Fundamental as The Who's music undoubtedly was, it was their visual imagery and sheer, staggering vitality on stage that forms the most indelible image of Sixties London. Forget angry young men. The Who sped through the mid-Sixties almost incandescent with rage: at the world around them, at their equipment, but mainly at each other.Now for the first time in one book Pete Townshend, Roger Daltrey and John Entwistle re-live the creative rivalry, tense recording sessions, freezing photo shoots, girls, gigs and the multitude of other highs and lows that went hand-in-hand with being thrown into the forefront of the Sixties revolution.
Maximum Who includes shots of some legendary performances by the band during the Sixties: the embryonic shows at the Goldhawk Club; recording at Ready Steady Go! and at the Duke of York's Barracks for American TV; live at the Richmond Jazz Festival
The Who are shown in the recording studio in the early days with Shel Talmy and Glyn Johns and later when recording Tommy. Rehearsal sessions are also pictured while more private moments are captured in photographs of Pete, Roger and John in their London homes, with their beloved cars, and in the quest for Mod clothes in Chelsea boutiques.
'Colin Jones could easily produce a book on his own on the Sixties. This book would not look the same without him. I have used a lot of his shots because they have never been seen and are the most evocative of the period that I've seen. They remind me of looking at an old black and white television and evoke a stark and often harsh vision of an almost Dickensian London.' - Ross Halfin
'I have fantastic memories of The Who, Pete leaping higher into the air than seemed possible, Roger throwing his microphone out of sight into the darkness above the stage, and then catching it. John impassive and, of course, the one and only Keith Moon. The Who sang "Hope we die before we get old", they didn't, and I can't wait to see them again.' - Peter Blake
This exceptional, large-format limited edition book documents all facets of the explosion of The Who onto the British scene in the Sixties.Ross Halfin's inspired image selection presents the band's early years, from 1964 with the arrival of Keith Moon and the appointment of management team Kit Lambert and Chris Stamp, to 1969 with The Who on the cusp of stellar success recording and rehearsing Tommy.
Colin's first career was as a dancer with the Royal Ballet, but whilst on tour in 1959 he began to take photographs seriously as a way of documenting the scenes he saw around him. He was particularly influenced by the Hungarian photographer Michael Peto (author of Now These Days Are Gone). Peto suggested that Colin show his pictures to Dennis Hackett, the Picture Editor at The Observer. To his surprise, a few weeks later he received a telegram offering him a six-month contract.
Chris MorphetChris and Pete Townshend first met when Chris was the singer and musician for a local rock band of art students from Leicester College of Art. When his group played on the same bill as The Who, Chris became friendly with Pete. He visited him frequently in his flat in London and at various of The Who's performances, where he began to photograph the band. He now works as a well-respected broadcast video cameraman, mainly making documentary films for television. His work includes the series Trouble at the Top.
Dominique TarléDominique's interest in rock photography developed early in life. At the age of fifteen he borrowed his father's camera, walked into the Olympia music hall in Paris after school and from then on regularly took photographs in front of the stage. It was the Sixties, a time when an enthusiast could do such a thing without the need for a photopass. Along with The Who he captured on camera many of the main groups of the time, amongst them The Beatles, The Animals, The Kinks and The Rolling Stones. He is author of the now legendary Genesis Limited Edition, Exile.
David WedgburyDavid was the staff photographer at Decca Records. He eventually gave up photography to become an artist. Sadly, most of the sessions from the first album that he shot were lost by Kit Lambert. All that remain are shown in Maximum Who. He died in 1998.
Baron WolmanIn 1967, Wolman joined Jann Wenner to become the first photographer for Rolling Stone magazine. During his three-year tenure there, his lens captured the explosion of rock music, and his images were featured on numerous early covers and on on the pages of countless other books and magazines.
Ross Halfin has been photographing bands since the Seventies. In that time he has shot all of the top bands and worked for some of the major music publications.He has produced several photography books, notably The Who Live, and as consultant editor on Jimmy Page.
Each copy is quarter-bound in blue leather with silk-screened red cloth and gilt page edging, and is housed in a cloth-bound slipcase with silk-screened Who artwork, gold foiling and leather trim.Lovingly created to immaculate standards of editorial, design and printing, Maximum Who, like every edition by Genesis Publications, is a book to be treasured forever.
Select from the following editions:
The limited edition document of The Who in the Sixties and the only book ever to be written by Roger Daltrey, John Entwistle and Pete Townshend, who have all provided text captions.
Since 1974 Genesis has created signed limited edition books on behalf of authors and artists ranging from the Beatles to Buckingham Palace.
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