Tommy [2 LP] [VINYL]

Product Information

Christgau, Robert (1969). "Robert Christgau's 1969 Jazz & Pop Ballot". Jazz & Pop . Retrieved 17 April 2014. In 1970 Ferdinand Nault of the Montreal ballet group Les Grands Ballets Canadiens created the first dance-based adaptation of Tommy. [105] The ballet performance toured New York in April 1971, which included a light show and accompanying films by the Quebec Film Bureau. [106] [107] 1971 Seattle Opera production [ edit ]

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.) 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.

By 1968, Townshend was unsure about how the Who should progress musically. The group were no longer teenagers, but he wanted their music to remain relevant. [12] His friend, International Times art director Mike McInnerney, told him about the Indian spiritual mentor Meher Baba, [13] and Townshend became fascinated with Baba's values of compassion, love and introspection. [14] The Who's commercial success was on the wane after the single " Dogs" failed to make the top 20, and there was a genuine risk of the band breaking up. [15] The group still performed well live and spent most of the spring and summer touring the US and Canada, [16] but their stage act relied on Townshend smashing his guitar or Keith Moon demolishing his drums, which kept the group in debt. Townshend and Kit Lambert realised they needed a larger vehicle for their music than hit singles and a new stage show, and Townshend hoped to incorporate his love of Meher Baba into this concept. [17] He decided that the Who should record a series of songs that stood well in isolation but formed a cohesive whole on the album. He also wanted the material performed in concert, to counter the trend of bands like the Beatles and the Beach Boys producing studio output that was not designed for live performance. [18] It would be remiss of me not to say that looking at such issues found on Tommy does not have merit, as certainly anyone who enjoys this release should not be considered to support the notion of child abuse, very much like the book “The Basketball Diaries” by Jim Carroll, who kept detailed notes, poems and thoughts during his downward spiral into drug addiction, where simply watching or reading his story is not tantamount to supporting or glorifying drug addiction ... it is all a visual and musical journey, dark as it may be, in the life of one of the greatest musicians of our time. 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. What is immediately interesting is the new version sounds like Tommy should sound, but it feels richer, rounder, and more robust than the original U.S. pressing I have. It feels warmer and more welcoming than the stereo version on my SACD. (As noted above, I primarily keep the SACD and the DVD-A version in hand for the 5.1 surround sound mixes, which are another beast entirely.) Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.

Released in 1967, The Who Sell Out was the third album released by the band and is revered for being one of the first concept albums, celebrating the short-lived pirate radio stations of the late 60s with its groundbreaking use of fake adverts and jingles between songs. 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. Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for AudiophileReview.com, among others, and you can see more of his impressive C.V. at LinkedIn.)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.

This might seem acceptable, though tragic, but even after all of this abuse, once Tommy becomes the Pinball Wizard, his family again tempts and exploits the boy. This would certainly lend credence to the notion that Pete was abused as a child and that his parents ignored him until he became rich and famous, only then wanting their share of his fame. I also love the masterful musicianship of the band on this album. Every instrument is fantastic. I love how the vocals incorporate harmonies from the other bandmembers, like the Beatles would, and how the lead singer uses a lot of vocal distortion, soul, screaming, and explores his vocal style throughout. He’ll switch between clean and raw and incorporate some elements of normal singing versus goofy singing versus spoken word. One of the biggest things about the album is the drums. They are incredible and prominent throughout, specially with the dotted eighth note rhythm that stands out throughout the album. Randall, Mac (22 January 2004). "Tommy Deluxe Edition". Rolling Stone. New York . Retrieved 3 July 2013. Offiziellecharts.de – The Who – Tommy" (in German). GfK Entertainment Charts. Retrieved 6 December 2022.

For Sale on Discogs

Tommy ranked 190th greatest album by Rolling Stone magazine". Rolling Stone . Retrieved 2 March 2022.

a b Tommy (Media notes). The Who. Polydor. 531–043–2. {{ cite AV media notes}}: CS1 maint: others in cite AV media (notes) ( link) 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. The story follows Tommy who is a blind, deaf, and mute boy who lost his senses after traumatically seeing his father murdered by his wife’s lover. Throughout his story, we see the struggles of being a disabled youth, which includes bullying, rape, and an early introduction to sex and drugs, and how one’s story can be exploited into a national, beloved freak show. As with most demagogues, there tends to be a falling off point where they reach a level of fame and recognition but some thing, whether financial or political, ruins their character and many people lose their following.

Tracklist

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]