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For example, his drunken adventures with Oliver Reed shows a kindred spirit, revelling in excesses and living life to the absolute maximum.

Full Moon: The Amazing Rock and Roll Life of Keith Moon

It seems that it was only when he was onstage or in the studio with The Who that he knew who he actually was. The only place he could express himself. The only place where he knew exactly what to do. From the year-old wannabe rock star to the drummer for The Who — elevated to almost god-like worship through the rock operas Tommy and Quadrophenia — several brilliant numbers are performed with drums front and centre: hypnotic, melodic and compelling.

The see-saw of drugs and alcohol proved too much for him to balance and self-annihilation was the inevitable destination. His genius is celebrated in this hour of some of the greatest rock music ever made, as well as exposing the excesses that killed him and the mental instability that failed to cope with the fame. Finely balanced and crafted, this is more than just a tribute — deftly directed with minimal fuss this show is a must-see for rock music followers.

Simply brilliant. Keith Moon, like so many rock stars, was a light that burned brightly and briefly, though not as briefly as some e. All of this occurs in the context of some of the great Who songs written by Townshend. It was a comment on the difference between his style of drumming and that of Stones drummer Charlie Watts. It turns out that he was a wild man in his life too, living the equivalent of one full, but sad life in only 31 years. Berry convincingly conveys that the only time Moon seemed free of his demons was when he was playing.

Other than that, he was a wreck.

The Fun Stuff

Not only does Berry play the drums like Moon, he also talks during some of the songs, trying to convey what Moon might have felt while playing the song. In a couple of instances, Berry actually illustrates each drum part e.

When he is talking to the audience, either pictures or lyrics are projected on the screen behind him. But when he is playing, the audience gets an overhead view of Berry.

Full Moon | Angus & Robertson

Keith Moon: The Real Me. Written and Starring Mick Berry. Directed by Nancy Carlin. Musical Director Frank Simes. Songs by Pete Townsend. We meet Moon as an 18 year old; dissatisfied with the boredom of working class life and hell-bent on making a go of drumming as an escape mechanism. Money, women, sex and drugs quickly followed. With Moon there were no rules; his dreams and nightmares were included in the tableau that played out.

Reward Yourself

Berry is incandescent as Moon, creating a complex character that is both repugnant and charming. With the rock star lifestyle there are excesses galore. We see a Moon that is trapped by the public need for his lunacy; the womanizing, the drugs, the smashing hotel rooms, the horrible car accident that claimed the life of his chauffeur and friend.

The first person anecdotes present a complicated and tragic individual. We create our icons, vicariously living through their exploits, eventually assisting in some of their destructions. This one shows his ugly side also. Keith had one of the most dangerous traits you could have…the ability not to be embarrassed. Think about that…that keeps us in check at times. With Keith, anything could happen at any time. Kim would say he would dress up and be Hitler one day, a Pirate the next and Noel Coward at other times…not only dress up but BE those people all day.

The book also concentrates on his drumming and the influence he was to so many. The author wanted to show it was more to Keith than the Moon the Loon image…and it was.

The Who - Bell Boy with Keith Moon

He was fantastic to fans and his friends. It also touched on his relationship with each member of the band and his love of the Beach Boys and friendship with The Beatles. He would go to schools and talk to unruly kids and explain to them that they need to settle down. He could get by with bad things because he was a pop star but they would get thrown in jail.

He became a caricature of his self at the end. He tried to live up to the image that he created. Many people have said that during the last few months of his life he was trying to settle down and even started to write an autobiography so he could put to bed the Moon the Loon image.

He was trying to stop drinking but he would go into seizures because his body craved alcohol so bad. Heminevrin should not have been given to him, it should have only been administered in a hospital but he was a rock star and so the doctor looked the other way. He kept waking up through the night and taking more…32 tablets were found in his system. The book covers everything about the man and information about The Who I never knew.

That probably helped his drumming on the edge but the price was too high. There is just too much in the book to cover in a blog. These were the first words put to me by one of the vast number of people I talked to while researching the life of Keith Moon. It was perhaps inevitable that members of the band would turn up to the opening. Their presence brought the process full circle: if the Who meant so much to their fans that the audience should mount an exhibition, then it followed that the fans meant so much to the Who that the band would want to see it.

Full Moon : The Amazing Rock and Roll Life of Keith Moon by Dougal Butler (2012, Paperback)

While studying a bizarre life-size hologram of Keith Moon at the drums, the boy turned to find the real thing standing next to him. Keith looked shorter in real life, and somewhat chubbier. But it was unmistakably him: the hologram had obviously been based on a recent picture or film. The boy made a comment about the surreal situation, looking at an illusion while standing next to the real thing, and the rock star, quietly, in contrast to his larger-than-life reputation, said something in agreement.


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The boy then seized his moment. He pulled from his sports bag a lone copy of the fanzine he produced and asked Keith Moon to autograph a basic biography on the Who he had written for it. The drummer looked at the cheaply produced fanzine, checked the cover to register the name — Jamming! Bring a copy of your magazine with you. He did not know if he possessed the courage. With no security to stop him, he made his way to the fourth floor.

His heart in his mouth, he approached Flat 9 with his magazine under his arm and knocked quietly. He thought he could hear music, yet from which apartment he was not sure. He knocked again, a little louder this time. But there was no reply. He slipped the magazine under the door along with an appreciative note bearing his own phone number and address.

And he never did. Just a couple of weeks later, Keith Moon died in that same Mayfair apartment. At 10pm every night, I would turn religiously to John Peel on Radio 1. He had been a human being, an approachable, affable man who had never forgotten what it was like to be a fan or a dreamer. More than that, for those few minutes that August on The Mall, he had been as a friend.

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