Tommy (The Who album)

This article is about the rock opera. For other uses, see Tommy (disambiguation)

Untitled

Tommy (1969) is one of The Who's two full-scale rock operas, and the first musical work explicitly billed as a rock opera. In some older publications it is called Tommy (1914-1984). The opera was composed by Who guitarist Peter Townshend, with two tracks contributed by Who bassist John Entwistle and one fictitiously attributed to Who drummer Keith Moon, though actually written by Townshend. [1] An earlier song by blues artist Sonny Boy Williamson was also incorporated into the opera. Playing time is 74 minutes.

Story

Template:Spoiler Tommy is the fictitious biography of Tommy Walker. Tommy's father, Captain Walker, had been listed as missing in action during World War I, but he returns unexpectedly in 1921 and kills his wife's new lover in front of the seven-year-old Tommy. Tommy's parents enjoin him that "you didn't hear it, you didn't see it ... you won't say nothing to no-one", and Tommy retreats into deafness, dumbness, and blindness as a consequence. He has a vision of a tall stranger dressed in silvery robes with a golden floor-length beard, and the vision sets him on an internal spiritual journey, learning to interpret all physical sensations as music. During the remainder of his childhood Tommy's parents seek out various treatments and cures for him, while Tommy suffers sexual and physical abuse at the hands of several extended family members. On Christmas, his parents despair about the fate of Tommy's soul, as they realize he is unaware of Jesus or prayer. However, Tommy learns to play pinball machine and soon becomes the master of the game and an international celebrity. His parents eventually locate a doctor who promises a "miracle cure", but all tests indicate that Tommy is actually capable of sight, speech, and hearing, and that his condition is due to an "inner block". Tommy is finally cured when his mother, frustrated that Tommy seems only to see his own reflection, shatters the mirror in a fit of rage. Tommy's cure becomes a public sensation and he attains guru-like status. Thereafter he assumes a quasi-messianic mantle and tries to lead his fans to an "enlightenment" like his own (requiring followers to play pinball while wearing eyeshades, earplugs, and corks), but the heavy-handedness of his cult and the exploitation of its followers by his family and associates causes his followers to revolt against him.

In its original album version, the story is quite sketchy, and details were often filled in post facto by Townshend in interviews. As other adaptations of the album appeared, some details were filled out and others were changed (for example the timeframe was changed to World War II and 1951 in some later versions and in the film version, the lover kills the husband rather than the converse).

Analysis and history

Although Tommy is conventionally described as a rock opera, author and Who historian Richard Barnes points out that this definition is not strictly correct, since Tommy does not utilise the classic operatic formulae of staging, scenery, acting and recitative. According to Barnes, Tommy could be more accurately described as a "rock cantata" or a "rock song cycle".

Musically, the original album is a complex set of pop-rock arrangements, generally based upon Townshend's acoustic guitar and built up with many overdubs by the four members of the band using many instruments, including bass, electric and acoustic guitars, piano, organ, drumkit, gong, horn, three-part vocal harmonies and occasional doubling on vocal solos. Despite this instrumental richness the sound tends to be very "stark", especially in comparison to the band's later work. Many of the instruments only appear intermittently -- the ten-minute "Underture" features a single toot on the horn -- and when overdubbed many of the instruments are mixed at low levels that require careful listening to notice. Townshend mixes fingerpicking in with his trademark power chords and fat riffs, and in some delicate moments his guitar sounds almost like a harpsichord. Moon's drumming is controlled with a few dramatic moments; Entwistle's bass provides support and effectively takes the instrumental lead in several cuts. Daltrey swaggers as lead vocalist, but shares that role with the others on a surprising number of tracks. Townshend's later interest in synthesizers is foreshadowed by the use of taped sounds played in reverse to give a whistling, chirping sound on "Amazing Journey"; on the same track the background singers imitate the sound of seagulls.

"Amazing Journey" can be interpreted as the central pivot of Tommy, since its lyrics are essential to understanding what the opera is about (beyond the facile story line). "Go to the Mirror" is the climax of the opera both musically and dramatically; tradition holds that when the band was touring the show live the audiences would spontaneously stand up during "Go to the Mirror" and remain standing until the end -- listening in silence, unlike the customary behavior of Who fans. "We're Not Gonna Take It / See Me, Feel Me / Listening to You" is the denouement, with its ambiguous return to the earlier state of the story reinforced in concert by returning to the riff from "Overture" and "Go to the Mirror" at the very end rather than the long fade from the studio recording. Various themes are repeated in different songs in order to give the opera a coherent feel.

The tracks "Overture", "Pinball Wizard", "I'm Free", and the "See Me, Feel Me / Listening to You" reprise were released as singles and got a decent amount of airplay. "Pinball Wizard" reached the top twenty in the USA and the top five in the UK. "See Me, Feel Me / Listening To You" landed high in the top twenty in the USA and "I'm Free" reached the top forty. The tracks "Overture", "Christmas", "I’m Free", and "See Me Feel Me" were released on an EP in late 1970. The "Overture" was also covered by a band called The Assembled Multitude and received a lot of airplay. Tommy was inducted into the Grammy Hall of Fame in 1998.

The child abuse that features so prominently in the story caused a good deal of outcry when it was first released. It has often been claimed that the basic idea of the Tommy story was lifted from The Pretty Things' 1968 concept album S.F. Sorrow, and Townshend himself later admitted that he listened to the Pretty Things LP extensively and that it was a major inspiration for Tommy. Steve Marriott also claimed that some musical elements in Tommy were "borrowed" from the music of The Small Faces. Notwithstanding the numerous outside influences, several structural precedents for Tommy exist in Townshend's own work, including "Glow Girl" (1968), "Rael" (1967), and the sectional work "A Quick One While He's Away" (1966).

A couple of years before the album came out Peter Townshend explained his ideas and apparently actually thought out some of the structure of the opera during a famous Rolling Stone interview. John Entwistle claimed years after the release that he had never actually listened to the album because he was so sick of it after the endless takes and re-takes.

Editions

Tommy was originally released as a two-LP set with a thin booklet of lyrics and artwork in a triptych-style fold-out cover. All three of the outer panels of the triptych are spanned by a single Pop Art painting by Mike McInnerney. The drawing is a sphere with diamond-shaped cutouts and an overlay of clouds and seagulls rendered with a figure-ground ambiguity. To one side a star-spangled hand bursts from the dark background, index finger pointing forward. (The image above only shows the central panel of the triptych.) The label's executives insisted on having a picture of the band on the cover, so small, barely recognizable images of the band members' faces were inserted into the gaps in the sphere, each with an outstretched hand like a groping Tommy Walker. (The most recent remastered CD release reverts to McInnerney's original artwork without the faces.) The internal artwork consists of a photo of some jugglers/magicians and some very simple paintings that only hint at illustrating the story.

MCA re-released the album as a two-CD set in 1984. The CDs were in separate jewel cases and each had a miniaturized copy of the original artwork and lyrics in the insert, though it only included two panels of the magnificent triptych. Mobile Fidelity Sound Lab later published it on a single gold-plated Ultradisc in their Original Master Recording series, with a much improved reproduction of the artwork (including a fold-out of the full original cover), and with the substitution of an alternate take on "Eyesight to the Blind". MCA finally released their own remastered edition on a single disc in 1996, complete with good artwork and a written introduction by Richard Barnes.

Track listing

Side 1

1. Overture (5:21)
2. It's a Boy (:38)
3. 1921 (2:49)
4. Amazing Journey (4:24)
5. Sparks (2:46)
6. Eyesight to the Blind (The Hawker) (2:13)

Side 2

1. Christmas (4:34)
2. Cousin Kevin (4:07)
3. The Acid Queen (3:34)
4. Underture (10:09)

Side 3

1. Do You Think It's Alright? (:24)
2. Fiddle About (1:26)
3. Pinball Wizard (3:01)
4. There's A Doctor... (...I've Found) (:23)
5. Go to the Mirror (aka "Go to the Mirror, Boy!") (3:49)
6. Tommy Can You Hear Me? (1:36)
7. Smash The Mirror (1:35)
8. Sensation (2:27)

Side 4

1. Miracle Cure (:12)
2. Sally Simpson (4:12)
3. I'm Free (2:40)
4. Welcome (4:34)
5. Tommy's Holiday Camp (:57)
6. We're Not Gonna Take It (7:08)

All songs written by Pete Townshend except for Cousin Kevin and Fiddle About, written by John Entwistle, Tommy's Holiday Camp, credited to Keith Moon (which Townshend actually composed and wrote, but Moon supplied the holiday camp setting) and Eyesight to the Blind, originally written by Sonny Boy Williamson II.

Live recordings

Live recordings of Tommy are available on The Who: Live at the Isle of Wight Festival 1970 and The Who: Live at Leeds (Deluxe Edition), both recorded in 1970 but not released until 1996 and 2001, respectively. The Live at Leeds version is somewhat stiff, as if they were trying too hard to get a clean take for publication. The Isle of Wight version is rowdy and full of the trademark energy that made the Who a live powerhouse, but is unfortunately split across the two disks of the set. The Who also performed Tommy for its 20^th anniversary during their 1989 reunion tour. Recordings of shows from this tour can be found on the Join Together recording, the Who/Live video, or the recently released Tommy/Quadrophenia DVD. Although these 1989 recordings have their high points, some critics and fans agree that the brass players, the backup singers, the extra lead guitar, the two inadequate drummers, and the general excess take away the spirit of the original Tommy. However it should be noted that the 1989 performances do have their fans.

Other incarnations

1972 orchestral version

In late 1972 entrepreneur Lou Reizner presented two concert versions of Tommy at the Rainbow Theatre, London. The concerts featured The Who, plus an all-star guest cast, backed by the London Symphony Orchestra conducted by David Measham. The concerts were held to promote the release of Reizner's new studio recording of this "symphonic" version of Tommy.

Both in concert and on record, major singing roles were performed by leading pop and rock stars of the day -- David Essex, Maggie Bell, Sandy Denny, Steve Winwood, Rod Stewart, Richie Havens and Ringo Starr. Peter Townshend also plays a bit of guitar, but otherwise the music is predominantly orchestral. The studio version of the orchestral Tommy was issued in a lavish boxed-set format, featuring stunning original artwork and photography, which used a pinball as its main motif. Bootleg issues of the concert performances (which were recorded by the BBC) have also been released.

1975 film version

In 1975 Tommy was adapted as a film, produced by expatriate Australian entrepreneur Robert Stigwood and directed by maverick British auteur Ken Russell. The movie version starred Daltrey as Tommy, and featured other members of The Who plus an eclectic supporting cast including Hollywood legend Ann-Margret as Tommy's mother, Oliver Reed as the boyfriend, with cameo appearances by Elton John, Tina Turner, Eric Clapton, Arthur Brown and Jack Nicholson.

Tommy was one of the first music films released with a multichannel hi-fi soundtrack -- billed as "quintaphonic sound" -- and in many theaters it was presented with high-powered concert-style sound reinforcement, played at rock concert volumes.

The film received mixed reviews but was a huge commercial success on release and has achieved cult film status due to scenes such as Arthur Brown's portrayal of a priest in Tommy's cult, Ann-Margret's frolic in a pool of beans (a reference to the cover of The Who's 1966 LP Sell Out) and the sharp satire on pop music presented by the "Sally Simpson" scene. Other highlights included Elton John's memorable appearance (sporting metre-high platform heels) as the "Pinball Wizard" and Tina Turner's electrifying cameo as the "Acid Queen".

Townshend reworked the storyline extensively for the film, fleshing out much that was obscure in the original version, and moving the time-frame forward to a more believable era, the period following World War II. The film version also reversed a crucial plot point: in the film, Tommy's father is murdered by his mother's lover, rather than the lover being killed by the returning Capt. Walker, as in the original storyline. The result gives an incestuous charge to the mother/son relationship as Tommy's mother sees her former husband within her son.

Townshend also oversaw the production of a new double-LP recording that returned the music to its rock roots, and on which the unrecorded orchestral arrangements he had envisaged for the original Tommy LP were realised by the extensive use of synthesiser. The soundtrack LP also employed many leading sessions musicians inlcuding Caleb Quaye and longtime Who associate John "Rabbit" Bundrick. The song "Pinball Wizard" was a major hit when released as a single. Curiously, although the music for this song is performed entirely by Elton John and his band, the film depicts Elton being backed by The Who (dressed in pound-note suits).

Track listing for the soundtrack album

Side 1

1. Overture from Tommy (4:59) — performed by the Who
2. Prologue - 1945 (3:00) — performed by Pete Townshend and John Entwistle
3. Captain Walker/It's A Boy (2:38) — performed by Pete Townshend, Margo Newman and Vicki Brown
4. Bernie's Holiday Camp (3:42) — performed by the Who, with vocals by Oliver Reed, Ann-Margret and Alison Dowling
5. 1951/What about the Boy? (2:49) — performed by Mott the Hoople, with vocals by Ann-Margret and Oliver Reed
6. Amazing Journey (3:19) — performed by Pete Townshend
7. Christmas (4:59) — performed by the Who and the vocal chorus, with lead vocals by Ann-Margret, Oliver Reed and Alison Dowling
8. Eyesight To The Blind (3:21) — performed by Eric Clapton

Side 2

1. Acid Queen (3:47) — performed by Tina Turner
2. Do You Think It's Alright? (1) (:57) — performed by Ann-Margret and Oliver Reed
3. Cousin Kevin (3:07) — performed by Paul Nicholas
4. Do You Think It's Alright? (2) (:46) — performed by Ann-Margret and Oliver Reed
5. Fiddle About (1:40) — performed by the Who, with lead vocals by Keith Moon
6. Do You Think It's Alright? (3) (:29) — performed by Ann-Margret and Oliver Reed
7. Sparks (3:07) — performed by the Who
8. Extra, Extra, Extra (:37) — performed by Simon Townshend
9. Pinball Wizard (5:22) — performed by Elton John

Side 3

1. Champagne (4:43) — performed by the Who, with vocals by Ann-Margret and Roger Daltrey
2. There's A Doctor (:29) — performed by Oliver Reed and Ann-Margret
3. Go To The Mirror (3:49) — performed by Jack Nicholson, Roger Daltrey and Ann-Margret
4. Tommy Can You Hear Me? (:55) — performed by Ann-Margret
5. SMASH THE MIRROR! (1:22) — performed by Ann-Margret
6. I'm Free (2:36) — performed by Roger Daltrey
7. Mother and Son (2:36) — performed by Pete Townshend, with vocals by Ann-Margret and Roger Daltrey
8. Sensation (2:49 on the LP and 8-track, 4:37 on the cassette and CD) — performed by Roger Daltrey

Side 4

1. Miracle Cure (:23) — performed Simon Townshend
2. Sally Simpson (5:38) — performed by Eric Clapton, Pete Townshend and Roger Daltrey
3. Welcome (4:15) — performed by Pete Townshend, with vocals performed by Roger Daltrey, Ann-Margret and Oliver Reed
4. T.V. Studio (1:14) — performed by Pete Townshend, with vocals performed by Ann-Margret and Oliver Reed
5. Tommy's Holiday Camp (1:29) — performed by Keith Moon
6. We're Not Gonna Take It! (4:46) — performed by Roger Daltrey and the vocal chorus
7. Listening to You/See Me, Feel Me (4:19) — performed by the Who and the vocal chorus, with lead vocals by Roger Daltrey

1993 stage version

In 1993, Townshend and San Diego playwright Des MacAnuff wrote and produced a Broadway musical adaptation of Tommy. Featuring several new songs by Townshend and an all-star cast, the production won a Tony Award that year, and various touring revivals have met with popular acclaim since. The musical version reorganizes the numbers, changes many lyrics, and moves the setting to post-World War II Britain. Despite the time frame change, however, the lyrics "Got a feelin '21 is gonna be a good year" remain the same, though now referring to Mrs. Walker's birthday.

Track listing for the cast album (indexed by promo-only vinyl side breaks)

Side 1

1. Overture (4:41)
2. Captain Walker (1:45)
3. It's A Boy (:53)
4. We've Won (1:01)
5. Twenty-One (4:13)
6. Amazing Journey (3:11)
7. Courtroom Scene [interlude] (1:15)
8. Sparks (2:13)
9. Amazing Journey [reprise] (1:04)
10. Christmas (5:04)

Side 2

1. Do You Think It's Alright (1:09)
2. Fiddle About (1:35)
3. See Me, Feel Me (1:08)
4. Cousin Kevin (3:35)
5. Sensation (4:14)
6. Sparks [reprise] (1:55)
7. Eyesight To The Blind (2:50)
8. Acid Queen (4:01)
9. Pinball Wizard (3:50)

Side 3

1. Underture (2:37)
2. There's A Doctor (1:13)
3. Go To The Mirror/Listening To You (3:36)
4. Tommy, Can You Hear Me? (2:00)
5. I Believe My Own Eyes (4:01)
6. Smash The Mirror (2:41)
7. I'm Free (2:52)

Side 4

1. Streets of London 1961-1963 [interlude]/Miracle Cure (:36)
2. Sensation [reprise] (2:21)
3. Tommy the Star (excerpted from "I'm Free" and "Pinball Wizard") (3:55)
4. Tommy's Holiday Camp (1:57)
5. Sally Simpson (3:35)
6. Welcome (3:20)
7. Sally Simpson's Question (1:13)
8. We're Not Gonna Take It (3:03)
9. Finale (5:07)

Notes

• The album Snow (2002) by Spock's Beard has a storyline and themes very similar to Tommy.
• Pink Floyd's 1979 rock opera The Wall has some similarities with Tommy, if not musically then thematically.
• In April 2004, Uncut magazine produced a compilation CD called The Roots Of Tommy, featuring the music which inspired the album.
• The Rock and Roll Hall of Fame ran/is running an exhibit on Tommy called "TOMMY: The Amazing Journey" in 2005-2006.
• The original album was dedicated to Meher Baba. (He is listed as "Avatar" in the album credits.)
• In 2003 the TV network VH1 named Tommy the 90th greatest album of all time.

External links

• Guitar tablature
• Lyrics