Roger Daltrey: And I listen back to myself now in that period, 1964, we got some early, early demos, and, by God, I sound like a 50-year-old black man.
Reporter: [interviewer] ... what's your normal routine after a show like this?...
Keith Moon: [archive footage] Leave and get drunk.
Pete Townshend: Gustav Metzger comes in and shows movies of him with one young Yoko Ono, by the way, bursting through paintings with... You know, slashing at it with a sword, and a bunch of what looks like idiotic art students on the streets smashing up an old piano, and then tries to describe his thesis, which was that what we're doing is we're destroying our planet, and what art should do is reflect that destruction.
Rob Ladd: Typically, if the drummer were to add a second bass drum part, he would continue to lead on the downbeats with his right foot, and then any sort of extra notes would come out of the left. But that's not the way that Keith did it. When he would come to a section that required double bass playing, he would switch to a left-foot lead, which is the most insane thing I think I've ever heard of.
Roger Daltrey: Our ambitions in those days were very, very simple: to be rich and famous. We made no excuses for it. We just got out of havin' are arse hangin' out of our trousers and I don't make any apologies for wanting to be rich and famous. Thank you very much.