audience's laughter, he smashed the instrument on the stage, then picked up another guitar and continued the show. The following week, the audience were keen to see a repeat of the event. Moon obliged by kicking his drum kit over, and auto-destructive art became a feature of the Who's live set. First singles and My Generation By late 1964, the Who were becoming popular in London's Marquee Club, and a rave review of their live act appeared in Melody Maker. Lambert and Stamp attracted the attention of the American producer Shel Talmy, who had produced the Kinks. Townshend had written a song, "I Can't Explain", that deliberately sounded like the Kinks to attract Talmy's attention. Talmy saw the group in rehearsals and was impressed. He signed them to his production company, and sold the recording to the US arm of Decca Records, which meant that the group's early singles were released in Britain on Brunswick Records, one of UK Decca's labels for US artists. "I Can't Explain" was recorded in early November 1964 at Pye Studios in Marble Arch with the Ivy League on backing vocals, and Jimmy Page played fuzz guitar on the B-side, "Bald Headed Woman". "I Can't Explain" became popular with pirate radio stations such as Radio Caroline. Pirate radio was important for bands as there were no commercial radio stations in the UK and BBC Radio played little pop music. The group gained further exposure when they appeared on the television programme Ready Steady Go! Lambert and Stamp were tasked with finding "typical teens", and invited the group's regular audience from the Goldhawk Social Club. Enthusiastic reception on television and regular airplay on pirate radio helped the single slowly climb the charts in early 1965 until it reached the top 10. In early 1965, the Who made their first appearance on the television music show, Top of the Pops, at the BBC's Dickenson Road Studios in Manchester, with "I Can't Explain". The follow-up single, "Anyway, Anyhow, Anywhere", by Townshend and Daltrey, features guitar noises such as pick sliding, toggle switching and feedback, which was so unconventional that it was initially rejected by the US arm of Decca. The single reached the top 10 in the UK and was used as the theme song to Ready Steady Go! The transition to a hit-making band with original material, encouraged by Lambert, did not sit well with Daltrey, and