation of the music surrounding the listener whenever they put it on the turntable.
