Classic Rock Album of the Day- The Who- Tommy (1969) **** 1/2
First a little back story of why this LP is so near and dear to my heart. When I took College Sophomore English Literature, I had maybe the coolest College Professor ever. He was citing existentialistic authors in the same vein as the Byrds, The Beatles, The Stones, and The Who. One exercise in the class was an interpretive composition of The Eagles "The Last Resort" from Hotel California. You were allowed to hear the song twice in class, and then prepare your write up. He also provided an opportunity for those who choose to skip a book analysis , to watch Tommy (The Movie) and provide the same. I was never one to have patience to be a voluminous reader, so I jumped at the opportunity.
Needless to say, The Movie sucked, as big acts like Tina Turner and Elton John , who were great at their own genre did not really give the service to Townsend's work. OTOH, I did think Clapton being the cult priest was pretty amazing. But from substance, at least the movie provided at least a glimpse at what and how Pete Townsend saw his work. Tommy was groundbreaking. It was the first true Rock Opera.
Most of the movie felt force fed. I have always believed that Townsend never intended the Opera to be cramped into a 2 hour movie. Additionally to being forced feeling, it was made it feel too campy. And even though Daltrey had the aura to be the perfect "Tommy" in this movie, he sure wasn't any actor. Still he deserves the props tat he sang the parts to perfection though. But back to the review...... Tommy was a double album with 24 cuts. I will discuss the numbers with substance, skipping those that were pretty much transitional pieces to the story. The better part that pretty much was the meat and bones that highlights Townsend's musical genius. But, when given the choice between the Soundtrack and the Original studio version... stick with the latter.
And as far as the topical value, Tommy pretty much was a piece about the dangers of false prophets, and almost a premonition of consequences of cults of personality versus merit. There is also a lot of hidden intent around religion, and if you have never listened, it may or may not be your cup of tea. As far as ranking, this is my second favorite Who LP just behind Who's Next.
Fun Fact: I always thought it was strange that the Tommy soundtrack reached No. 2 on the charts, and still didn't reach Platinum status
Side 1-
---------------
Overture- My favorite cut of the entire LP(s). Yes, its an instrumental, but Townsend masterfully ties the hooks of much of the other parts of he opera into a fantastic piece of music. Contrasting this with the best live version say, from Live from Leeds is amazing. Augmenting the Piano, Hammond and the French Horn just gives the song a feel on a different level. 1
Amazing Journey- Have never figured out how Townsend made the reverse flutist sound in the intro. Damn innovative to say the least. Love how the song starts so angelic and soft with powerful Daltry conviction, then crescendos in a classic Moon Drum bashing exercise. Then reverses course on a dime. This one song maybe highlights Daltrey's range the best of all. 4
Sparks- Another instrumental that really highlights the entire band's musical arsenal. Entwistle's understated bass, which is pretty uncommon on Who tunes, works on so well. 10
Eyesight to the Blind- Almost included this in the transitional section, but included due to length. Song mostly is relevant to the story, not as much ground breaking musically. Nothing spectacular 15
Side 2-
-----------
Christmas/See Me Feel Me- Another Semi-Transitional Piece, Intro- Strange sounding somewhat simple, in a lot why you might see or hear in the Magic Bus Who era. 14
Cousin Kevin- Off Key ode to pedophiles, as it applies to the story. I used to think it was just creepy until decades later Townsend was accused of having kiddy porn on his PC in the name of research. Yeah, right. This is now just disgusting, and he has to live with it. And it's not the only time the topic shows up in this opera/album. 18
Acid Queen- i prefer this version as far as story telling versus the much more energetic Tina Turner version. But it's like reading a book. Sometimes you don't want to hear the same story from different authors. 8
Underture- Another instrumental, more dark and foreboding. Maybe the only time I head Moon use tymps in this level of volume. Still maybe the best Moon work on the album. He certainly is the feature part in it. 11
Side 3-
------------
Do You Think It's Alright (Uncle Ernie) Another creepy piece around pedophillia. Townsend could have easily left this shitty topic out of the story with no trouble. But....... 17
Pinball Wizard- Of course the most wide known and recognizable tune on the LP. Great rocker, The strum/power chord blend is classic. Elton John's version is very good too, but does have more of a pop tinge infused. Can't go wrong with either. Daltrey was definitely on top of his game too. 2
Go to the Mirror- Baba like chordal progression works fantatiscally in this one of the best tunes on the LP. Daltrey show off the range again too. This is one of about 6 tunes, on why if you are a Who fan, this one is essential to your collection. 4
Tommy Can You Hear Me- Almost folk like little piece that phases beautiful harmonies. No doubt these guys were not only talented, but had a very underrated level of versatility. 13
Smash the Mirror- Turn the dial, and now a bluesy direction- Again versatility on parade. 12
Sensation- And now a pop tune. I always found it interesting when Townsend tries to make himself sound like Daltrey. Works well though. 7
Side 4-
---------------
Sally Simpson- Very very strange addition, almost transitional, but senseless filler IMO. I never understood why Townsend included this aspect in the story, except maybe to fuse the "groupie" moniker into the fray 16
I'm Free- Solid rocker that seems more stylistically from Who's Next. 6
Welcome- Maybe the most operatic aspects of the work. Daltrey is a great singer, and it is amazing how he immerses obvious emotion into every almost "movement" of the song. I always wondered how Tommy would have been if Pete had taken a purist approach to the concept. 9
We're Not Going to Take It- Fabulous closing with another of The Who Classics. Beautiful harmonic intertwine with strong musical play. Second part of song focuses on enlightenment, which Daltry takes on with an Angelic approach. And then the Clincher, some of the most powerful Who work yet. Grand finale, for sure. Every band member shines. 3
First a little back story of why this LP is so near and dear to my heart. When I took College Sophomore English Literature, I had maybe the coolest College Professor ever. He was citing existentialistic authors in the same vein as the Byrds, The Beatles, The Stones, and The Who. One exercise in the class was an interpretive composition of The Eagles "The Last Resort" from Hotel California. You were allowed to hear the song twice in class, and then prepare your write up. He also provided an opportunity for those who choose to skip a book analysis , to watch Tommy (The Movie) and provide the same. I was never one to have patience to be a voluminous reader, so I jumped at the opportunity.
Needless to say, The Movie sucked, as big acts like Tina Turner and Elton John , who were great at their own genre did not really give the service to Townsend's work. OTOH, I did think Clapton being the cult priest was pretty amazing. But from substance, at least the movie provided at least a glimpse at what and how Pete Townsend saw his work. Tommy was groundbreaking. It was the first true Rock Opera.
Most of the movie felt force fed. I have always believed that Townsend never intended the Opera to be cramped into a 2 hour movie. Additionally to being forced feeling, it was made it feel too campy. And even though Daltrey had the aura to be the perfect "Tommy" in this movie, he sure wasn't any actor. Still he deserves the props tat he sang the parts to perfection though. But back to the review...... Tommy was a double album with 24 cuts. I will discuss the numbers with substance, skipping those that were pretty much transitional pieces to the story. The better part that pretty much was the meat and bones that highlights Townsend's musical genius. But, when given the choice between the Soundtrack and the Original studio version... stick with the latter.
And as far as the topical value, Tommy pretty much was a piece about the dangers of false prophets, and almost a premonition of consequences of cults of personality versus merit. There is also a lot of hidden intent around religion, and if you have never listened, it may or may not be your cup of tea. As far as ranking, this is my second favorite Who LP just behind Who's Next.
Fun Fact: I always thought it was strange that the Tommy soundtrack reached No. 2 on the charts, and still didn't reach Platinum status
Side 1-
---------------
Overture- My favorite cut of the entire LP(s). Yes, its an instrumental, but Townsend masterfully ties the hooks of much of the other parts of he opera into a fantastic piece of music. Contrasting this with the best live version say, from Live from Leeds is amazing. Augmenting the Piano, Hammond and the French Horn just gives the song a feel on a different level. 1
Amazing Journey- Have never figured out how Townsend made the reverse flutist sound in the intro. Damn innovative to say the least. Love how the song starts so angelic and soft with powerful Daltry conviction, then crescendos in a classic Moon Drum bashing exercise. Then reverses course on a dime. This one song maybe highlights Daltrey's range the best of all. 4
Sparks- Another instrumental that really highlights the entire band's musical arsenal. Entwistle's understated bass, which is pretty uncommon on Who tunes, works on so well. 10
Eyesight to the Blind- Almost included this in the transitional section, but included due to length. Song mostly is relevant to the story, not as much ground breaking musically. Nothing spectacular 15
Side 2-
-----------
Christmas/See Me Feel Me- Another Semi-Transitional Piece, Intro- Strange sounding somewhat simple, in a lot why you might see or hear in the Magic Bus Who era. 14
Cousin Kevin- Off Key ode to pedophiles, as it applies to the story. I used to think it was just creepy until decades later Townsend was accused of having kiddy porn on his PC in the name of research. Yeah, right. This is now just disgusting, and he has to live with it. And it's not the only time the topic shows up in this opera/album. 18
Acid Queen- i prefer this version as far as story telling versus the much more energetic Tina Turner version. But it's like reading a book. Sometimes you don't want to hear the same story from different authors. 8
Underture- Another instrumental, more dark and foreboding. Maybe the only time I head Moon use tymps in this level of volume. Still maybe the best Moon work on the album. He certainly is the feature part in it. 11
Side 3-
------------
Do You Think It's Alright (Uncle Ernie) Another creepy piece around pedophillia. Townsend could have easily left this shitty topic out of the story with no trouble. But....... 17
Pinball Wizard- Of course the most wide known and recognizable tune on the LP. Great rocker, The strum/power chord blend is classic. Elton John's version is very good too, but does have more of a pop tinge infused. Can't go wrong with either. Daltrey was definitely on top of his game too. 2
Go to the Mirror- Baba like chordal progression works fantatiscally in this one of the best tunes on the LP. Daltrey show off the range again too. This is one of about 6 tunes, on why if you are a Who fan, this one is essential to your collection. 4
Tommy Can You Hear Me- Almost folk like little piece that phases beautiful harmonies. No doubt these guys were not only talented, but had a very underrated level of versatility. 13
Smash the Mirror- Turn the dial, and now a bluesy direction- Again versatility on parade. 12
Sensation- And now a pop tune. I always found it interesting when Townsend tries to make himself sound like Daltrey. Works well though. 7
Side 4-
---------------
Sally Simpson- Very very strange addition, almost transitional, but senseless filler IMO. I never understood why Townsend included this aspect in the story, except maybe to fuse the "groupie" moniker into the fray 16
I'm Free- Solid rocker that seems more stylistically from Who's Next. 6
Welcome- Maybe the most operatic aspects of the work. Daltrey is a great singer, and it is amazing how he immerses obvious emotion into every almost "movement" of the song. I always wondered how Tommy would have been if Pete had taken a purist approach to the concept. 9
We're Not Going to Take It- Fabulous closing with another of The Who Classics. Beautiful harmonic intertwine with strong musical play. Second part of song focuses on enlightenment, which Daltry takes on with an Angelic approach. And then the Clincher, some of the most powerful Who work yet. Grand finale, for sure. Every band member shines. 3
