Tommy [2 LP] [VINYL]

Product Information

Even more curious — and probably for the best for the sake of integrity — is the powers that be didn’t fix the quasi-typos from the original production. Meaning, certain titles there don’t quite match up with the original label. “Pin Ball Wizard,” for example, is the most obvious one, as it should be “Pinball Wizard.” They did, however, seem to update “Eyesight To The Blind” on the disc label to read, “Eyesight To The Blind (The Hawker),” and also credit writer Sonny Boy Williamson in the process, whereas my U.S. pressing just says, “Eyesight To The Blind.” If you are a collector on the fence trying to figure out whether to splurge for a copy of this new reissue, little details like these may make a difference. Eder, Bruce. "Tommy – As Performed by the London Symphony Orchestra". AllMusic . Retrieved 18 August 2014.

The 180g pressing is excellent on this new half-speed Abbey Road mastered edition of Tommy. That dead-quiet and well-centered sensibility is really appreciated on moments like on Side Four, where it commences with the “Extra!” exaltations of “Miracle Cure” and then, after a tight pause, launches into the punchy acoustic-guitar drive of “Sally Simpson.” I’ve heard noisy pressings of this album before, and it is this clarity that’s most welcomed at these moments. As beautifully done and artistically excellent as this album is, this is still nothing more than pornography, yet another exploration into the “Story Of O,” where the truly helpless come out on the other side pleased that the lessons they have learned at the hands of others have valued their lives and made them the successes they are. Unfortunate that’s just not true, and the life of Pete Townshend proves that ultimately with a great deal of sadness. Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. Cawthorne, Nigel (2005). The Who and the making of Tommy. Unanimous Ltd (Vinyl Frontier 5). pp.224. ISBN 1-903318-76-9 Rather then the music, I am speaking to the concept of the album here, where for me, the notion of the story of Tommy is akin to the notion of a rape fantasy, where the girl has been awakened to her sexuality, even though by rape, and has now blossomed into a raving beauty, strong and secure, perhaps even glad that she had been deflowered in such a violent manner ... no longer young, deaf, dumb or blind. But this work is far more insidious and dark, and perhaps true on a subconscious level for Mr. Townshend.Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.

Cousin Kevin” sounds incredible here, with Moon’s manic, circular orchestral-flavored tom-tom rolls on the choruses almost stealing the show. John Entwistle’s midrange harmony on the choruses is haunting and much more apparent than on other versions I’ve heard. Indeed, the level of detailing apparent now on “Underture” is truly magnificent — just listen for those cymbal splashes and the depth of ambient space surrounding the tympani and tambourine. Christgau, Robert (1969). "Robert Christgau's 1969 Jazz & Pop Ballot". Jazz & Pop . Retrieved 17 April 2014. In 1991, Townshend broke his wrist in a cycling accident and could not play guitar. Looking for alternative work while recuperating, he responded to a request from the PACE Theatrical Group for the rights to a Broadway musical adaptation of Tommy. The group introduced him to La Jolla Playhouse director Des McAnuff, and the pair began to develop the musical together. It opened at La Jolla in summer 1992 and was an immediate commercial success. [124] Townshend wrote a new song, "I Believe My Own Eyes", to explain the relationship between Tommy's parents, but otherwise tried to be faithful to the music on the original album. [125]One of the most interesting things about the album is the perspective. It’s all about Tommy, clearly, but it seems to be from the point of view of other people in his life. We see a lot from cousin Kevin, uncle Ernie, his mother, and even a whole section about perspective of some random girl named Sally Simpson. With these themes of reflection, it might be very well that all these people in Tommy’s life see themselves in Tommy and by telling his story from their perspective, they’re relating their experiences to his and in some situations, like Kevin’s bullying and Ernie’s diddling, their negative actions towards Tommy might just be a reflection of their own insecurities and problems, that they choose to take out on him because he’s easy to manipulate and take advantage of. The new half-speed mastered Tommy sounds especially nice in the lows and mids, yet with natural highs. There is a good sense of dynamics that allows you to turn up the volume without everything falling apart, and things getting harsh. Indeed, this new Tommy felt bigger when I increased the volume on the “Sparks” section (one of my favorites on the album, along with “Underture”). Keith Moon’s drums resonate massively in a quite three-dimensional sense, much more so than on the U.S. pressing. Listen for those intense tom-tom fills on “Eyesight To The Blind” — and then, when guitarist Pete Townshend is soloing, close your eyes to immerse yourself in the studio space. Perhaps the most startling revelation in the recent reissues isn't on tape, but in the Quadrophenia super deluxe edition's booklet. Published for the first time is a letter from Townshend to his lawyer detailing his instructions for his exit from the band, after internal problems left him "losing any impetus either to write for the Who as a vehicle, or play with its members as a musician. I will not be dissuaded from my present feeling." Randall, Mac (22 January 2004). "Tommy Deluxe Edition". Rolling Stone. New York . Retrieved 3 July 2013.

So, coupled with the aforementioned hi-res editions, I was contented enough over the years with the versions of Tommy that I do have. I eventually upgraded my much-loved and played American copy of Tommy — which got me through high school and college in the late ’70s and early '80s, truth be told — with a nice, near-mint copy that sounds pretty good for what it is. (Yes, I know, dear AP friends, the UK version would likely trounce it.) The inner triptych, meanwhile, showed a hand reaching out to light and a light shining in a dark void. [78] Townshend was too busy finishing the recording to properly approve the artwork, but Kit Lambert strongly approved of it and said it would work. The final step was for record company approval from Polydor, making one concession that pictures of the band should appear on the cover. These were added to the globe on the front. [79] These pictures were later removed on the 1996 CD remastered reissue. [80]

Another common theme throughout the album is glass and mirrors, which is representative of reflections of identity and the concept of smashing and releasing. The song “I’m Free” is extremely cathartic and wonderful feeling as Tommy can finally sense and a lot of this symbolism goes along with smashing a mirror. This is all about destroying what people expect of you and why you’re supposed to see. It’s a liberation.

Dave Marsh thought the problem with the album's narrative is that there isn't enough transitional material provided by the lyrics. There are no stage directions, no cast, and narration is restricted to key phrases (such as "Tommy can you hear me?") [49] Key problems included an unclear explanation of what Tommy didn't hear or see in "1921", how or why he plays pinball, why "Smash the Mirror" leads into "I overwhelm as I approach you" (the opening line in "Sensation"), why Tommy tells his followers in "We're Not Gonna Take It" they cannot drink or smoke but can play pinball, and what the "you" is in "Listening to you, I get the music". [74] Offiziellecharts.de – The Who – Tommy" (in German). GfK Entertainment Charts. Retrieved 6 December 2022.

Credits (9)

Macek III, J.C. (24 April 2014). " 'Sensation: The Story of the Who's Tommy' Lives Up to Its Name". Pop Matters . Retrieved 12 January 2023. All of these remarkable observations are made through brand new interviews with lead guitarist, singer, lead songwriter and Tommy creator Pete Townshend, as well as the dynamic lead singer (who portrayed Tommy Walker himself in the original opera and the 1975 motion picture) Roger Daltrey (who still looks about 20 years younger than he is). In that these are some of the first interviews that truly delve into the somewhat recently unearthed facts about Townshend's childhood sexual abuse, this is an exceptionally noteworthy documentary. a b Tommy (Media notes). The Who. Polydor. 531–043–2. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) This album is super bold including a subplot that only lasts one song. It’s about the story of Sally Simpson who is a fan of Tommy’s and accidentally got slashed in the face being at the front of the stage, and then moved on and got married to someone else and forgot about him. It’s not completely relevant to the entire story but it’s such an interesting, short story that connects some of the themes and plays off the main narrative. This is one of the earliest examples of postmodern storytelling that I could think of in music. Tommy remained in the Who's live set through the rest of the year and into 1970. In October 1969, the Who played six shows at the Fillmore East, where Leonard Bernstein praised them for their new music. [95] The group's show on 14 December at the London Coliseum was filmed for a possible future Tommy feature. [96] Lambert was keen for Tommy to be taken seriously and wanted the Who to perform at opera houses. [97] In June 1970, the group performed two shows at the Metropolitan Opera House, which was the first time Townshend announced the show as being the "last Tommy ever". [98] The group made a second trip to the Isle of Wight, appearing at the 1970 festival on 29 August, before an audience of 600,000. [87] The last live performance for 1970 was at The Roundhouse, London on 20 December. Townshend said "This is the very last time we'll play Tommy on stage", to which Keith Moon promptly cried, "Thank Christ for that!" [99] Pinball Wizard” — one of the arguable centerpieces of the album [no arguments here!—MM] — sounds brilliant, with Townshend’s acoustic guitar punctuating the mix alongside the electrics and Moon’s drums. And Roger Daltrey’s vocals on “Go To The Mirror” are simply fantastic on this LP.