when Moon passed out over his kit after overdosing on brandy and barbiturates. He recovered and completed the gig, playing to his usual strength. Quadrophenia, Tommy film and The Who by Numbers After touring Who's Next, and needing time to write a follow-up, Townshend insisted that the Who take a lengthy break, as they had not stopped touring since the band started. There was no group activity until May 1972, when they started working on a proposed new album, Rock Is Dead—Long Live Rock!, but, unhappy with the recordings, abandoned the sessions. Tensions began to emerge as Townshend believed Daltrey just wanted a money-making band and Daltrey thought Townshend's projects were getting pretentious. Moon's behaviour was becoming increasingly destructive and problematic through excessive drinking and drugs use, and a desire to party and tour. Daltrey performed an audit of the group's finances and discovered that Lambert and Stamp had not kept sufficient records. He believed them to be no longer effective managers, which Townshend and Moon disputed. The painful dissolution of the managerial and personal relationships are recounted in James D. Cooper's 2014 retrospective documentary, Lambert & Stamp. Following a short European tour, the remainder of 1972 was spent working on an orchestral version of Tommy with Lou Reizner. By 1973, the Who turned to recording the album Quadrophenia about mod and its subculture, set against clashes with Rockers in early 1960s Britain. The story is about a boy named Jimmy, who undergoes a personality crisis, and his relationship with his family, friends and mod culture. The music features four themes, reflecting the four personalities of the Who. Townshend played multi-tracked synthesizers, and Entwistle played several overdubbed horn parts. By the time the album was being recorded, relationships between the band and Lambert and Stamp had broken down irreparably, and Bill Curbishley replaced them. The album reached No. 2 in both the UK and US. The Quadrophenia tour started in Stoke on Trent in October and was immediately beset with problems. Daltrey resisted Townshend's wish to add Joe Cocker's keyboardist Chris Stainton (who played on the album) to the touring band. As a compromise, Townshend assembled the keyboard and synthesizer parts on backing tapes, as such a strategy had been successful with "Baba O'Riley" and "Won't Get Fooled Again". The technology was not sophisticated enough to deal with the demands of the music; added to this issue, tour rehearsals had