Mister Walker is 34 and still going strong (Tommy - The Who)

Member Name: Newfloridian

Product:	Tommy - The Who
Date:	01/09/03 (194 review reads)
Rating:

Advantages: It's a phenomenon, but which do you choose

Disadvantages: None

It is not easy knowing where to start with this subject - the first Magnum Opus by Pete Townshend. A review of 'Tommy' cannot do it justice by reference merely to one aspect of the work. In this respect I am sympathetic to the problems that another contributer encountered in a review of the DVD of the Ken Russell film recently.

'Tommy' is a rock opera. More than that it is a phenomenon, a unique piece of rock writing that is unlikely ever to be matched. Written in 1969 it was recorded by The Who and released initially as a double (vinyl) record album. This has subsequently been re-released as a double CD boxed set and I will be concentrating mainly on this format here.

However, 'Tommy' has acquired a life of its own almost from the outset.

It is appropriate to step back for a moment and consider the early history of The Who to put 'Tommy' into a semblance of context. It was only four years before that the group were causing a musical sensation with songs such as 'My Generation' and gaining notoriety by smashing up their equipment. There was a considerable disparity between the public face of the group and the private and artistic temperament of its members.

Pete Townshend is a complex individual. He is the driving force of the band and its major muse and song writer. Even in the early days, Pete was writing attractive music with thought provoking lyrics. He experimented with sound, often producing demonstration tapes of new songs that guided the final Who sound on the album. He came from a musical background - his father was a member of a band in the 1940s and 50s. A friend, mentor and manager of The Who in the early days was Kit Lambert (whose father was also a composer).

Pete described the genesis of 'Tommy' in an interview as follows: 'We were into the idea that the audience was the people to serve, and I lost touch with The Who's mod audience. I decided that
what I had to do was write something for me. I'd had a couple of acid trips and hated it. Everyone else in the world was wearing funny clothes and blowing their heads off - and wearing flares with flowers in their hair. I felt very out of step with it. I was interested in the mysticism - the spiritual side of it. I thought I could marry the pop single with this idea of the mystical journey and that's when I started to work on 'Tommy'. I wasn't aware of the mine field that I was getting into when I playfully called this piece I was working on a rock opera but Kit Lambert was just fantastic. He took me the other way. I used to say, 'Are you sure its OK to call this a rock opera' and he would say, 'Yeah of course it is' and I'd say, 'But the story is a bit dodgy at the moment' and he would say, 'All opera's got a silly story''

[From 'CLASSIC ALBUMS: WHO'S NEXT?' - THE WHO (2001) DVD]


He had used the format prior to 'Tommy'. 'Rael' (a surprising title now given the name of the sect that has recently declared it has succeeded in cloning a human child) was his second attempt at a mini rock opera (after 'A Quick One While He's Away'.). Lots of riffs and themes are lifted out of this piece and recycled in 'Tommy'; listen to 'The Underture'.

['THE WHO SELL OUT' The Who (1967) CD MCAD 31332]

Another song, 'Glow Girl' which is a teenage disaster song featuring a plane crash from 1968 finishes with the lines and the same tune 'It's a girl Mrs Walker, it's a girl'.

['ODDS AND SODS' The Who (1974) - CD MCA 1659]

THE CONCEPT

Tommy was born at the end of a war during which his father went missing. Suddenly Captain Walker returns home to find his wife with another man. In a fit of rage the lover is killed in front of the boy. The shock of this scene and the
insistence that he saw and heard nothing, drives Tommy into himself and he becomes deaf dumb and blind. He remains oblivious to the evils of the world who are portrayed by characters that he comes into contact with.

His parents try in vain a variety of cures. Tommy only finds contentment staring into a mirror and playing pinball. In frustration his mother finally smashes the mirror and Tommy is released. His enlightenment causes him to believe that he has become the new Messiah. In the end his followers rebel and reject him, leaving Tommy once again isolated from the world.


THE ALBUM

This is the studio album and the 1969 release. The Who were in their classic line-up: Roger Daltrey (Lead vocals); Pete Townshend (Vocals, Lead guitar, keyboards); John Entwistle (Bass guitar); Keith Moon (Percussion)

CD 1 1 The Overture

As in any opera, the main themes are played through to get your attention and familiarise you with the work. It features horn motifs played by John Entwistle.

2 It's A Boy

The opening exposition 'Captain Walker didn't come home' is sung by Pete with typical acoustic guitar fingering.

3 1921

This is the seminal song of the work - the act of betrayal, the act of murder, the act of terror. After Tommy witnesses the murder he is rendered deaf dumb and blind. It is unclear when the action of the story takes place. This song suggests that his father went missing in World War I - other scenes suggest World War II with the action taking place in the 50s and 60s.

4 Amazing Journey

Sung by Roger with piano accompaniment this is first insight of the mind of the young Tommy. 'Sickness will usually take the mind where minds can't usually go'. Some amazing drum work from Moon too.


5 Sparks

An instrumental with typical 'Oo riffs. They are repeated, fade, change rhythm and return in a different key.

>6 Eyesight To The Blind

The only song not written by The Who - this was composed by Sonny Boy Williamson, a blues singer of the 1950s and early 1960s.

7 Christmas

This is a driving rocker. Sung by Roger it describes the joys of the kids at Christmas but the isolation and loneliness of Tommy who cannot join in. 'Tommy doesn't know who Jesus was or what praying is'. It features the contrapuntal refrains 'Tommy Can You Hear Me?' from the parents and the haunting 'See Me, Feel Me, Touch Me, Heal Me' from Tommy.

8 Cousin Kevin

Tommy suffers from the taunts and viciousness of his villainous cousin when he is left in Kevin's charge. This song is from John Entwistle ' composed in a menacing minor key and sung by the band together in harmony.

9 The Acid Queen

The first of the attempts at finding cure, his mother takes Tommy to face the ministrations of a Gypsy. It is unclear whether the treatment involves sex or drugs or otherwise. Pete sings.

10 Underture

A long (ten minutes) instrumental by any rock standard but remember this was 1969. The track develops slowly with repeated phrases (in classical terms compare it with Ravel's Bolero) and if not careful may be dismissed as unimportant. However it is a major showcase of the brilliance of Keith's drum technique. He is leading this track with the other group members in accompaniment. The sustained and at times restrained subtlety of the patterns and changes that he executes are quite staggering.

CD2. 11 Do You Think It's Alright / 12 Fiddle About

Two short continuity tracks - the first his mother expressing some concern about leaving Tommy in the care of his Uncle Ernie. The second (written by John - more guttural horn sounds) is Ernie's account of what happens once mother has gone.

13 Pinball Wizard

Probably Pete Townsend's most well known song ever -
the classic single track from the album - who can fail to have heard this? Which rock star hasn't sung it at some time in his career. Listen to that bass guitar blast from the left hand side of the stage in answer to Townshend's opening acoustic riffs. The album version is sung by Roger with Pete filling in the descant responses. Remember that it is Tommy who is the Pinball Wizard ('he ain't got no distractions, can't hear those buzzers and bells don't see lights a flashing Plays by sense of smell.') not the person singing the song.

14 There's a Doctor / 15 Go To The Mirror!

Another continuity track that leads Tommy to be investigated and then dismissed by the conventional medical establishment. The diagnosis is labelled psychological. The song, another driving rocker, is written in the form of a classical operatic trio (Father, Doctor and Tommy) with their themes alternating. 'See Me, Feel Me' continues to appear.

16 Tommy Can You Hear Me? / 17 Smash The Mirror

In desperation the Mother smashes Tommy's mirror. Roger sings a funky beat.

18 Sensation / 19 Miracle Cure

This is a flowing rock ballad sung by Roger with horn and piano accompaniment. Freed at last from his sensory deprivation, Tommy has to make rapid adjustments. It appears that a miracle has occurred and he takes on almost divine properties. 'I leave a trail of rooted people mesmerised by just the sight. The few I touch now are disciples Love as One I am the Light'.

20 Sally Simpson

Roger sings another rock ballad that rolls along at a pace. This is a cautionary tale of a star struck teenager going against parental wishes to meet her rock hero and the price she eventually paid.

21 I'm Free / 22 Welcome / 23 Tommy's Holiday Camp

Tommy is now an international phenomenon - the new Messiah. He builds a temple for his followers. Roger harmonises with the rest
of the group. There are reminders of Pinball Wizard in the guitar accompaniment. The last refrain was written by Keith Moon.

24 We're Not Gonna Take It!!

Tommy insists that the way to salvation is through sensory deprivation and pinball. The fans rebel. The song (and the opera) ends to the counterpoint of the erstwhile followers ('We're not gonna take you! We forsake you! Gonna rape you! Let's forget you - better still!!') rejecting Tommy ('See Me, Feel Me')

TOMMY (1969) THE WHO POLYDOR 800077-2


THE ALTERNATIVES

THE ORIGINAL ROCK CONCERT

The Who took 'Tommy' on the road for over a year after the release of the studio album. This culminated in a live performance (starting at 2 o'clock in the morning!!) at the Isle of Wight Festival of 1970 in front of an audience of 600,000. After an opening set of a dozen numbers, they played a slightly abridged (thirteen songs) version of the rock opera to an ecstatic crowd.

That performance is available on CD and DVD. My copy is the American release (NTSC format) but I believe it is not Region coded.

'LIVE AT THE ISLE OF WIGHT FESTIVAL 1970' (1998) - The Who
Image Entertainment DVD ID4698ER - £18.99 CD - £ 15.99

THE CLASSICAL CONCERT.

An ambitious concert was put together in 1972 featuring the The Who, London Symphony Orchestra, choir and guest soloists. Note who the FIRST guest Pinball Wizard was. I have the feeling that Ringo Starr stood in for Keith Moon (not surprising as they were the best of friends and Ringo's son has toured extensively with The Who in recent years).

This is a considerable tour de force showing just what the power of a full symphony orchestra can do for popular music. The soloists were generally 'on song' throughout and the engineering balance is satisfactory.

I will just list the rock line up here with the songs they sing refere
nced by the index numbers from above.

Sandy Denny 2,
Steve Winwood 3, 7, 11, 14, 15
Maggie Bell 3, 11, 16, 17
Richie Havens 6
Merry Clayton 9,
Ringo Starr 12, 23,
Rod Stewart 13
Richard Harris 15

This concert is still available on CD although it is something of a rarity. It is often listed in the classical music section. I bought my copy from Amazon.com (in the States)

'TOMMY' AS PERFORMED BY THE LONDON SYMPHONY ORCHESTRA & CHAMBER CHOIR WITH GUEST SOLOISTS - (1972)
ODE records (RHINO records) CD R2 7113 (released 1989)

THE FILM.

It is not my intention to review the film version here or make any critical comments except to say that the director was Ken Russell and the finished product does carry many of his individual hallmarks. The film takes an operatic course so that all dialogue is sung. It does however start the confusion that it is the lover who kills Tommy's father.

I saw the film on its first release at the old Queen's Cinema in Newcastle upon Tyne. The sound system had to upgraded at the time for the five track soundtrack.

The Who played much of the music and appeared in the film. Roger Daltry was the adult 'Tommy', Keith Moon was Uncle Ernie. Again as above, the guest list was prodigious.

Ann-Margaret (Mother) 3, 11, 16, 17
Oliver Reed (The Lover) 3, 7, 15
Eric Clapton (The Preacher) 6
Elton John (Pinball Wizard) 13
Jack Nicholson (The Doctor) 15
Tina Turner (Acid Queen) 9

'TOMMY' film directed by Ken Russell (1975)

DVD: £ 17.09

THE CHARITY ROCK CONCERT:

As part of their American tour of 1989, The Who gave a charity performance at Los Angeles Universal Amphitheatre to celebrate 'Tommy''s twentieth anniversary. This was The Who in its 'big band' incarnation with a large brass section, vocal chorus, percussion and keyboards. They were joined on s
tage by guests: Phil Collins (Uncle Ernie), Billy Idol (Coiusin Kevin), Elton John (Pinball Wizard), Patti LaBelle (Acid Queen) and Steve Winwood (The Hawker).

Not content with that, The Who returned to the stage after the performance for an encore of thirteen of their greatest hits, lasting for over an hour.

Again this is a rarity now but I gather it has been released as a DVD. My copy is laserdisc. If you can find it - buy it, play it loud.

THE WEST END PLAY.

We must not forget that 'Tommy' was adapted for the West End stage - a play with musical accompaniment. There are still productions, professional and amateur, being staged today somewhere around the world.

'Every rock 'n' roll fan should see Tommy once, even if it means losing the mystery behind the album. Seeing even a marginally good production like this one can give the avid Who fan goosebumps. Stage performances of Tommy have served to bridge the gap between old and young. Surprisingly, in contrast to past rock phenomena of this ilk, Tommy has not become entirely cliche with age. But why? Is it the highly unlikely story of a pinball-playing, deaf, dumb and blind boy that just strikes a chord with people?

Well, no. It's the music, stupid. Pete Townshend could have written these songs about anything. Melodically, Tommy is a sensational masterpiece and will survive any futile attempts to force it into an uncomfortable theater medium. Tommy remains both a crowd-pleaser and a viable example of the immense staying power and importance of the music of the baby-boomer generation. Can anyone say that with impunity about today's popular music?'

Reprinted from The Columbia Chronicle, Chicago. May 1999

CONCLUSION

So, which is the most appropriate article for this review? The answer of course is all of them. However, the most genuine production is the live concert performance (in much the same way that M
ozart's operas were written to perform live). There again, which is the proper 'live' concert? I have presented three in this review. Again, probably none of them - the most genuine would be the one that YOU attend in person. Of course with the recent death of John Entwistle, it is most unlikely that will happen again (although Gilbert & Sullivan operettas are still going strong over a century later despite the demise and resurrection of D'Oyly Carte).

There is a stage play that was playing in the West End in 1997 and which went on a short provincial theatre tour the following year. Then there is the film version - one man's interpretation of the story ' and now available on DVD. There is this studio CD which is the equivalent of the 'Music from...' album. The album is a 'must have' in anyone's collection.

It has to be taken in context with the music of that generation. Which of the other bands are still in existence. With the exception of The Rolling Stones, perhaps none of them. Look for the other 'concept' albums of the day and, perhaps with the exception of 'Days of Future Passed' by the Moody Blues, none of them have stood the test of time - let alone matured in the way 'Tommy' has.

In many ways Pete's experiences and his musical output has paralleled those of Wolfie's from the eighteenth century. Many people would consider Mozart to have been the rock idol of his day.

'Tommy' is a musical phenomenon. Feel it, Hear it, See it, Touch it..

Summary: