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{{About|the original concept album by The Who|for other related and unrelated albums|Tommy}} |
{{About|the original concept album by The Who|for other related and unrelated albums|Tommy}} |
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{{Refimprove|date=July 2008}} |
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{{Infobox album |
{{Infobox album |
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| Name = Tommy |
| Name = Tommy |
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| Type = studio |
| Type = studio |
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| Single 1 = [[Pinball Wizard]] |
| Single 1 = [[Pinball Wizard]] |
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| Single 1 date = 7 March 1969 |
| Single 1 date = 7 March 1969 |
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| Single 2 = [[ |
| Single 2 = [[I'm Free (The Who song)|I'm Free]] |
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| Single 2 date = 1969 |
| Single 2 date = July 1969 |
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| Single 3 = [[ |
| Single 3 = [[See Me, Feel Me]] |
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| Single 3 date = |
| Single 3 date = October 1970 |
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| Single 4 = [[Go to the Mirror!]] |
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| Single 4 date = July 1969 (Australia) |
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| Single 5 = [[I'm Free (The Who song)|I'm Free]] / [[We're Not Gonna Take It (The Who song)|We're Not Gonna Take It]] |
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| Single 5 date = July 1969 |
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| Single 6 = [[Overture (The Who song)|Overture]] / [[See Me, Feel Me]] |
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| Single 6 date = October 1970 |
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}} |
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}} |
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{{The Who Rock Operas}} |
{{The Who Rock Operas}} |
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'''''Tommy''''' is the fourth [[studio album]] by English [[rock music|rock]] band [[The Who]] |
'''''Tommy''''' is the fourth [[studio album]] by the English [[rock music|rock]] band [[The Who]], a [[double album]] first released in May 1969. The album was mostly composed by guitarist [[Pete Townshend]] as a [[rock opera]] that tells the story about a deaf, dumb and blind boy, including his experiences with life, and the relationship with his family. |
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''Tommy'' was acclaimed upon its release by critics, who hailed it as the Who's breakthrough, although its critical standing diminished slightly in later years. Nonetheless, it has since been viewed by several writers as an important and influential rock album. |
Townshend came up with the concept of ''Tommy'' after being introduced to the work of [[Meher Baba]], and attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. ''Tommy'' was acclaimed upon its release by critics, who hailed it as the Who's breakthrough, although its critical standing diminished slightly in later years. Nonetheless, it has since been viewed by several writers as an important and influential rock album. The Who promoted the album's release with an extensive tour, including a live version of ''Tommy'', which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at [[Woodstock]], the [[Metropolitan Opera House (Lincoln Center)|Metropolitan Opera House]] and the [[Isle of Wight Festival 1970|1970 Isle of Wight Festival]]. The live performances of ''Tommy'' drew critical praise and rejuvenated the band's career. |
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Subsequently, the rock opera developed into other media, including a [[Seattle Opera]] production in 1971, an orchestral version by [[Lou Reizner]] in 1972, a [[Tommy (1975 film)|film in 1975]], and a [[Broadway theatre|Broadway]] musical in 1992. In 1998, the album was inducted into the [[Grammy Hall of Fame Award|Grammy Hall of Fame]] for "historical, artistic and significant value". ''Tommy'' has sold over 20 million copies worldwide.<ref name="Perry">{{cite news |url=http://www.telegraph.co.uk/culture/music/rockandjazzmusic/3653281/Hope-I-dont-have-a-heart-attack.html |work=The Daily Telegraph |location=London |title=Hope I don't have a heart attack |first=Andrew |last=Perry |date=22 June 2006 |accessdate=25 May 2010}}</ref><ref name="www2.gibson.com">{{cite news |url=http://www2.gibson.com/News-Lifestyle/Features/en-us/pinball-wizard-0305-2012.aspx |work=Gibson Guitars |title=Pinball Wizard: Pete Townshend Finds His Signature Guitar Sound |first=Ted |last=Drozdowski |date=3 May 2012 |accessdate=9 June 2012}}</ref> The album has been reissued several times on CD, including a remix by [[Jon Astley]] in 1996, a deluxe [[Super Audio CD]] in 2003, and a super deluxe box set in 2013, including previously unreleased demos and live material. |
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==Synopsis== |
==Synopsis== |
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''Tommy'' has never had a definitive plot, but the following synopsis was published following the original album's release.{{sfn|Atkins|2000|p=121}} |
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British Army Captain Walker goes missing during an expedition and is believed dead ("Overture"). His widow, Mrs. Walker, gives birth to their son, Tommy ("It's a Boy"). Years later, Captain Walker returns home and discovers that his wife has found a new lover. The Captain murders this man in an altercation ("1921").<ref>Lyrics printed in Tommy album liner notes (MCA2-10005). In the movie version, the lover kills the father/Captain.</ref> To cover up the incident Tommy's parents tell him that he didn't see or hear it. Having developed severe [[Post-Traumatic Stress Disorder]], Tommy drops into a semi-[[catatonia|catatonic]] state and becomes deaf, dumb, and blind, in a sense having taken his parent's instructions to an unforeseen extreme. Years pass, during which he is outwardly immobile. Inside his head, however, sensations from the outside world are changed into amazing visions accompanied by music ("[[Amazing Journey]]/Sparks"). |
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British Army Captain Walker goes missing during an expedition and is believed dead ("Overture"). His widow, Mrs. Walker, gives birth to their son, Tommy ("It's a Boy"). Years later, Captain Walker returns home and discovers that his wife has found a new lover. The Captain murders this man in an altercation. Tommy's mother brainwashes him into believing he didn't see or hear anything, shutting down his senses and making him deaf, dumb and blind to the outside world ("1921"). Tommy now relies on his sense of touch and imagination, developing a fascinating inner psyche ("[[Amazing Journey]]/Sparks"). |
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His parents are aware of none of this, and they fret that he will never find religion in the midst of his isolation ("Christmas"). Tommy's parents sometimes go on outings and leave their burdensome son with relatives, many of whom take advantage of his helplessness; he is tortured by his [[sadistic personality disorder|sadistic]] "[[Cousin Kevin]]", and [[child molestation|molested]] by his uncle Ernie ("Do You Think It's Alright?", "[[Fiddle About]]"). Meanwhile, a pimp referred to as "The Hawker" is introduced and peddles his prostitute, who promises to return "Eyesight to the Blind" and is reputed to heal the deaf, the dumb, and the blind. Tommy is ultimately taken to this woman, who calls herself "[[The Acid Queen]]"; she tries to coax Tommy into full consciousness with [[hallucinogenic drugs]]. Although the attempted treatment affects him strongly ("Underture"), he does not lose his disabilities. Nevertheless, he subsequently gains public attention by his curious interest in pinball, which he plays very successfully by touch ("[[Pinball Wizard]]"). |
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A [[quackery|quack]] claims his wife can cure Tommy ("The Hawker"), while Tommy's parents are increasingly frustrated that he will never find religion the midst of his isolation ("Christmas"). Tommy's parents begin to neglect him; he is tortured by his [[sadistic personality disorder|sadistic]] "[[Cousin Kevin]]", and [[child molestation|molested]] by his uncle Ernie ("Do You Think It's Alright?", "[[Fiddle About]]"), and given [[LSD]] by the Hawker's wife, "[[The Acid Queen]]". Tommy's hallucinogenic experience is expressed musically ("Underture"). |
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At last the Walkers take Tommy to a respected doctor ("There's a Doctor"), who determines that the boy's disabilities are psychosomatic rather than physical. Told by the Doctor to "[[Go to the Mirror!]]", Tommy appears to look at his reflection and later becomes obsessed with the mirrors in his house. Mrs. Walker grows so irritated at the habit that she smashes the glass into which Tommy is looking. The action somehow destroys Tommy's mental block, and he recovers his senses and speech ("Sensation", "[[I'm Free (The Who song)|I'm Free]]"). The "miracle cure" becomes a public sensation, upon which Tommy seizes (with uncertain motives) to make himself into a guru ("Welcome"). His era's interest with Messianic figures wins him a huge following. In a side story, a wealthy teenager named "Sally Simpson" becomes smitten with Tommy and tries to climb onstage as he speaks, only to be violently repulsed by security guards. |
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As Tommy grows older, he discovers he can feel vibrations sufficiently well to become an expert [[pinball]] player ("[[Pinball Wizard]]"). His parents take him to a respected doctor ("There's a Doctor"), who determines that the boy's disabilities are psychosomatic rather than physical. Tommy is told by the Doctor to "[[Go to the Mirror!]]", and his parents notice he can stare at his reflection. After spending extensive time staring at a mirror in the house, his mother smashes it out of frustration ("Smash The Mirror") This removes Tommy's mental block, and he recovers his senses, realising he can become a powerful leader ("Sensation"). He starts a religious movement ("[[I'm Free (The Who song)|I'm Free]]"), which expands into a [[holiday camp]] ("Welcome" / "Tommy's Holiday Camp"). The followers, however, ultimately reject Tommy's teachings and leave the camp ("We're Not Gonna Take It"). Tommy retreats inward again ("See Me, Feel Me") with his "continuing statement of wonder at that which encompasses him".{{sfn|Atkins|2000|pp=121–122}} |
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Uncle Ernie capitalises on his nephew's popularity by starting a tatty and expensive "Tommy's Holiday Camp" for the disciples, who are promised a life of hedonism therein. In fact, Tommy treats his audience brusquely and demands that they live in an austere manner in his presence. The discontent caused by this reversal is intensified when he asks the crowd to plug their eyes, ears, and mouths and play pinball—he is less interested in his recovery than in sharing the things he saw while paralyzed ("We're Not Gonna Take It"). As the story ends, the disciples reject Tommy in a body and leave the camp. In response, he retreats inward again and becomes wrapped in his fantasies ("See Me, Feel Me"). |
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==Background== |
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==Analysis and history== |
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Townshend had been looking at way of progressing beyond the standard three minute pop single format since 1966.{{sfn|Marsh|1983|p=214}} Co-manager [[Kit Lambert]] shared Townshend's views and encouraged him to develop musical ideas,{{sfn|Marsh|1983|p=215}} coming up with the term "rock opera". The first use of the term was applied to a suite called "Quads", set in a future where parents could choose the sex of their children. A couple want four girls but instead receive three girls and a boy, raising him as a girl anyway. The opera was abandoned after a single song, the hit single, "[[I'm a Boy]]".{{sfn|Marsh|1983|p=217}} When the Who's second album, ''[[A Quick One]]'' ran short of material during recording, Lambert suggested that Townshend should write a "mini-opera" to fill the gap. Townshend initially objected, but eventually agreed to do so, coming up with "A Quick One, While He's Away", which joined short pieces of music together into a continuous narrative.{{sfn|Marsh|1983|p=227}} During 1967, Townshend learned how to play the [[piano]] and began writing songs on it, taking his work more seriously.{{sfn|Marsh|1983|p=283}} That year's ''[[The Who Sell Out]]'' included a mini-opera in the last track, "Rael", which like "A Quick One..." was a suite of musical segments joined together.{{sfn|Marsh|1983|pp=282,283}} |
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{{Refimprove section|date=February 2010}} |
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Pete Townshend's inspiration for the album came from the teachings of the [[Meher Baba]] and other writings and expressing the enlightenment he believed that he had received.<ref>Richard Barnes, liner notes from 1996 CD release</ref> A year prior to the album's release, he had explained many of his ideas during a famous ''[[Rolling Stone]]'' interview: |
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{{ |
{{quotebox|width=50%|quote=The package I hope is going to be called ''"Deaf, Dumb and Blind Boy."'' It's a story about a kid that's born deaf, dumb and blind and what happens to him throughout his life... But what it's really all about is the fact that ... he's seeing things basically as vibrations which we translate as music. That's really what we want to do: create this feeling that when you listen to the music you can actually become aware of the boy, and aware of what he is all about, because we are creating him as we play."|source=[[Pete Townshend]] talking to [[Jann Wenner]], August 1968{{sfn|Marsh|1983|pp=313,314}}}} |
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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.{{sfn|Marsh|1983|pp=293–294}} His friend, ''[[International Times]]'' art director Mike McInnerney, told him about the Indian spiritual mentor [[Meher Baba]],{{sfn|Marsh|1983|p=294}} and Townshend became fascinated with Baba's values of compassion, love and introspection.{{sfn|Marsh|1983|p=296}} 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.{{sfn|Marsh|1983|p=308}} Live performances remained strong, and the group spent most of the spring and summer touring the US and Canada{{sfn|Neill|Kent|2002|p=190}} but their stage act relied on Townshend smashing his guitar or Moon demolishing his drums, which kept the group in debt. Townshend and 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 Baba into this concept.{{sfn|Marsh|1983|p=309}} 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 by the band, to counteract the trend of bands like [[the Beatles]] and [[the Beach Boys]], whose studio output was not designed for live performance.{{sfn|Marsh|1983|p=310}} |
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When asked what his opinion of ''Tommy'' was, [[John Entwistle]] replied: |
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In August 1968, Townshend gave an important interview to ''[[Rolling Stone]]''{{'}}s [[Jann Wenner]]. He talked about a new rock opera, which had the working title of ''Deaf, Dumb and Blind Boy'', and described the entire plot in great detail, which ran to 11 pages.{{sfn|Marsh|1983|pp=313–316}} Who biographer Dave Marsh subsequently said the interview described the narrative better than the finished album.{{sfn|Marsh|1983|p=316}} Townshend later regretted publishing so much detail, as he felt it forced him to write the album according to that blueprint.{{sfn|Neill|Kent|2002|p=191}} The rest of the Who, however, were enthusiastic about the idea, and let him have artistic control over the project.{{sfn|Neill|Kent|2002|p=192}} |
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{{cquote|I think it's just an association of ideas really. It took us eight months altogether, six months recording, two months mixing. We had to do so many of the tracks again, because it took so long we had to keep going back and rejuvenating the numbers, that it just started to drive us mad, we were getting brainwashed by the whole thing, and I started to hate it. In fact I only ever played the record twice- ever. I don't think Tommy was all about [what] was on the record- I think it's on the stage. The message is much stronger on stage than on record.<ref>{{cite web |url=http://www.thewho.net/articles/townshen/crawdaddy_71.htm |title=The Hypertext Who " Article Archive › The Who Puts the Bomp (1971) |publisher=Thewho.net |accessdate=9 July 2010}}</ref>}} |
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==Recording== |
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When it was released, critics were split between those who thought the album was a masterpiece, the beginnings of a new genre, and those that felt it was [[Exploitation|exploitative]]. The album was banned by the [[BBC]] and certain US radio stations. Ultimately, the album became a commercial success, as did The Who's frequent live performances of the rock opera in the following years, elevating them to a new level of prestige and international stardom.<ref>{{Cite web |url=http://www.thewho.net/articles/townshen/tom_ln.htm |title=The Hypertext Who " Article Archive " Liner Notes from "Tommy" Reissue (1995) |publisher=Thewho.net |date=16 Oct 2007 |accessdate=9 July 2010}}</ref> However, unlike later rock operas, the album was not accompanied by live theatrical shows, but simply raw concerts in which the band performed all of the album's songs in the usual live Who formation of a "[[power trio]]" along with a lead vocalist. Recordings of such shows from the ''Tommy'' tour can be heard on the second disc of the Deluxe edition of ''[[Live At Leeds]]'' and on ''[[Live at the Isle of Wight Festival 1970 (The Who album)|Live at the Isle of Wight Festival 1970]]''. |
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The Who started recording the album at [[IBC Studios]] on 19 September 1968.{{sfn|Neill|Kent|2002|p=210}} There was no firm title at this point, which was variously referred to as ''Deaf, Dumb and Blind Boy'', ''Amazing Journey'', ''Journey into Space'', ''The Brain Opera'' and ''Omnibus''. Townshend eventually settled on ''Tommy'' because it was a common British name, and a nickname for soldiers in World War I.{{sfn|Marsh|1983|p=317}} Lambert took charge of the production, with Damon Lyon-Shaw as engineer. Sessions were block booked from 2pm – 10pm, but recording often spilled over into the early morning. {{sfn|Neill|Kent|2002|p=210}} |
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The album was recorded onto eight track tape, which allowed various instruments to be [[overdubbed]]. Townshend used several guitars in the studio, but made particular use of the [[Gibson J-200]] acoustic and the [[Gibson SG]].<ref name="www2.gibson.com"/> As well as their usual instruments, Townshend played [[piano]] and [[Hammond organ|organ]] and bassist [[John Entwistle]] doubled on [[french horn]]. [[Keith Moon]] used a new double bass drum kit owned by roadie Tony Haslam, after Premier had refused to loan him any more equipment due to continual abuse.{{sfn|Neill|Kent|2002|p=210}} Though Townshend wrote the majority of the material, the arrangements came from the entire band. Singer [[Roger Daltrey]] later said that Townshend often came in with a half-finished [[demo recording]], adding "we probably did as much talking as we did recording, sorting out arrangements and things."{{sfn|Neill|Kent|2002|p=219}} Townshend asked Entwistle to write two songs ("Cousin Kevin" and "Fiddle About") that covered the darker themes of bullying and abuse. "Tommy's Holiday Camp" was Moon's suggestion of what religious movement Tommy could lead. Moon got the songwriting credit for suggesting the idea, though the music was composed and played by Townshend.{{sfn|Marsh|1983|p=323}} A significant amount of material had a lighter style than earlier recordings, with greater prominence put on the vocals. Moon later said, "It was, at the time, very un-Wholike. A lot of the songs were soft. We never played like that."{{sfn|Neill|Kent|2002|p=220}} |
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Musically, ''Tommy'' 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, drum kit, [[gong]], [[timpani]], trumpet, [[horn (instrument)|French horn]], three-part vocal harmonies, and occasional doubling on vocal solos. Many of the instruments only appear intermittently—the track "Underture" features a single toot on the horn—and when overdubbed many of the instruments are mixed at low levels. Townshend mixes in fingerpicking with his trademark [[power chord]]s and fat [[riffs]]. His interest in creating unique sounds is evident throughout the album, most notably on "Amazing Journey" and the curious chirping/whistle sound heard throughout the song, which was created by playing a taped recording of [[claves]] in reverse.{{cn|date=August 2014}} |
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Some of the material had already been written for other projects. "Sensation" was written about a girl Townshend had met on the Who's tour of Australia in early 1968, "Welcome" and "I'm Free" were about peace found through Meher Baba and "Sally Simpson" was based on a gig with [[the Doors]] which was marred by violence.{{sfn|Marsh|1983|pp=316,318}} Other songs had been previously recorded by the Who and were recycled; "It's A Boy" was derived from "Glow Girl", an out-take from ''The Who Sell Out'', while "Sparks" and "Underture" re-used and expanded one of the instrumental themes in "Rael".{{sfn|Marsh|1983|p=318}} "Amazing Journey" was, according to Townshend, "the absolute beginning" of the opera and summarised the entire plot.{{sfn|Marsh|1983|p=318}} |
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The tracks "[[Pinball Wizard]]", "[[Go to the Mirror!]]", "[[I'm Free (The Who song)|I'm Free]]", "Christmas", and "[[See Me, Feel Me]]" were released as singles and received airplay on the radio. "Pinball Wizard" reached the top 20 in the US and the top five in the UK. "See Me, Feel Me" landed high in the top 20 in the US and "I'm Free" reached the top 40. |
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Recording at IBC was slow, due to a lack of a full plot and a full selection of songs. The group hoped that the album would be ready by Christmas, but sessions dragged on. ''Melody Maker''{{'}}s [[Chris Welch]] visited IBC studios in November and while he was impressed with the working environment and the material,{{sfn|Marsh|1983|p=321}} the project still didn't have a title and there was no coherent plotline.{{sfn|Marsh|1983|p=323}} The Who's US record company got so fed up of waiting for new product that they released the compilation album ''[[Magic Bus: The Who on Tour]]'' which received a scathing review from Greil Marcus in ''Rolling Stone'' over its poor selection of material and misleading name (as the album contained studio recordings and was not live).{{sfn|Marsh|1983|p=319,320}} |
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Several structural precedents for ''Tommy'' exist in Townshend's work, including "Glow Girl" (1968), "[[The Who Sell Out|Rael]]" (1967), and the sectional work "[[A Quick One, While He's Away|A Quick One While He's Away]]" (1966). In 2004, ''[[Uncut (magazine)|Uncut]]'' released a CD titled ''[[The Roots of Tommy]]'' containing music that they asserted influenced ''Tommy'''s creation. Among the included songs are the blues songs that Townshend included or attempted to, such as [[Mose Allison]]'s "Young Man Blues" and [[Sonny Boy Williamson II|Sonny Boy Williamson]]'s "Eyesight to the Blind," as well as [[The Pretty Things]]' "S.F. Sorrow Is Born," material from [[Mark Wirtz]]'s ''[[A Teenage Opera]]'', and music by groups such as [[The Zombies]], [[The Jimi Hendrix Experience]], [[Nirvana (UK band)|Nirvana (UK)]], [[The Kinks]]. Music hall comedian [[Max Miller (comedian)|Max Miller]] is said to have influenced the character of Uncle Ernie. |
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The Who took a break from recording at the end of 1968 to tour, including a well received appearance at ''[[The Rolling Stones Rock and Roll Circus]]'' on 10 December.{{sfn|Neill|Kent|2002|p=216}} They resumed sessions at IBC in January 1969, block booking Monday to Thursday, but had to do gigs every weekend to stop going further into debt.{{sfn|Marsh|1983|p=324}} A major tour was booked for the end of April, and the group's management insisted that the album would have to be finished by then, as it had been well over a year since ''The Who Sell Out''.{{sfn|Marsh|1983|p=325}} Lambert wrote a script, ''Tommy (1914–1984)'' which he professionally printed, and gave copies to the band, which helped them focus the storyline, and also decide to make the album a double.{{sfn|Marsh|1983|p=324}} The group were still coming up with new material; Lambert insisted that the piece should have a proper overture,{{sfn|Marsh|1983|p=325}} while Townshend wrote "Pinball Wizard" so that [[Nik Cohn]], a pinball fan, would give the album a favourable review in the ''[[New York Times]]''.{{sfn|Neill|Kent|2002|p=221}} Lambert wanted an orchestra to appear on the album, but Townshend was strongly against the idea, and time and budget constraints meant it could not happen anyway.{{sfn|Marsh|1983|p=325}} |
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According to music critic Martha Bayles, ''Tommy'' did not mix rock with European music, as its "rock opera" title may have suggested, but instead was "dominated by the Who's mature style: ponderous, rhythmically monotonous [[hard rock]]".<ref name="Bayles">{{cite book|page=224|url=http://books.google.com/books?id=pmcaVNZNF-cC&pg=PA224#v=onepage&q&f=false|accessdate=7 July 2013|title=Hole in Our Soul:The Loss of Beauty and Meaning in American Popular Music|last=Bayles|first=Martha|year=1994|publisher=[[University of Chicago Press]]|isbn=0-226-03959-5}}</ref> Bayles argued that it was more acceptable to audiences than the [[art rock]] "concoctions" of the time because of the cultural climate during the late 1960s: "''Tommy'' was considered more authentic, precisely because it consists of hard rock, rather than doctored-up [[Mussorgsky]] ... and avoids the typical pseudoromantic themes of art rock (fairy-tale bliss and apocalyptic angst) in favor of the more up-to-date subject of [[popular culture]] itself."<ref name="Bayles"/> ''[[High Fidelity (magazine)|High Fidelity]]'' magazine also characterized the Who's album as a "reasonably hard-rock version" of the opera.<ref>{{cite journal|journal=[[High Fidelity (magazine)|High Fidelity]]|page=418|volume=23|title=Tommy|date=June 1973|issue=6}}</ref> |
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By March 1969, some songs had been recorded several times, yet Townshend still thought there were missing pieces.{{sfn|Marsh|1983|p=327}} Entwistle had become fed up with recording, later saying "we had to keep going back and rejuvenating the numbers ... it just started to drive us mad."<ref name="www2.gibson.com"/> The final recording session took place on 7 March, the same day that "Pinball Wizard" was released as a single.{{sfn|Neill|Kent|2002|pp=227,228}} The group started tour rehearsals and promotional activities for the single and Lambert went on holiday in [[Cairo]]. The mixing was left to Lyon-Shaw and assistant engineer Ted Sharp, who didn't think IBC was well suited for the task.{{sfn|Neill|Kent|2002|p=228}} The album overshot its April deadline, as stereo mastering continued into the end of the month.{{sfn|Neill|Kent|2002|p=230}} |
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==Critical reception== |
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==Release== |
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''Tommy'' was finally released on 17 May 1969 in the US, and 23 May in the UK, due to delays with the cover.{{sfn|Neill|Kent|2002|p=232}} The original double album was configured with sides 1 and 4 on one disc, and sides 2 and 3 on the other, to facilitate [[record changers]].{{sfn|Neill|Kent|2002|p=231}} |
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The album was commercially successful, reached No. 2 in the UK album charts, and No. 4 in the US,{{sfn|Neill|Kent|2002|p=232}} It sold 200,000 copies in the first two weeks in the US alone, and was awarded a gold record for sales of 500,000 on August 18.{{sfn|Marsh|1983|p=340}} "Pinball Wizard", "[[I'm Free (The Who song)|I'm Free]]" and "[[See Me, Feel Me]]" were released as singles and received airplay on the radio. "Pinball Wizard" reached the top 20 in the US and the top five in the UK. "See Me, Feel Me" reached the top 20 in the US and "I'm Free" reached the top 40. An EP of selections from the album was planned to be released in the UK in November 1970, but was withdrawn.{{sfn|Neill|Kent|2002|p=421}} |
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When it was released, critics were split between those who thought the album was a masterpiece, the beginnings of a new genre, and those that felt it was [[Exploitation|exploitative]]. The album had a hostile reception the [[BBC]] and certain US radio stations, with [[Tony Blackburn]] describing "Pinball Wizard" as "distasteful".{{sfn|Neill|Kent|2002|p=230}} Nevertheless, [[BBC Radio 1]] received an advance copy of the album at the start of May and gave the material its first airplay on [[Pete Drummond]]'s show on 3 May.{{sfn|Neill|Kent|2002|p=231}} |
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===Critical reception=== |
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{{Album ratings |
{{Album ratings |
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| rev1 = [[Allmusic]] |
| rev1 = [[Allmusic]] |
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| rev3Score = {{Rating|4|5}}<ref>{{cite journal|url=http://www.rollingstone.com/music/albumreviews/tommy-deluxe-edition-20040122|accessdate=3 July 2013|title=Tommy Deluxe Edition|journal=[[Rolling Stone]]|location=New York|date=22 January 2004|last=Randall|first=Mac}}</ref> |
| rev3Score = {{Rating|4|5}}<ref>{{cite journal|url=http://www.rollingstone.com/music/albumreviews/tommy-deluxe-edition-20040122|accessdate=3 July 2013|title=Tommy Deluxe Edition|journal=[[Rolling Stone]]|location=New York|date=22 January 2004|last=Randall|first=Mac}}</ref> |
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| rev4 = ''[[The Rolling Stone Album Guide]]'' |
| rev4 = ''[[The Rolling Stone Album Guide]]'' |
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| rev4Score = {{Rating|4|5}}{{sfn|Kemp |
| rev4Score = {{Rating|4|5}}{{sfn|Kemp|2004|p=871}} |
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| rev5 = ''[[Uncut (magazine)|Uncut]]'' |
| rev5 = ''[[Uncut (magazine)|Uncut]]'' |
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| rev5Score = {{Rating|3|5}}<ref name="Uncut">{{cite journal|title=Review: Tommy|journal=[[Uncut (magazine)|Uncut]]|location=London|pages=110|date=March 2004}}</ref> |
| rev5Score = {{Rating|3|5}}<ref name="Uncut">{{cite journal|title=Review: Tommy|journal=[[Uncut (magazine)|Uncut]]|location=London|pages=110|date=March 2004}}</ref> |
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}} |
}} |
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The initial critical reaction to ''Tommy'' was positive. [[Chris Welch]], writing for ''[[Melody Maker]]'', went to the press launch show at Ronnie Scott's and although the volume left his ears ringing for 20 hours, he concluded "we wanted more". ''[[Disc and Music Echo]]'' ran a front-page headline saying "Who's Tommy: A Masterpiece".{{sfn|Marsh|1983|p=340}} |
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In a 1969 column for ''[[The Village Voice]]'', music critic [[Robert Christgau]] said that, apart from The Mothers of Invention's ''[[We're Only in It for the Money]]'', ''Tommy'' is the first successful "extended work" in [[rock music]], but Townshend's parodic side is more "profound and equivocal" than [[Frank Zappa]]. He praised Townshend for deliberately constructing the album so that each song can be enjoyed individually and felt that he is determined to "give his audience what it wants without burying his own peculiarity".<ref>{{cite news|last=Christgau|first=Robert|authorlink=Robert Christgau|date=12 June 1969|url=http://www.robertchristgau.com/xg/rock/who-69.php|title=Whooopee!|newspaper=[[The Village Voice]]|location=New York|accessdate=3 July 2013}}</ref> [[Albert Goldman]], writing in ''[[Life (magazine)|Life]]'' magazine, said that The Who play through "all the kinky complications" of the narrative in a [[hard rock]] style that is the antithesis of most contemporary "serious" rock. Goldman asserted that, based on innovation, performance, and "sheer power", ''Tommy'' surpasses anything else in studio-recorded rock.<ref name="Goldman">{{cite journal|url=http://books.google.com/books?id=JFAEAAAAMBAJ&pg=PA20#v=onepage&q&f=false|journal=[[Life Magazine]]|title=A Grand Opera in Rock |date=17 October 1969 |accessdate=3 July 2013|page=20}}</ref> Christgau named ''Tommy'' the best album of 1969 in his year-end list for ''Jazz & Pop'' magazine.<ref>{{cite journal|journal=Jazz & Pop|last=Christgau|first=Robert|year=1969|url=http://www.robertchristgau.com/xg/pnj/jpballot-69.php|title=Robert Christgau's 1969 Jazz & Pop Ballot|accessdate=April 17, 2014}}</ref> In 1974, the writers of ''[[NME]]'' magazine ranked it sixteenth on their list of the top 100 albums of all time.<ref>{{cite web |url=http://www.rocklistmusic.co.uk/nme_writers.htm#100_74 |title=NME Writers All Time Albums 1993, 1985 & 1974 |publisher=Rocklistmusic.co.uk |accessdate=13 April 2011}}</ref> |
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In a 1969 column for ''[[The Village Voice]]'', music critic [[Robert Christgau]] said that, apart from The Mothers of Invention's ''[[We're Only in It for the Money]]'', ''Tommy'' is the first successful "extended work" in [[rock music]], but Townshend's parodic side is more "profound and equivocal" than [[Frank Zappa]]. He praised Townshend for deliberately constructing the album so that each song can be enjoyed individually and felt that he is determined to "give his audience what it wants without burying his own peculiarity".<ref>{{cite news|last=Christgau|first=Robert|authorlink=Robert Christgau|date=12 June 1969|url=http://www.robertchristgau.com/xg/rock/who-69.php|title=Whooopee!|newspaper=[[The Village Voice]]|location=New York|accessdate=3 July 2013}}</ref> [[Albert Goldman]], writing in ''[[Life (magazine)|Life]]'' magazine, said that The Who play through "all the kinky complications" of the narrative in a [[hard rock]] style that is the antithesis of most contemporary "serious" rock. Goldman asserted that, based on innovation, performance, and "sheer power", ''Tommy'' surpasses anything else in studio-recorded rock.<ref name="Goldman">{{cite journal|url=http://books.google.com/books?id=JFAEAAAAMBAJ&pg=PA20#v=onepage&q&f=false|journal=[[Life Magazine]]|title=A Grand Opera in Rock |date=17 October 1969 |accessdate=3 July 2013|page=20}}</ref> Christgau named ''Tommy'' the best album of 1969 in his year-end list for ''Jazz & Pop'' magazine.<ref>{{cite journal|journal=Jazz & Pop|last=Christgau|first=Robert|year=1969|url=http://www.robertchristgau.com/xg/pnj/jpballot-69.php|title=Robert Christgau's 1969 Jazz & Pop Ballot|accessdate=April 17, 2014}}</ref> |
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According to music journalist [[Richie Unterberger]], ''Tommy'' was hailed by contemporary critics as the Who's breakthrough, but its critical standing diminished slightly in the subsequent decades, because of its occasionally pretentious concept and flimsy songs that functioned as devices to "advance the rather sketchy plot."<ref name="Unterberger"/> Christgau wrote in 1983, "''Tommy''{{'}}s operatic pretensions were so transparent that for years it seemed safe to guess that Townshend's musical ideas would never catch up with his lyrics."<ref>{{cite news|last=Christgau|first=Robert|date=25 January 1983|url=http://www.robertchristgau.com/xg/cg/cgv1-83.php|title=Consumer Guide|newspaper=The Village Voice|location=New York|accessdate=3 July 2013}}</ref> In his review for [[Allmusic]], Unterberger said that, despite its slight flaws, the album has "many excellent songs" permeated with "a suitably powerful grace", while Townshend's ability to devise a lengthy narrative introduced "new possibilities to rock music."<ref name="Unterberger">{{cite web|last=Unterberger|first=Richie|url=http://www.allmusic.com/album/tommy-mw0000392525|title=Tommy – The Who|publisher=[[Allmusic]]|accessdate=3 July 2013}}</ref> ''[[Uncut (magazine)|Uncut]]'' wrote that the album "doesn't quite realise its ambitions, though it achieves a lot on the way", and that The Who would make a more substantial version with ''[[Quadrophenia]]'' (1973).<ref name="Uncut"/> [[Mark Kemp]], writing in ''[[The Rolling Stone Album Guide]]'' (2004), felt that "in retrospect, ''Tommy'' isn't quite the masterpiece" it was originally "hyped" to be and that it was not as "fun" or "enlightening" as ''[[The Who Sell Out]]'' (1967), although because of Townshend, it produced several "bona fide classic songs".{{sfn|Kemp et al.|2004|p=872}} |
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According to music journalist [[Richie Unterberger]], ''Tommy'' was hailed by contemporary critics as the Who's breakthrough, but its critical standing diminished slightly in the subsequent decades, because of its occasionally pretentious concept and flimsy songs that functioned as devices to "advance the rather sketchy plot."<ref name="Unterberger"/> Christgau wrote in 1983, "''Tommy''{{'}}s operatic pretensions were so transparent that for years it seemed safe to guess that Townshend's musical ideas would never catch up with his lyrics."<ref>{{cite news|last=Christgau|first=Robert|date=25 January 1983|url=http://www.robertchristgau.com/xg/cg/cgv1-83.php|title=Consumer Guide|newspaper=The Village Voice|location=New York|accessdate=3 July 2013}}</ref> In his review for [[Allmusic]], Unterberger said that, despite its slight flaws, the album has "many excellent songs" permeated with "a suitably powerful grace", while Townshend's ability to devise a lengthy narrative introduced "new possibilities to rock music."<ref name="Unterberger">{{cite web|last=Unterberger|first=Richie|url=http://www.allmusic.com/album/tommy-mw0000392525|title=Tommy – The Who|publisher=[[Allmusic]]|accessdate=3 July 2013}}</ref> ''[[Uncut (magazine)|Uncut]]'' wrote that the album "doesn't quite realise its ambitions, though it achieves a lot on the way", and that The Who would make a more substantial version with ''[[Quadrophenia]]'' (1973).<ref name="Uncut"/> [[Mark Kemp]], writing in ''[[The Rolling Stone Album Guide]]'' (2004), felt that "in retrospect, ''Tommy'' isn't quite the masterpiece it was originally hyped to be", suggesting ''The Who Sell Out'' was better, though because of Townshend, it produced several "bona fide classic songs".{{sfn|Kemp|2004|p=872}} |
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In 2003, ''[[Rolling Stone]]'' magazine ranked ''Tommy'' number 96 on its list of [[The 500 Greatest Albums of All Time|the 500 greatest albums of all time]].<ref>{{cite journal|title=The 500 Greatest Albums of All Time|journal=Rolling Stone|location=New York|page=118|date=11 December 2013}}</ref> It was also ranked number 90 on [[VH1]]'s 100 Greatest Albums of Rock & Roll and appeared in the book ''[[1001 Albums You Must Hear Before You Die]]''.<ref>{{cite web |url=http://www.rocklistmusic.co.uk/steveparker/1001albums.htm |title=Outline Page |publisher=Rocklistmusic.co.uk |accessdate=13 April 2011}}</ref> ''[[Q (magazine)|Q]]'' ranked it 9th on their list of "The Music That Changed the World: Part One 1954–1969" in 2004.<ref>{{cite web |url=http://www.rocklistmusic.co.uk/qlistspage3.htm#The |title=Music That Changed The World |publisher=Rocklistmusic.co.uk |accessdate=13 April 2011}}</ref> Writer Chris Smith included the album in his book ''101 Albums That Changed Popular Music'' and wrote that it was "the first rock album that [told] a complete linear narrative through its progression of songs."<ref>101 Albums that Changed Popular Music, "The Who's "Tommy" is the first rock album that tells a complete linear narrative through its progression of songs."</ref> |
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In 2003, ''[[Rolling Stone]]'' magazine ranked ''Tommy'' number 96 on its list of [[The 500 Greatest Albums of All Time|the 500 greatest albums of all time]].<ref>{{cite journal|title=The 500 Greatest Albums of All Time|journal=Rolling Stone|location=New York|page=118|date=11 December 2013}}</ref> The album is one of several by the Who to appear in ''[[1001 Albums You Must Hear Before You Die]]''.<ref>{{cite book | title=1001 Albums: You Must Hear Before You Die|first=Robert|last=Dimery|first2=Michael|last2=Lydon|publisher=Hachette UK|year=2011|p=455|isbn=978-1-844-03714-8}}</ref> |
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According to music critic Martha Bayles, ''Tommy'' did not mix rock with European music, as its "rock opera" title may have suggested, but instead was "dominated by the Who's mature style: ponderous, rhythmically monotonous [[hard rock]]".<ref name="Bayles">{{cite book|page=224|url=http://books.google.com/books?id=pmcaVNZNF-cC&pg=PA224#v=onepage&q&f=false|accessdate=7 July 2013|title=Hole in Our Soul:The Loss of Beauty and Meaning in American Popular Music|last=Bayles|first=Martha|year=1994|publisher=[[University of Chicago Press]]|isbn=0-226-03959-5}}</ref> Bayles argued that it was more acceptable to audiences than the [[art rock]] "concoctions" of the time because of the cultural climate during the late 1960s: "''Tommy'' was considered more authentic, precisely because it consists of hard rock, rather than doctored-up [[Mussorgsky]] ... and avoids the typical pseudoromantic themes of art rock (fairy-tale bliss and apocalyptic angst) in favor of the more up-to-date subject of [[popular culture]] itself."<ref name="Bayles"/> ''[[High Fidelity (magazine)|High Fidelity]]'' magazine also characterized the Who's album as a "reasonably hard-rock version" of the opera.<ref>{{cite journal|journal=[[High Fidelity (magazine)|High Fidelity]]|page=418|volume=23|title=Tommy|date=June 1973|issue=6}}</ref> |
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==Editions and cover art== |
==Editions and cover art== |
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''Tommy'' was originally released as a two-[[Gramophone record|LP]] set with artwork designed by McInnerney, which included a booklet including lyrics and images to illustrate parts of the story. The cover is presented as part of a [[triptych]]-style fold-out cover, and the booklet contained abstract artwork that outlined the story.{{sfn|Atkins|2000|p=121}} Although the album included lyrics to all the songs, indicating individual characters, it did not outline the plot, which led to a concert programme being prepared for shows, that carried a detailed synopsis.{{sfn|Atkins|2000|p=121}} |
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''Tommy'' was originally released as a two-[[Gramophone record|LP]] set with a booklet including lyrics and images to illustrate parts of the story. The cover is presented as part of 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, art director for the ''[[International Times]]'' and a friend and influence of Pete Townshend. 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). McInnerney said of his work: {{quote box| align = right| width=50em|bgcolor=#c6dbf7|I had been exploring ways of creating images that could picture my pre-occupation with spiritual ideas. I particularly liked the patterns and rhythms of [[Op Art]] and its concerns with perception and illusion and the language of [[Surrealism]] - not for its subversive qualities but rather its transcendental possibilities - like finding poetry in the ordinary. ... The Opera had a strong libretto which I used to develop the images...I chose to do images that acted as symbols for key moments in the story. I hoped the images would be viewed like painting and sculpture are viewed - that is, in a contemplative way, with a long look at images layered with references. I liked the 'idea' of the Tommy character. Rather than trying to portray him, I wanted to picture his experience of being in a world without conventional senses. I thought it would be limitless and unbounded, yet trapped in an environment made for people who have all of their senses|source=— 1990 essay by Mike McInnerney to accompany limited-edition reprints published by Record Art, New York<ref>Quoted by [http://rockpopgallery.typepad.com/rockpop_gallery_news/2007/06/cover_story_tom.html Pop Rock Gallery]</ref>}} |
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Townshend thought McInnerney, a fellow follower of Baba, would be a suitable choice to do the cover. As recording was near completion, McInnerney received a number of cassettes with completed songs and a brief outline for the story, which he immediately recognised as being based on Baba's teachings.{{sfn|Marsh|1983|p=336}} He wanted to try and convey the world of a deaf, dumb and blind boy, and decided to "depict a kind of breaking out of a certain restricted plane into freedom."{{sfn|Marsh|1983|p=337}} The finished cover contained a blue and white web of clouds, a first punching into the black void to the left of it. The inner triptych, meanwhile, showed a hand reaching out to light and a light shining in a dark void.{{sfn|Marsh|1983|p=337}} Townshend was too busy finishing the recording to properly approve the artwork, but Lambert strongly approved of it, and said it would work. The final step was for record company approval, who decided the cover was more sensible than ''The Who Sell Out'',{{sfn|Marsh|1983|p=337}} though making one concession that pictures of the band should appear on the cover. These were added to the web on the front.<ref name="1996CD"/> |
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[[Polydor Records]] re-released the album on compact disc in the UK in 1983. The CDs were packaged in a double CD case, with the front and back panels of the case reproducing the middle and right panels of the triptych respectively. The booklet reproduced the tryptych in full, with black and white reproductions of the inner artwork. The booklet also contained the full lyrics, with black and white selections of the artwork from the original LP booklet. [[MCA Inc.|MCA]] re-released the album in the United States as a two-CD set in 1984. The CDs were packaged in separate jewel cases and each had a copy of the original artwork and lyrics in the insert, though the cover only included two panels of the triptych. [[Mobile Fidelity Sound Lab]] later published it on a single gold-plated [[Mobile Fidelity Sound Lab|Ultradisc]] in their Original Master Recording series, with a higher-quality 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" and an extensive break on the glass to "Smash The Mirror". Polydor Records and MCA Records released a newly remixed version on a single disc in 1996, complete with artwork and a written introduction by Richard Barnes. This version included instrumental parts that were not present on any earlier version, particularly noticeable in the cymbals of "The Acid Queen" and the "See Me Feel Me" vocals in "Christmas". |
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===Reissues=== |
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In 2003 ''Tommy'' was made available as a deluxe two-disc hybrid [[Super Audio CD|SACD]] with a 5.1 multi-channel mix. This was done utilising master tapes that were thought long lost. When Tommy was first released, a "sweetened" master tape was used incorporating echo effects and doubling the vocal harmonies. This bare-bones master is said to have a more warm and natural sound to give a more "live" feel. Many critics have hailed this release to be the more definitive edition. The remastering was done under the supervision of Townshend and also includes some outtakes and other cuts during the same sessions. One cut called "Dogs-Part 2" that was only previously available as the [[A-side and B-side|B-side]] of the "Pinball Wizard" single and on the 1987 collection ''[[Two's Missing]]'' is included. The initial deluxe hybrid SACD edition was replaced in 2005 in Europe by a stereo-only two-CD set in similar packaging. |
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''Tommy'' was first released on CD in 1984 as a two disc set.<ref>{{cite web|url=http://www.allmusic.com/album/release/tommy-mobile-fidelity-mr0000485623|title=Tommy [Mobile Fidelty]|publisher=AllMusic|accessdate=18 August 2014}}</ref> [[Mobile Fidelity Sound Lab]] subsequently released a special single-disc edition of the album, featuring an alternate take of "Eyesight to the Blind".{{sfn|Atkins|2000|p=282}} |
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Polydor and MCA released a new version on a single disc in 1996, which had been remixed by [[Jon Astley]]. Astley was able to access the original 8 track tapes and bring out instruments that had been buried, such as the guitar in "Christmas" and the organ in "We're Not Gonna Take it".{{sfn|Astley|2000|pp=120,121}} This release came with McInnerney's complete with artwork and a written introduction by Richard Barnes.<ref name="1996CD">{{cite AV media notes|title=Tommy|artist=The Who|publisher=Polydor|id=531–043–2}}</ref> |
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In 2003 ''Tommy'' was made available as a deluxe two-disc hybrid [[Super Audio CD]] with a 5.1 multi-channel mix. The remastering was done under the supervision of Townshend and also includes related material not on the original album, including "Dogs-Part 2" (the B-Side to "Pinball Wizard"), "Cousin Kevin Model Child" and "Young Man Blues", plus demos for the album and other unreleased songs that were dropped from the final running order.<ref>{{cite web|url=http://www.allmusic.com/album/release/tommy-deluxe-edition-mr0001390644|title=Tommy [Deluxe Edition]|first=Richie|last=JoneUnterbergers|publisher=AllMusic|date=15 August 2014}}</ref> |
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In 2013, a super deluxe version of ''Tommy'' was released as a 3-CD / [[Blu-ray disc]] box set. As well as the original album, the package includes additional demos, and a live performance mostly taken from the Who's show at the Capital Theatre, [[Ottawa]], [[Canada]] on 15 October 1969. The live disc was significant, as it debunked a long-standing myth that the tapes for the tour were burned in preference for the Leeds University show in February 1970 that made up ''Live at Leeds''.<ref>{{cite web|url=http://thewho.com/blog/story/5852/|title=The Who to release Super Deluxe Box Set and Deluxe Edition|publisher=The Who (official website)|date=11 November 2013|accessdate=15 August 2014}}</ref> |
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==Live performances== |
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{{main|The Who Tour 1969|The Who Tour 1970}} |
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The Who had planned to perform ''Tommy'' live since starting the project. The group spent April 1969 rehearsing a live version of the show at the [[Hanwell Community Centre]] in [[Ealing]] including a final run down of the entire stage piece on 23 April.{{sfn|Neill|Kent|2002|p=230}} The running order was changed, and four songs ("Cousin Kevin", "Underture", "Sensation" and "Welcome") were dropped entirely.{{sfn|Atkins|2000|p=136}} Townshend later said the group "did the whole thing from start to finish and ''that'' was when we first realized we had something cohesive and playable."{{sfn|Marsh|1983|p=339}} Daltrey's voice had improved substantially, and the group realised their new live act could completely change their career.{{sfn|Neill|Kent|2002|p=230}} |
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After a few warm up gigs towards the end of April,{{sfn|Neill|Kent|2002|p=231}} the group gave a preview concert to the press at [[Ronnie Scotts]], London on 1 May. Realising the opera's narrative was difficult to understand, Townshend explained a synopsis of the story, before the Who played ''Tommy'' all the way through at full stage volume.{{sfn|Marsh|1983|p=340}} The next day, the group flew out to New York to start the US tour, with the first gig on 9 May at the Grande Ballroom, [[Detroit]].{{sfn|Neill|Kent|2002|p=231}} At the end of May, the group played four nights at the [[Kinetic Playground]], [[Chicago]], and they noticed the audience would all stand up at the same time, and stay standing. This indicated that live performances of ''Tommy'' had a significant positive response.{{sfn|Marsh|1983|p=343}} |
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The group continued to play large halls in the US, organised by tour promoter Frank Barsalona, and generally avoided festivals,{{sfn|Marsh|1983|p=346}} but made an important exception with the [[Woodstock|Woodstock Festival]] on 16 August. After spending all night arguing with Barsalona, the band agreed to perform at Woodstock for $12,500.{{sfn|Marsh|1983|p=348}} The festival ran late and the Who did not take to the stage until the early morning of 17 August. During "Pinball Wizard", [[Abbie Hoffman]] took to the stage to protest about the imprisonment of [[John Sinclair (poet)|John Sinclair]] before being kicked offstage by Townshend, while during "See Me, Feel Me", the sun rose, almost as if on cue.{{sfn|Marsh|1983|p=350}} Two weeks later, the group played the [[Isle of Wight Festival 1969|second Isle of Wight Festival]], using one of the largest live PAs available.{{sfn|Neill|Kent|2002|pp=239}} Though media attention was on [[Bob Dylan]] playing his first major live show since 1966, the Who stole the show. Townshend later said, "We know that the stage act we had, with ''Tommy'' in it, would work under any circumstances, because it had worked many times on tour."{{sfn|Neill|Kent|2002|p=240}} |
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[[File:Metropolitan Opera 2.jpg|thumb|By 1970, ''Tommy'' had achieved sufficient critical acclaim to be performed live in the [[Metropolitan Opera House (Lincoln Center)|Metropolitan Opera House]].]] |
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''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 the Who for their new music.{{sfn|Neill|Kent|2002|pp=241–242}} The group's show on 14 December at the [[Coliseum Theatre]], London, was filmed for a possible future ''Tommy'' feature.{{sfn|Neill|Kent|2002|p=243}} Lambert was keen for ''Tommy'' to be taken seriously and wanted the Who to perform at [[opera house]]s.<ref>{{cite book|title=Bill Graham Presents: My Life Inside Rock and Out|first=Bill|last=Graham|first2=Robert|last2=greenfield|publisher=Da Capo Press|year=1922|p=321|isbn=978-0-306-81349-8}}</ref> In June 1970, the group performed two shows at the [[Metropolitan Opera House (Lincoln Center)|Metropolitan Opera House]], which was the first time Townshend announced the show as being the "last ''Tommy'' ever".{{sfn|Marsh|1983|p=353}} The group made a second trip to the Isle of Wight, appearing at the [[Isle of Wight Festival 1970|1970 festival]] on 29 August, before an audience of 600,000.{{sfn|Atkins|2000|p=136}} 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 Moon promptly cried, "Thank Christ for that!"{{sfn|Neill|Kent|2002|p=271}} |
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Public reaction to the Who's concerts that included ''Tommy'' was overwhelmingly positive. The touring helped keep the album in the public eye, and cleared the band's debts.{{sfn|Atkins|2000|p=137}} Several live recordings of ''Tommy'' from the Who's 1969–70 tours have been released. A complete performance is available on the 2002 ''Deluxe Edition'' of the live album ''[[Live at Leeds]]'', recorded on 14 February 1970. The second Isle of Wight performance is available on ''Live at the Isle of Wight Festival 1970'', released in 1996.{{sfn|Atkins|2000|p=136}} The Coliseum Theatre gig is available on the 2007 video release ''[[At Kilburn 1977 + Live at the Coliseum]]''. Portions of the Woodstock performance of ''Tommy'' were released on the ''[[Woodstock (film)|Woodstock film]]'' and later on ''[[The Kids Are Alright (film)|The Kids Are Alright]]''.{{sfn|Atkins|2000|pp=127–128}} The complete show was recorded, but has never been officially released.{{sfn|Atkins|2000|p=128}} |
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The Who continued to play a smaller selection of ''Tommy'' live in subsequent tours throughout the 1970s.{{sfn|Marsh|1983|p=391}} They revived ''Tommy'' as a whole for its twentieth anniversary during their 1989 reunion tour, reinstating the previously overlooked "Cousin Kevin" and "Sensation" but still omitting "Underture" and "Welcome". Recordings from this tour can be found on the ''[[Join Together (1990 album)|Join Together]]'' live album and the ''[[Tommy and Quadrophenia Live]]'' DVD. The Los Angeles version of this show featured [[Phil Collins]] as Uncle Ernie, [[Patti LaBelle]] as the Acid Queen, [[Steve Winwood]] as the Hawker, [[Elton John]] as the Pinball Wizard and [[Billy Idol]] as Cousin Kevin.<ref>{{cite web|url=http://www.allmusic.com/album/live-featuring-rock-opera-tommy-mw0000267855|title=Live:Featuring Rock Opera Tommy|publisher=AllMusic|accessdate=27 September 2013}}</ref><ref name="jointogether">{{cite web|url=http://www.allmusic.com/album/join-together-mw0000206482|title=''Join Together'' – The Who|first=Stephen Thomas|last=Erlewine|publisher=AllMusic|accessdate=27 September 2013}}</ref> |
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==Track listing== |
==Track listing== |
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Line 185: | Line 215: | ||
| extra5 = Townshend |
| extra5 = Townshend |
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| length5 = 0:57 |
| length5 = 0:57 |
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| title6 = [[We're Not Gonna Take It (The Who song)|We're Not Gonna Take It]] |
| title6 = [[We're Not Gonna Take It (The Who song)|We're Not Gonna Take It]]{{efn|Though later released as a single, "See Me, Feel Me" was not a track in its own right on the original album.{{sfn|Atkins|2000|p=282}}}} |
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| extra6 = Daltrey, Townshend and Entwistle |
| extra6 = Daltrey, Townshend and Entwistle |
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| length6 = 6:45 |
| length6 = 6:45 |
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Line 244: | Line 274: | ||
===Deluxe editions=== |
===Deluxe editions=== |
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;2003 rerelease bonus disc |
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In 2003, ''Tommy'' was released as a deluxe edition on CD, Hybrid SACD and [[DVD-Audio]]. The SACD and DVD-A formats featured the original album remixed into 5.1 surround sound, and all three featured a bonus disc of "out-takes and demos". The DVD-Audio edition also includes a bonus video interview with Townshend plus a demonstration of his remixing the original recording into 5.1 sound. |
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;Bonus disc |
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The first twelve tracks are out-takes and demos and the last five are stereo-only demos. |
The first twelve tracks are out-takes and demos and the last five are stereo-only demos. |
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#"I Was" – 0:17 |
#"I Was" – 0:17 |
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#"Pinball Wizard" – 3:46 |
#"Pinball Wizard" – 3:46 |
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A cover of "One Room Country Shack" was also recorded and considered for inclusion but was scrapped from the final track listing as Townshend could not figure out a way to incorporate it in the plot of "''Tommy''." |
A cover of "One Room Country Shack" was also recorded and considered for inclusion but was scrapped from the final track listing as Townshend could not figure out a way to incorporate it in the plot of "''Tommy''."{{sfn|Atkins|2000|p=114}} |
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;2013 reissue live disc |
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On November 11, 2013, a "Super Deluxe" version of Tommy was released, with a new digital remaster of the original album mix, a cd of demo recordings and out-takes, a Blu-ray audio disc and 21 previously unreleased live tracks from 1969 and 1976 on a bonus disc:<ref>http://thewho.com/blog/story/the-who-release-2-more-tommy-tracks-vintage-1969/</ref> |
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# "Overture" (Including Introduction) – 7:00 |
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# "It's A Boy" – 0:39 |
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# "1921" – 2:29 |
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# "Amazing Journey" – 5:07 |
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# "Sparks" – 2:49 |
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# "The Hawker (Eyesight To The Blind)" – 1:54 |
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# "Christmas" – 3:11 |
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# "The Acid Queen" – 3:30 |
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# "Pinball Wizard" – 2:47 |
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# "Do You Think It's Alright?" – 0:21 |
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# "Fiddle About" – 1:12 |
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# "Tommy, Can You Hear Me?" – 0:55 |
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# "There's A Doctor" – 0:24 |
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# "Go To The Mirror!" – 3:12 |
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# "Smash The Mirror" – 1:10 |
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# "Miracle Cure" – 0:12 |
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# "Sally Simpson" – 4:01 |
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# "I'm Free" – 2:12 |
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# "Tommy's Holiday Camp" – 0:48 |
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# "We're Not Gonna Take It" – 3:28 |
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# "See Me, Feel Me" – 7:51 |
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All tracks are from the Capitol Theatre, Ottawa, Canada, 15 October 1969,{{sfn|Neill|Kent|2002|p=241}} except for "Tommy's Holiday Camp", "We're Not Gonna Take It" and "See Me, Feel Me" which are from Swansea City Football Club, 12 June 1976.{{sfn|Neill|Kent|2002|p=387}} |
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;Live Disc |
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# "Overture" (Including Introduction) (Live In Canada / 1969) - 7:00 |
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# "It's A Boy" (Live In Canada / 1969) - 0:39 |
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# "1921" (Live In Canada / 1969) - 2:29 |
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# "Amazing Journey" (Live In Canada / 1969) - 5:07 |
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# "Sparks" (Live In Canada / 1969) - 2:49 |
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# "The Hawker (Eyesight To The Blind)" (Live In Canada / 1969) -1:54 |
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# "Christmas" (Live In Canada / 1969) - 3:11 |
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# "The Acid Queen" (Live In Canada / 1969) - 3:30 |
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# "Pinball Wizard" (Live In Canada / 1969) - 2:47 |
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# "Do You Think It's Alright?" (Live In Canada / 1969) - 0:21 |
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# "Fiddle About" (Live In Canada / 1969) - 1:12 |
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# "Tommy, Can You Hear Me?" (Live In Canada / 1969) - 0:55 |
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# "There's A Doctor" (Live In Canada / 1969) - 0:24 |
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# "Go To The Mirror!" (Live In Canada / 1969) - 3:12 |
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# "Smash The Mirror" (Live In Canada / 1969) - 1:10 |
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# "Miracle Cure" (Live In Canada / 1969) - 0:12 |
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# "Sally Simpson" (Live In Canada / 1969) - 4:01 |
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# "I'm Free" (Live In Swansea / 1976) - 2:12 |
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# "Tommy's Holiday Camp" (Live In Swansea / 1976) - 0:48 |
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# "We're Not Gonna Take It" (Live In Swansea / 1976) - 3:28 |
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# "See Me, Feel Me/ Listening To You" (Live, location unknown / 1969) - 7:51 |
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==Live recordings== |
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While the Who regularly played ''Tommy'' live at the time of its release, they rarely, if ever, played it in the form in which it was released. They instead decided to change the running order and omit some tracks entirely. Four tracks that were never performed during The Who's initial tour were "Cousin Kevin", "Underture", "Sensation" and "Welcome". |
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A live recording of ''Tommy'' in this altered state is available on the 2002 ''Deluxe Edition'' of the 1970 live album ''Live at Leeds''. It is also available on the official release ''Live at the Isle of Wight Festival 1970'' from the same period, which was released in 1996. Another live version is available on the 2007 video release [[At Kilburn 1977 + Live at the Coliseum]]. Also, a bootleg of their performance at the [[Woodstock Festival]] is available online. |
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In addition the website Wolfgang's Vault released a live recording of "Tommy" recorded on 7 July 1970 at Tanglewood as part of Bill Graham's ''The Fillmore at Tanglewood'' series. |
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The Who also performed ''Tommy'' for its twentieth anniversary during their 1989 reunion tour, reinstating the previously overlooked "Cousin Kevin" and "Sensation" but still omitting "Underture" and "Welcome". Recordings from this tour can be found on the ''[[Join Together (1990 album)|Join Together]]'' live album and the ''[[Tommy and Quadrophenia Live]]'' DVD. The Los Angeles version of this show featured special guests such as Phil Collins (Uncle Ernie), Patti LaBelle (The Acid Queen), Steve Winwood (The Hawker), Elton John (The Pinball Wizard) and Billy Idol (Cousin Kevin). |
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==Other incarnations== |
==Other incarnations== |
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===1971 Seattle Opera production=== |
===1971 Seattle Opera production=== |
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In 1971, the [[Seattle Opera]] under director [[Richard Pearlman]] produced the first ever fully staged professional production of ''Tommy'' at [[Seattle]]'s [[Moore Theater]]. The production included [[Bette Midler]] playing the role of the Acid Queen and Mrs. Walker, and music by the [[Syracuse, New York]] band Comstock, Ltd.<ref>{{cite news |last=Bargreen |first=Melinda |url=http://seattletimes.nwsource.com/html/entertainment/2002394625_ross22.html |title=Seattle Times |publisher=Seattletimes.nwsource.com |accessdate=13 April 2011 |date=22 July 2005}}</ref> |
In 1971, the [[Seattle Opera]] under director [[Richard Pearlman]] produced the first ever fully staged professional production of ''Tommy'' at [[Seattle]]'s [[Moore Theater]]. The production included [[Bette Midler]] playing the role of the Acid Queen and Mrs. Walker, and music by the [[Syracuse, New York]] band Comstock, Ltd.<ref>{{cite news |last=Bargreen |first=Melinda |url=http://seattletimes.nwsource.com/html/entertainment/2002394625_ross22.html |title=Seattle Times |publisher=Seattletimes.nwsource.com |accessdate=13 April 2011 |date=22 July 2005}}</ref> |
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=== |
===London Symphony Orchestra version=== |
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{{main|Tommy (London Symphony Orchestra album)}} |
{{main|Tommy (London Symphony Orchestra album)}} |
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On 9 December 1972, entrepreneur [[Lou Reizner]] presented a concert version of ''Tommy'' at the [[Rainbow Theatre (Finsbury Park)|Rainbow Theatre]], London. |
On 9 December 1972, entrepreneur [[Lou Reizner]] presented a concert version of ''Tommy'' at the [[Rainbow Theatre (Finsbury Park)|Rainbow Theatre]], London. There were two performances that took place on the same evening. The concerts featured the Who, plus a guest cast, backed by the [[London Symphony Orchestra]] conducted by [[David Measham]].{{sfn|Neill|Kent|2002|pp=313–314}} The concerts were held to promote the release of Reizner's new studio recording of this symphonic version of ''Tommy''.{{sfn|Marsh|1983|p=400}} |
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The album and concerts featured an all-star cast, including [[Graham Bell (singer)|Graham Bell]] (as The Lover), [[Maggie Bell]] (as The Mother), [[Sandy Denny]] (as The Nurse), [[Steve Winwood]] (as The Father), [[Rod Stewart]] (as The Local Lad), [[Richie Havens]] (as The Hawker), [[Merry Clayton]] (as The Acid Queen) and [[Ringo Starr]] (as Uncle Ernie). Townshend plays some guitar, but otherwise the music is predominantly orchestral.<ref>{{cite web|url=http://www.allmusic.com/album/release/tommy-as-performed-by-the-london-symphony-orchestra-chamber-choir-mr0000287817|title=Tommy – As Performed by the London Symphony Orchestra|first=Bruce|last=Eder|publisher=AllMusic|accessdate=18 August 2014}}</ref> [[Richard Harris]] played the role of the specialist on the record, but he was replaced by [[Peter Sellers]] for the stage production. The stage show had a second run on 13 and 14 December 1973 with a different cast including [[David Essex]], [[Elkie Brooks]], [[Marsha Hunt (singer and novelist)|Marsha Hunt]], [[Vivian Stanshall]], [[Roy Wood]], and [[Jon Pertwee]] on 13 and 14 December 1973.{{sfn|Neill|Kent|2002|p=340}} |
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The orchestral version was also performed twice in Australia |
The orchestral version was also performed twice in Australia on 31 March 1973 at Melbourne's [[Sidney Myer Music Bowl|Myer Music Bowl]] and on 1 April at Sydney's [[Randwick Racecourse]]). Moon appeared as Uncle Ernie (in Melbourne only), [[Graham Bell (singer)|Graham Bell]] as the Narrator, with local stars [[Daryl Braithwaite]] (as Tommy), [[Billy Thorpe]], [[Doug Parkinson]], [[Wendy Saddington]], [[Jim Keays]], [[Broderick Smith]], [[Colleen Hewett]], [[Linda George (Australian singer)|Linda George]], [[Daddy Cool (band)|Ross Wilson]], [[Bobby & Laurie|Bobby Bright]], [[Ian Meldrum]] (as Uncle Ernie in Sydney), and a full orchestra.{{sfn|Neill|Kent|2002|pp=325,326}}<ref>{{cite web |url=http://www.milesago.com/stage/tommy.htm |title=Tommy Australian concert production 1973 |publisher=Milesago.com |accessdate=13 April 2011}}</ref> The Melbourne concert was videotaped, then televised by Channel 7 on 13 April 1973.{{sfn|Neill|Kent|2002|p=326}} |
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===1975 film=== |
===1975 film=== |
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{{Main|Tommy ( |
{{Main|Tommy (1975 film)}} |
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In 1975 ''Tommy'' was adapted as a film, produced by expatriate Australian entrepreneur [[Robert Stigwood]] and directed by British auteur [[Ken Russell]]. The movie version starred Daltrey as Tommy, and featured the other members of the Who, plus a supporting cast that included [[Ann-Margret]] as Tommy's mother, [[Oliver Reed]] as "the Lover", with appearances by [[Elton John]], [[Tina Turner]], [[Eric Clapton]], [[Arthur Brown (musician)|Arthur Brown]], and [[Jack Nicholson]]. Russell insisted on having a known cast, though Townshend wanted people who could sing the material, and was particularly disappointed at not being allowed to cast [[Stevie Wonder]] as the Pinball Wizard.{{sfn|Marsh|1983|p=440}} The film was released with a multichannel hi-fi soundtrack and many major cinemas, billing it as quintaphonic sound, which placed speaker banks in the four quadrants of the house and directly behind the centre of the screen.{{sfn|Neill|Kent|2002|p=369}} |
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{{see also|Tommy (soundtrack)}} |
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In 1975 ''Tommy'' was adapted as a film, produced by expatriate Australian entrepreneur [[Robert Stigwood]] and directed by British auteur [[Ken Russell]]. The movie version starred Daltrey as Tommy, and featured the other members of the Who, plus a supporting cast that included [[Ann-Margret]] as Tommy's mother, [[Oliver Reed]] as "the Lover", with appearances by [[Elton John]], [[Tina Turner]], [[Eric Clapton]], [[Arthur Brown (musician)|Arthur Brown]], and [[Jack Nicholson]]. In the Who's original version, Tommy's father Capt. Walker kills The Lover when he finds him with his wife upon returning home from being missing in action; however in the movie version The Lover (Tommy's "Uncle Frank" Hobbs) kills Capt. Walker—the latter who subsequently appears to Tommy in fantasy scenes (i.e., as the "guide" in "Amazing Journey"). |
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Townshend also oversaw the production of a [[Tommy (soundtrack)|soundtrack album]], on which the unrecorded orchestral arrangements Lambert had envisaged for the original ''Tommy'' LP were realised by the extensive use of [[synthesizer]].{{sfn|Marsh|1983|p=442}} He started work on the soundtrack album immediately after the Who's 1973 US tour in December, and worked on it almost continuously for the next four months.{{sfn|Marsh|1983|p=440}} As well as the Who, the film's music track and the original soundtrack LP also employed several session musicians including [[Caleb Quaye]], [[Ronnie Wood]], [[Nicky Hopkins]], [[Chris Stainton]], and longtime Who associate [[John Bundrick|John "Rabbit" Bundrick]].{{sfn|Marsh|1983|p=441}} Due to Moon's commitments with the filming of ''[[Stardust (1974 film)|Stardust]]'', [[Kenney Jones]] (who would take over as the Who's drummer after Moon's death in 1978) played drums on much of the soundtrack album.{{sfn|Neill|Kent|2002|p=344}} |
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''Tommy'' was one of the first music films released with a multichannel hi-fi soundtrack and many major cinemas, billing it as quintaphonic sound, which placed high-powered concert-style speaker banks in the four quadrants of the house and directly behind the center of the screen, reflecting the locations of the vocalists onscreen. The film received mixed reviews but was a commercial success on release and has achieved [[cult film]] status. |
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"Pinball Wizard" was a major hit when released as a single. This sequence in the film depicts Elton being backed by the Who (dressed in pound-note suits); the band portrayed the Pinball Wizard's band for filming,{{sfn|Neill|Kent|2002|p=350}} but on the music track and soundtrack album, the music was performed entirely by him and his regular touring band.{{sfn|Marsh|1983|p=441}} Most of the extras were students at [[University of Portsmouth|Portsmouth Polytechnic]] and were paid with tickets to a Who concert after filming wrapped.{{sfn|Neill|Kent|2002|p=353}} |
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Townshend also oversaw the production of a [[Tommy (soundtrack)|new double-LP recording with the same name]], 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 [[Synthesizer|synthesiser]]. Besides the Who, the film's music track and the original soundtrack LP also employed many leading session musicians including [[Caleb Quaye]], [[Ronnie Wood]], [[Nicky Hopkins]], [[Chris Stainton]], and longtime Who associate [[John Bundrick|John "Rabbit" Bundrick]]. Due to Moon's commitments with the filming of ''[[Stardust (1974 film)|Stardust]]'', [[Kenney Jones]]—who would take over as the Who's drummer after Moon's death in 1978—played drums on much of the soundtrack album. |
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The film and its soundtrack album feature six new songs, all written by Townshend, and an alteration to the general sequence of existing songs is also changed. The CD reissue of the film soundtrack also included an additional Overture.<ref>{{cite web|url=http://www.allmusic.com/album/tommy-original-soundtrack-mw0000313332|title=Tommy (Original Sountrack)|publisher=AllMusic|accessdate=15 August 2014}}</ref> |
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The song "Pinball Wizard" was a major hit when released as a single. This sequence in the film depicts Elton being backed by the Who (dressed in pound-note suits); the band portrayed the Pinball Wizard's band for filming, but on the music track and soundtrack album, the music was performed entirely by him and his band. Most of the extras were students at [[University of Portsmouth|Portsmouth Polytechnic]] and were paid with tickets to a Who concert after filming wrapped. |
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===Broadway musical=== |
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The film and its soundtrack album feature six new songs, all written by Townshend:<ref>Liner notes of 'Tommy the movie: Original Soundtrack Recording'' CD</ref> |
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#"Prologue – 1945"—Tommy's mother and father romance each other, only to see Tommy's father called to duty and shot down; "Captain Walker/It's a Boy" follows. |
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#"Bernie's Holiday Camp"—"Green coat" Frank Hobbs (who is later Tommy's stepfather) introduces 6-year-old Tommy and his mother to his "[[holiday camp]]", which inspires Tommy to eventually open his own camp. |
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#"Extra, Extra, Extra"—Arranged similar to "Miracle Cure", a newsboy sings about Tommy's successes at pinball, pending his confrontation with "the champ" in "Pinball Wizard". |
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#"Champagne"—Tommy's mother sings about the riches Tommy is winning her but wonders, "What's it all worth?", since Tommy can't enjoy any of it; Tommy sings, "See me, feel me" in the interludes. |
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#"Mother and Son"—Tommy, his senses now restored, asks his mother about his life; she tells him how he's worshipped by millions as a "pinball wizard", and he tells her about his new [[messianism|messianic]] mission. |
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#"T. V. Studio"—Tommy's mother does a commercial for Tommy's new camps while his Frank revels at all the money to be made with "a Tommy Camp in every city"; song segues into "Tommy's Holiday Camp". |
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Also, "It's a Boy" is retitled, "Captain Walker/It's a Boy", "1921" (also called "You Didn't Hear It") becomes "1951/What about The Boy", and "Do You Think It's Alright" is expanded into three separate parts, preceding "Cousin Kevin", "Fiddle About" and "Sparks" respectively. The general sequence of existing songs is also changed. Finally, an overture (which borrows from more songs than the 1969 overture does) is included at the beginning of the CD version of the album; however, the film, LP, and cassette versions omitted the overture. |
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===1993 stage version=== |
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{{Main|The Who's Tommy}} |
{{Main|The Who's Tommy}} |
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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 theatre|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.{{sfn|Wollman|2006|p=161}} 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.{{sfn|Wollman|2006|p=165}} |
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In 1993, Townshend and [[La Jolla Playhouse]] theatrical director [[Des McAnuff]] wrote and produced a [[Broadway theatre|Broadway musical]] adaptation of ''Tommy''. The production, titled ''The Who's Tommy'', featured a new song by Townshend ("I Believe My Own Eyes"). Initially, the show received mixed reviews; for example, while ''[[The New York Times]]'' theatre critic [[Frank Rich]] praised it,<ref>{{cite web |url=http://www.amazing-journey.com/tomshms.htm |title=Amazing Journey |publisher=Amazing Journey |accessdate=13 April 2011}}</ref> the same paper's music critic [[Jon Pareles]] argued that "Their (Townshend's and McAnuff's) changes turn a blast of spiritual yearning, confusion and rebellion into a pat on the head for nesters and couch potatoes".<ref>{{cite news |url=http://theater2.nytimes.com/mem/theater/treview.html?res=9F0CE0DB113CF934A15757C0A965958260 |work=The New York Times}} {{Dead link|date=October 2010|bot=RjwilmsiBot}}</ref> Later, Townshend partly responded to the criticisms.<ref>{{cite web |url=http://www.thewho.net/articles/townshen/pt_96.htm |title=The Hypertext Who " Article Archive " Interview with Pete Townshend (1996) |publisher=Thewho.net |accessdate=9 July 2010}}</ref> Ultimately, the production won five [[Tony Award]]s that year, including Best Original Score for Townshend. Various touring revivals have met with popular acclaim since. |
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The musical had a mixed response from critics,{{sfn|Wollman|2006|p=168}} while Daltrey and Entwistle thought the show was too passive.{{sfn|Wollman|2006|p=165}} Anthony DeCurtis, writing in ''Rolling Stone'', said the orchestra drummer had "the thankless task of having to reproduce Keith Moon's parts".{{sfn|Wollman|2006|p=169}} Townshend and McAnuff rewrote parts of the musical when it moved from La Jolla to Broadway, to show a darker side for the title character.{{sfn|Wollman|2006|p=166}} McAnuff won a [[Tony Award]] in 1993 for Best Director, while Wayne Cilento won the award for Best Choreographer.<ref>{{cite book|title=A History of the American Musical Theatre: No Business Like It|first=Nathan|last=Hurwitz|publisher=Routledge|year=2014|p=225|isbn=978-1-317-91205-7}}</ref> The Broadway run lasted from 1993 to 1995.<ref>{{cite book|title=Bad Music: The Music We Love to Hate|editor1-first=Christopher|editor1-last=Washburne|editor2-first=Maiken|editor2-last=Derno|publisher=Routledge|year=2013|p=314|isbn=978-1-135-38547-7}}</ref> McAnuff revisited Tommy during the 2013 season of the [[Stratford Shakespeare Festival]].<ref>{{cite web|url=http://web.archive.org/web/20130313051240/http://www.stratfordfestival.ca/OnStage/productions.aspx?id=20233&prodid=47004|title=Tommy|publisher=Stratford Festival|accessdate=13 March 2013}}</ref> |
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The setting of the musical is in post-World War II Britain, as in the film version. Nevertheless, unlike the film, the lyrics "Got a feelin' '21 is gonna be a good year" remain the same, though now referring to Mrs. Walker's age at her birthday. Also, Captain Walker kills the lover, as in the original album and unlike the film, where the lover kills Captain Walker and takes his place. Perhaps the most striking change vis-a-vis previous versions is that after the "Sally Simpson" scene, Tommy renounces his messianic role and returns to his family, embracing and praising the kind of "normality" that everybody else has and that he has been deprived of (significantly, the new version introduced lines such as "freedom lies here in normality" and excluded the earlier versions' "Hey, hung-up old Mr. Normal, don't try to gain my trust"). |
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The play and its cast album include two additions (written by Pete Townshend) to the standard playlist: |
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#"I Believe My Own Eyes"—Occurs between "Tommy, Can You Hear Me?" and "Smash the Mirror!" and details the strain of Tommy's condition on his parents as they consider [[institutionalization|institutionalizing]] him. |
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#"Sally Simpson's Question"—Precedes "We're Not Gonna Take It", and shows Tommy getting disillusioned about his [[messianism|messianistic]] vision as he listens to the girl. |
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"Captain Walker/It's a Boy" also contains the tag verse from the film version, "We've Won", albeit with slightly different lyrics. In general, the song sequence and some of the lyrics more closely mirror the film version than the original, although the phrasing and internal song arrangements usually echo the original, and none of the six songs Townshend added for the 1975 version are included. Finally, many songs (i.e., "Sensation") feature reprises at various locations in the playlist, and there is a small amount of dialogue at the beginnings and endings of some songs. |
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McAnuff also revisits Tommy during the 2013 season of the [[Stratford Shakespeare Festival]],<ref>https://www.stratfordfestival.ca/OnStage/productions.aspx?id=20233&prodid=47004</ref> at the end of his tenure as its Artistic Director. |
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==Legacy== |
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*The climax of ''Tommy'' was said by many{{who|date=March 2014}} to be the highlight of the 1969 [[Woodstock Festival]]. As Daltrey began to sing "See Me, Feel Me", the sun began to rise. Entwistle later joked that "God was our lighting man." The moment is captured on film in ''[[The Kids Are Alright (film)|The Kids Are Alright]]'' and ''[[Woodstock (film)|Woodstock]]''. |
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*The [[Rock and Roll Hall of Fame]] ran an exhibit on Tommy called "Tommy: The Amazing Journey" in 2005–2006. |
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*The original album inspired the creation of [[Larry Harlow (salsa)|Larry Harlow]]'s ''Hommy, a Latin Opera'' (1973), about a blind, deaf, and mute musician who becomes the world's greatest percussionist. |
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*In the 2000 film ''[[Almost Famous]]'', the protagonist (whom screenwriter-director [[Cameron Crowe]] based on himself) becomes excited about rock music for the first time when he listens to ''Tommy'', or more specifically to the track "Sparks". |
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*In 2012, the Spanish band [[Barón Rojo]] recorded their own version of ''Tommy'' with Spanish lyrics, entitled ''Tommy Barón''. |
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*The Rolling Stone Album Guide said, "Tommy's biggest crime is that it inspired lesser artists to attempt the same trick, and by the late '70s, bands like Styx had turned operatic concept albums into rock's lamest joke." |
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<ref>Rolling Stone Album Guide, revised edition (2004), page 872</ref> |
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==Sales chart performance== |
==Sales chart performance== |
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|1969 |
|1969 |
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|''Billboard'' Pop Albums |
|''Billboard'' Pop Albums |
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| |
|4<ref name="US">{{cite web |url={{Allmusic|class=artist|id=p5822/charts-awards|pure_url=yes}} |title=Artist Chart History – The Who |publisher=Allmusic |accessdate=25 November 2009}}</ref> |
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|- |
|- |
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|1969 |
|1969 |
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|UK Chart Albums |
|UK Chart Albums |
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|2{{sfn|Neill|Kent|2002|p=232}} |
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|1<ref name="chart">{{cite web |url=http://www.chartstats.com/artistinfo.php?id=1768 |title=The Who at |publisher=Chartstats.com |accessdate=13 April 2011|archiveurl=http://archive.is/2VUZ|archivedate=23 July 2012}}</ref> |
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|- |
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|1975 |
|1975 |
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|37<ref name="chart re-entry">{{cite web|url=http://www.theofficialcharts.com/search-results-album/_/Tommy#album|title=The Official Charts Company – Tommy by The Who Search |date=6 May 2013|publisher=The Official Charts Company}}</ref> |
|37<ref name="chart re-entry">{{cite web|url=http://www.theofficialcharts.com/search-results-album/_/Tommy#album|title=The Official Charts Company – Tommy by The Who Search |date=6 May 2013|publisher=The Official Charts Company}}</ref> |
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|} |
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{{listen |
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|filename=Pinball Wizard (Who) sample.ogg |title="Pinball Wizard" |description=[[The Who]]'s "[[Pinball Wizard]]" from ''Tommy'' |filetype=[[Ogg]] |
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}} |
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;Singles |
;Singles |
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|"[[Pinball Wizard]]" |
|"[[Pinball Wizard]]" |
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|''Billboard'' Pop Singles |
|''Billboard'' Pop Singles |
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|19 |
|19<ref name="billboard">{{cite web |title=The Who Billboard singles |url=http://www.allmusic.com/artist/the-who-p5822/charts-awards/billboard-singles |publisher=[[Allmusic]]|accessdate=28 November 2011}}</ref> |
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|- |
|- |
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|1969 |
|1969 |
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|"Pinball Wizard" |
|"Pinball Wizard" |
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|UK Singles Charts |
|UK Singles Charts |
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|4{{sfn|Neill|Kent|2002|p=231}} |
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|4<ref name="chart"/> |
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|- |
|- |
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|1969 |
|1969 |
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==Personnel== |
==Personnel== |
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;The Who |
;The Who |
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*[[Roger Daltrey]] – [[lead vocals]] |
*[[Roger Daltrey]] – [[lead vocals|Vocals]] and [[harmonica]] |
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*[[ |
*[[John Entwistle]] – [[Bass guitar]], [[French horn]] and vocals |
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*[[Keith Moon]] – [[drum kit|Drums]] |
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*[[John Entwistle]] – [[bass guitar]], [[French horn]], [[trumpet]], [[flugelhorn]], backing and lead vocals |
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*[[ |
*[[Pete Townshend]] – [[Guitar]], [[keyboard (instrument)|keyboards]] and vocals |
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==See also== |
==See also== |
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* ''[[The Roots of Tommy]]'' |
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*[[Tommy (1975 film)|''Tommy'' (film)]] |
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*''[[The Who's Tommy]]'', Broadway musical |
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*[[Tommy (soundtrack)]] |
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==References== |
==References== |
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;Footnotes |
;Footnotes |
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{{ |
{{notelist}} |
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;Citations |
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{{reflist|30em}} |
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;Bibliography |
;Bibliography |
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* {{cite book| |
* {{cite book|last=Atkins|first=John|title=The Who on Record: A Critical History, 1963–1998|publisher=[[McFarland & Company|McFarland]]|year=2000|isbn=978-0-786-40609-8|ref=harv}} |
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* {{cite book|first=Dave|last=Marsh|authorlink=Dave Marsh|title=Before I Get Old : The Story of The Who|publisher=Plexus|isbn=978-0-859-65083-0|year=1983|ref=harv}} |
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* {{cite book|first=Andy|last=Neill|first2=Matt|last2=Kent|title=Anywhere Anyhow Anywhere : The Complete Chronicle of The Who|publisher=Virgin Books|year=2002|isbn=978-0-7535-1217-3|ref=harv}} |
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* {{cite book||first=Mark|last=Kemp|authorlink=Mark Kemp|editor1-first=Nathan|editor1-last=Brackett|editor1-link=Nathan Brackett|editor2-first=Christian|editor2-last=Hoard|title=[[The Rolling Stone Album Guide|The New Rolling Stone Album Guide]]|edition=4th|publisher=[[Simon & Schuster]]|year=2004|isbn=978-0-743-20169-8|ref=harv}} |
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* {{cite book|title=The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig|first=Elizabeth|last=Wollman|publisher=University of Michigan Press|year=2006|isbn=978-0-472-11576-1|ref=harv}} |
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==Further reading== |
==Further reading== |
Revision as of 14:08, 20 August 2014
Untitled | |
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Template:The Who Rock Operas Tommy is the fourth studio album by the English rock band The Who, a double album first released in May 1969. The album was mostly composed by guitarist Pete Townshend as a rock opera that tells the story about a deaf, dumb and blind boy, including his experiences with life, and the relationship with his family.
Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough, although its critical standing diminished slightly in later years. Nonetheless, it has since been viewed by several writers as an important and influential rock album. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the Metropolitan Opera House and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and rejuvenated the band's career.
Subsequently, the rock opera developed into other media, including a Seattle Opera production in 1971, an orchestral version by Lou Reizner in 1972, a film in 1975, and a Broadway musical in 1992. In 1998, the album was inducted into the Grammy Hall of Fame for "historical, artistic and significant value". Tommy has sold over 20 million copies worldwide.[1][2] The album has been reissued several times on CD, including a remix by Jon Astley in 1996, a deluxe Super Audio CD in 2003, and a super deluxe box set in 2013, including previously unreleased demos and live material.
Synopsis
Tommy has never had a definitive plot, but the following synopsis was published following the original album's release.[3]
British Army Captain Walker goes missing during an expedition and is believed dead ("Overture"). His widow, Mrs. Walker, gives birth to their son, Tommy ("It's a Boy"). Years later, Captain Walker returns home and discovers that his wife has found a new lover. The Captain murders this man in an altercation. Tommy's mother brainwashes him into believing he didn't see or hear anything, shutting down his senses and making him deaf, dumb and blind to the outside world ("1921"). Tommy now relies on his sense of touch and imagination, developing a fascinating inner psyche ("Amazing Journey/Sparks").
A quack claims his wife can cure Tommy ("The Hawker"), while Tommy's parents are increasingly frustrated that he will never find religion the midst of his isolation ("Christmas"). Tommy's parents begin to neglect him; he is tortured by his sadistic "Cousin Kevin", and molested by his uncle Ernie ("Do You Think It's Alright?", "Fiddle About"), and given LSD by the Hawker's wife, "The Acid Queen". Tommy's hallucinogenic experience is expressed musically ("Underture").
As Tommy grows older, he discovers he can feel vibrations sufficiently well to become an expert pinball player ("Pinball Wizard"). His parents take him to a respected doctor ("There's a Doctor"), who determines that the boy's disabilities are psychosomatic rather than physical. Tommy is told by the Doctor to "Go to the Mirror!", and his parents notice he can stare at his reflection. After spending extensive time staring at a mirror in the house, his mother smashes it out of frustration ("Smash The Mirror") This removes Tommy's mental block, and he recovers his senses, realising he can become a powerful leader ("Sensation"). He starts a religious movement ("I'm Free"), which expands into a holiday camp ("Welcome" / "Tommy's Holiday Camp"). The followers, however, ultimately reject Tommy's teachings and leave the camp ("We're Not Gonna Take It"). Tommy retreats inward again ("See Me, Feel Me") with his "continuing statement of wonder at that which encompasses him".[4]
Background
Townshend had been looking at way of progressing beyond the standard three minute pop single format since 1966.[5] Co-manager Kit Lambert shared Townshend's views and encouraged him to develop musical ideas,[6] coming up with the term "rock opera". The first use of the term was applied to a suite called "Quads", set in a future where parents could choose the sex of their children. A couple want four girls but instead receive three girls and a boy, raising him as a girl anyway. The opera was abandoned after a single song, the hit single, "I'm a Boy".[7] When the Who's second album, A Quick One ran short of material during recording, Lambert suggested that Townshend should write a "mini-opera" to fill the gap. Townshend initially objected, but eventually agreed to do so, coming up with "A Quick One, While He's Away", which joined short pieces of music together into a continuous narrative.[8] During 1967, Townshend learned how to play the piano and began writing songs on it, taking his work more seriously.[9] That year's The Who Sell Out included a mini-opera in the last track, "Rael", which like "A Quick One..." was a suite of musical segments joined together.[10]
The package I hope is going to be called "Deaf, Dumb and Blind Boy." It's a story about a kid that's born deaf, dumb and blind and what happens to him throughout his life... But what it's really all about is the fact that ... he's seeing things basically as vibrations which we translate as music. That's really what we want to do: create this feeling that when you listen to the music you can actually become aware of the boy, and aware of what he is all about, because we are creating him as we play."
Pete Townshend talking to Jann Wenner, August 1968[11]
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] Live performances remained strong, and the group spent most of the spring and summer touring the US and Canada[16] but their stage act relied on Townshend smashing his guitar or Moon demolishing his drums, which kept the group in debt. Townshend and 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 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 by the band, to counteract the trend of bands like the Beatles and the Beach Boys, whose studio output was not designed for live performance.[18]
In August 1968, Townshend gave an important interview to Rolling Stone's Jann Wenner. He talked about a new rock opera, which had the working title of Deaf, Dumb and Blind Boy, and described the entire plot in great detail, which ran to 11 pages.[19] Who biographer Dave Marsh subsequently said the interview described the narrative better than the finished album.[20] Townshend later regretted publishing so much detail, as he felt it forced him to write the album according to that blueprint.[21] The rest of the Who, however, were enthusiastic about the idea, and let him have artistic control over the project.[22]
Recording
The Who started recording the album at IBC Studios on 19 September 1968.[23] There was no firm title at this point, which was variously referred to as Deaf, Dumb and Blind Boy, Amazing Journey, Journey into Space, The Brain Opera and Omnibus. Townshend eventually settled on Tommy because it was a common British name, and a nickname for soldiers in World War I.[24] Lambert took charge of the production, with Damon Lyon-Shaw as engineer. Sessions were block booked from 2pm – 10pm, but recording often spilled over into the early morning. [23]
The album was recorded onto eight track tape, which allowed various instruments to be overdubbed. Townshend used several guitars in the studio, but made particular use of the Gibson J-200 acoustic and the Gibson SG.[2] As well as their usual instruments, Townshend played piano and organ and bassist John Entwistle doubled on french horn. Keith Moon used a new double bass drum kit owned by roadie Tony Haslam, after Premier had refused to loan him any more equipment due to continual abuse.[23] Though Townshend wrote the majority of the material, the arrangements came from the entire band. Singer Roger Daltrey later said that Townshend often came in with a half-finished demo recording, adding "we probably did as much talking as we did recording, sorting out arrangements and things."[25] Townshend asked Entwistle to write two songs ("Cousin Kevin" and "Fiddle About") that covered the darker themes of bullying and abuse. "Tommy's Holiday Camp" was Moon's suggestion of what religious movement Tommy could lead. Moon got the songwriting credit for suggesting the idea, though the music was composed and played by Townshend.[26] A significant amount of material had a lighter style than earlier recordings, with greater prominence put on the vocals. Moon later said, "It was, at the time, very un-Wholike. A lot of the songs were soft. We never played like that."[27]
Some of the material had already been written for other projects. "Sensation" was written about a girl Townshend had met on the Who's tour of Australia in early 1968, "Welcome" and "I'm Free" were about peace found through Meher Baba and "Sally Simpson" was based on a gig with the Doors which was marred by violence.[28] Other songs had been previously recorded by the Who and were recycled; "It's A Boy" was derived from "Glow Girl", an out-take from The Who Sell Out, while "Sparks" and "Underture" re-used and expanded one of the instrumental themes in "Rael".[29] "Amazing Journey" was, according to Townshend, "the absolute beginning" of the opera and summarised the entire plot.[29]
Recording at IBC was slow, due to a lack of a full plot and a full selection of songs. The group hoped that the album would be ready by Christmas, but sessions dragged on. Melody Maker's Chris Welch visited IBC studios in November and while he was impressed with the working environment and the material,[30] the project still didn't have a title and there was no coherent plotline.[26] The Who's US record company got so fed up of waiting for new product that they released the compilation album Magic Bus: The Who on Tour which received a scathing review from Greil Marcus in Rolling Stone over its poor selection of material and misleading name (as the album contained studio recordings and was not live).[31]
The Who took a break from recording at the end of 1968 to tour, including a well received appearance at The Rolling Stones Rock and Roll Circus on 10 December.[32] They resumed sessions at IBC in January 1969, block booking Monday to Thursday, but had to do gigs every weekend to stop going further into debt.[33] A major tour was booked for the end of April, and the group's management insisted that the album would have to be finished by then, as it had been well over a year since The Who Sell Out.[34] Lambert wrote a script, Tommy (1914–1984) which he professionally printed, and gave copies to the band, which helped them focus the storyline, and also decide to make the album a double.[33] The group were still coming up with new material; Lambert insisted that the piece should have a proper overture,[34] while Townshend wrote "Pinball Wizard" so that Nik Cohn, a pinball fan, would give the album a favourable review in the New York Times.[35] Lambert wanted an orchestra to appear on the album, but Townshend was strongly against the idea, and time and budget constraints meant it could not happen anyway.[34]
By March 1969, some songs had been recorded several times, yet Townshend still thought there were missing pieces.[36] Entwistle had become fed up with recording, later saying "we had to keep going back and rejuvenating the numbers ... it just started to drive us mad."[2] The final recording session took place on 7 March, the same day that "Pinball Wizard" was released as a single.[37] The group started tour rehearsals and promotional activities for the single and Lambert went on holiday in Cairo. The mixing was left to Lyon-Shaw and assistant engineer Ted Sharp, who didn't think IBC was well suited for the task.[38] The album overshot its April deadline, as stereo mastering continued into the end of the month.[39]
Release
Tommy was finally released on 17 May 1969 in the US, and 23 May in the UK, due to delays with the cover.[40] The original double album was configured with sides 1 and 4 on one disc, and sides 2 and 3 on the other, to facilitate record changers.[41]
The album was commercially successful, reached No. 2 in the UK album charts, and No. 4 in the US,[40] It sold 200,000 copies in the first two weeks in the US alone, and was awarded a gold record for sales of 500,000 on August 18.[42] "Pinball Wizard", "I'm Free" and "See Me, Feel Me" were released as singles and received airplay on the radio. "Pinball Wizard" reached the top 20 in the US and the top five in the UK. "See Me, Feel Me" reached the top 20 in the US and "I'm Free" reached the top 40. An EP of selections from the album was planned to be released in the UK in November 1970, but was withdrawn.[43]
When it was released, critics were split between those who thought the album was a masterpiece, the beginnings of a new genre, and those that felt it was exploitative. The album had a hostile reception the BBC and certain US radio stations, with Tony Blackburn describing "Pinball Wizard" as "distasteful".[39] Nevertheless, BBC Radio 1 received an advance copy of the album at the start of May and gave the material its first airplay on Pete Drummond's show on 3 May.[41]
Critical reception
Review scores | |
---|---|
Source | Rating |
Allmusic | [44] |
Q | [45] |
Rolling Stone | [46] |
The Rolling Stone Album Guide | [47] |
Uncut | [48] |
The initial critical reaction to Tommy was positive. Chris Welch, writing for Melody Maker, went to the press launch show at Ronnie Scott's and although the volume left his ears ringing for 20 hours, he concluded "we wanted more". Disc and Music Echo ran a front-page headline saying "Who's Tommy: A Masterpiece".[42]
In a 1969 column for The Village Voice, music critic Robert Christgau said that, apart from The Mothers of Invention's We're Only in It for the Money, Tommy is the first successful "extended work" in rock music, but Townshend's parodic side is more "profound and equivocal" than Frank Zappa. He praised Townshend for deliberately constructing the album so that each song can be enjoyed individually and felt that he is determined to "give his audience what it wants without burying his own peculiarity".[49] Albert Goldman, writing in Life magazine, said that The Who play through "all the kinky complications" of the narrative in a hard rock style that is the antithesis of most contemporary "serious" rock. Goldman asserted that, based on innovation, performance, and "sheer power", Tommy surpasses anything else in studio-recorded rock.[50] Christgau named Tommy the best album of 1969 in his year-end list for Jazz & Pop magazine.[51]
According to music journalist Richie Unterberger, Tommy was hailed by contemporary critics as the Who's breakthrough, but its critical standing diminished slightly in the subsequent decades, because of its occasionally pretentious concept and flimsy songs that functioned as devices to "advance the rather sketchy plot."[44] Christgau wrote in 1983, "Tommy's operatic pretensions were so transparent that for years it seemed safe to guess that Townshend's musical ideas would never catch up with his lyrics."[52] In his review for Allmusic, Unterberger said that, despite its slight flaws, the album has "many excellent songs" permeated with "a suitably powerful grace", while Townshend's ability to devise a lengthy narrative introduced "new possibilities to rock music."[44] Uncut wrote that the album "doesn't quite realise its ambitions, though it achieves a lot on the way", and that The Who would make a more substantial version with Quadrophenia (1973).[48] Mark Kemp, writing in The Rolling Stone Album Guide (2004), felt that "in retrospect, Tommy isn't quite the masterpiece it was originally hyped to be", suggesting The Who Sell Out was better, though because of Townshend, it produced several "bona fide classic songs".[53]
In 2003, Rolling Stone magazine ranked Tommy number 96 on its list of the 500 greatest albums of all time.[54] The album is one of several by the Who to appear in 1001 Albums You Must Hear Before You Die.[55]
According to music critic Martha Bayles, Tommy did not mix rock with European music, as its "rock opera" title may have suggested, but instead was "dominated by the Who's mature style: ponderous, rhythmically monotonous hard rock".[56] Bayles argued that it was more acceptable to audiences than the art rock "concoctions" of the time because of the cultural climate during the late 1960s: "Tommy was considered more authentic, precisely because it consists of hard rock, rather than doctored-up Mussorgsky ... and avoids the typical pseudoromantic themes of art rock (fairy-tale bliss and apocalyptic angst) in favor of the more up-to-date subject of popular culture itself."[56] High Fidelity magazine also characterized the Who's album as a "reasonably hard-rock version" of the opera.[57]
Editions and cover art
Tommy was originally released as a two-LP set with artwork designed by McInnerney, which included a booklet including lyrics and images to illustrate parts of the story. The cover is presented as part of a triptych-style fold-out cover, and the booklet contained abstract artwork that outlined the story.[3] Although the album included lyrics to all the songs, indicating individual characters, it did not outline the plot, which led to a concert programme being prepared for shows, that carried a detailed synopsis.[3]
Townshend thought McInnerney, a fellow follower of Baba, would be a suitable choice to do the cover. As recording was near completion, McInnerney received a number of cassettes with completed songs and a brief outline for the story, which he immediately recognised as being based on Baba's teachings.[58] He wanted to try and convey the world of a deaf, dumb and blind boy, and decided to "depict a kind of breaking out of a certain restricted plane into freedom."[59] The finished cover contained a blue and white web of clouds, a first punching into the black void to the left of it. The inner triptych, meanwhile, showed a hand reaching out to light and a light shining in a dark void.[59] Townshend was too busy finishing the recording to properly approve the artwork, but Lambert strongly approved of it, and said it would work. The final step was for record company approval, who decided the cover was more sensible than The Who Sell Out,[59] though making one concession that pictures of the band should appear on the cover. These were added to the web on the front.[60]
Reissues
Tommy was first released on CD in 1984 as a two disc set.[61] Mobile Fidelity Sound Lab subsequently released a special single-disc edition of the album, featuring an alternate take of "Eyesight to the Blind".[62]
Polydor and MCA released a new version on a single disc in 1996, which had been remixed by Jon Astley. Astley was able to access the original 8 track tapes and bring out instruments that had been buried, such as the guitar in "Christmas" and the organ in "We're Not Gonna Take it".[63] This release came with McInnerney's complete with artwork and a written introduction by Richard Barnes.[60]
In 2003 Tommy was made available as a deluxe two-disc hybrid Super Audio CD with a 5.1 multi-channel mix. The remastering was done under the supervision of Townshend and also includes related material not on the original album, including "Dogs-Part 2" (the B-Side to "Pinball Wizard"), "Cousin Kevin Model Child" and "Young Man Blues", plus demos for the album and other unreleased songs that were dropped from the final running order.[64]
In 2013, a super deluxe version of Tommy was released as a 3-CD / Blu-ray disc box set. As well as the original album, the package includes additional demos, and a live performance mostly taken from the Who's show at the Capital Theatre, Ottawa, Canada on 15 October 1969. The live disc was significant, as it debunked a long-standing myth that the tapes for the tour were burned in preference for the Leeds University show in February 1970 that made up Live at Leeds.[65]
Live performances
The Who had planned to perform Tommy live since starting the project. The group spent April 1969 rehearsing a live version of the show at the Hanwell Community Centre in Ealing including a final run down of the entire stage piece on 23 April.[39] The running order was changed, and four songs ("Cousin Kevin", "Underture", "Sensation" and "Welcome") were dropped entirely.[66] Townshend later said the group "did the whole thing from start to finish and that was when we first realized we had something cohesive and playable."[67] Daltrey's voice had improved substantially, and the group realised their new live act could completely change their career.[39]
After a few warm up gigs towards the end of April,[41] the group gave a preview concert to the press at Ronnie Scotts, London on 1 May. Realising the opera's narrative was difficult to understand, Townshend explained a synopsis of the story, before the Who played Tommy all the way through at full stage volume.[42] The next day, the group flew out to New York to start the US tour, with the first gig on 9 May at the Grande Ballroom, Detroit.[41] At the end of May, the group played four nights at the Kinetic Playground, Chicago, and they noticed the audience would all stand up at the same time, and stay standing. This indicated that live performances of Tommy had a significant positive response.[68]
The group continued to play large halls in the US, organised by tour promoter Frank Barsalona, and generally avoided festivals,[69] but made an important exception with the Woodstock Festival on 16 August. After spending all night arguing with Barsalona, the band agreed to perform at Woodstock for $12,500.[70] The festival ran late and the Who did not take to the stage until the early morning of 17 August. During "Pinball Wizard", Abbie Hoffman took to the stage to protest about the imprisonment of John Sinclair before being kicked offstage by Townshend, while during "See Me, Feel Me", the sun rose, almost as if on cue.[71] Two weeks later, the group played the second Isle of Wight Festival, using one of the largest live PAs available.[72] Though media attention was on Bob Dylan playing his first major live show since 1966, the Who stole the show. Townshend later said, "We know that the stage act we had, with Tommy in it, would work under any circumstances, because it had worked many times on tour."[73]
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 the Who for their new music.[74] The group's show on 14 December at the Coliseum Theatre, London, was filmed for a possible future Tommy feature.[75] Lambert was keen for Tommy to be taken seriously and wanted the Who to perform at opera houses.[76] 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".[77] 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.[66] 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 Moon promptly cried, "Thank Christ for that!"[78]
Public reaction to the Who's concerts that included Tommy was overwhelmingly positive. The touring helped keep the album in the public eye, and cleared the band's debts.[79] Several live recordings of Tommy from the Who's 1969–70 tours have been released. A complete performance is available on the 2002 Deluxe Edition of the live album Live at Leeds, recorded on 14 February 1970. The second Isle of Wight performance is available on Live at the Isle of Wight Festival 1970, released in 1996.[66] The Coliseum Theatre gig is available on the 2007 video release At Kilburn 1977 + Live at the Coliseum. Portions of the Woodstock performance of Tommy were released on the Woodstock film and later on The Kids Are Alright.[80] The complete show was recorded, but has never been officially released.[81]
The Who continued to play a smaller selection of Tommy live in subsequent tours throughout the 1970s.[82] They revived Tommy as a whole for its twentieth anniversary during their 1989 reunion tour, reinstating the previously overlooked "Cousin Kevin" and "Sensation" but still omitting "Underture" and "Welcome". Recordings from this tour can be found on the Join Together live album and the Tommy and Quadrophenia Live DVD. The Los Angeles version of this show featured Phil Collins as Uncle Ernie, Patti LaBelle as the Acid Queen, Steve Winwood as the Hawker, Elton John as the Pinball Wizard and Billy Idol as Cousin Kevin.[83][84]
Track listing
All tracks are written by Pete Townshend, except where noted
No. | Title | Lead vocals | Length |
---|---|---|---|
1. | "Overture" | Instrumental | 3:50 |
2. | "It's a Boy!" | Townshend | 2:07 |
3. | "1921" | Townshend, Roger Daltrey on chorus | 3:14 |
4. | "Amazing Journey" | Daltrey | 3:25 |
5. | "Sparks" | Instrumental | 3:45 |
6. | "The Hawker" (Sonny Boy Williamson II) | Daltrey | 2:15 |
No. | Title | Lead vocals | Length |
---|---|---|---|
1. | "Christmas" | Daltrey, Townshend in middle eight | 5:30 |
2. | "Cousin Kevin" (John Entwistle) | Entwistle and Townshend | 4:03 |
3. | "The Acid Queen" | Townshend | 3:31 |
4. | "Underture" | Instrumental | 9:55 |
No. | Title | Lead vocals | Length |
---|---|---|---|
1. | "Do You Think It's Alright?" | Daltrey and Townshend | 0:24 |
2. | "Fiddle About" (Entwistle) | Entwistle | 1:26 |
3. | "Pinball Wizard" | Daltrey, Townshend on bridge | 3:50 |
4. | "There's a Doctor" | Townshend, with Daltrey and Entwistle | 0:25 |
5. | "Go to the Mirror!" | Daltrey and Townshend | 3:50 |
6. | "Tommy Can You Hear Me?" | Daltrey, Townshend and Entwistle | 1:35 |
7. | "Smash the Mirror" | Daltrey | 1:20 |
8. | "Sensation" | Townshend | 2:32 |
No. | Title | Lead vocals | Length |
---|---|---|---|
1. | "Miracle Cure" | Daltrey, Townshend and Entwistle | 0:10 |
2. | "Sally Simpson" | Daltrey | 4:10 |
3. | "I'm Free" | Daltrey | 2:40 |
4. | "Welcome" | Daltrey, Townshend ("more at the door") and Entwistle (spoken part) | 4:30 |
5. | "Tommy's Holiday Camp" (Keith Moon) | Townshend | 0:57 |
6. | "We're Not Gonna Take It[a]" | Daltrey, Townshend and Entwistle | 6:45 |
No. | Title | Length |
---|---|---|
1. | "Overture" | 5:21 |
2. | "It's a Boy" | 0:39 |
3. | "1921" | 2:50 |
4. | "Amazing Journey" | 3:25 |
5. | "Sparks" | 3:47 |
6. | "Eyesight to the Blind (The Hawker)" | 2:14 |
7. | "Christmas" | 4:34 |
8. | "Cousin Kevin" | 4:07 |
9. | "The Acid Queen" | 3:35 |
10. | "Underture" | 10:09 |
11. | "Do You Think It's Alright?" | 0:25 |
12. | "Fiddle About" | 1:30 |
13. | "Pinball Wizard" | 3:00 |
14. | "There's a Doctor" | 0:24 |
15. | "Go to the Mirror!" | 3:50 |
16. | "Tommy Can You Hear Me?" | 1:36 |
17. | "Smash the Mirror" | 1:35 |
18. | "Sensation" | 2:27 |
19. | "Miracle Cure" | 0:12 |
20. | "Sally Simpson" | 4:12 |
21. | "I'm Free" | 2:40 |
22. | "Welcome" | 4:34 |
23. | "Tommy's Holiday Camp" | 0:58 |
24. | "We're Not Gonna Take It!" | 7:08 |
Deluxe editions
- 2003 rerelease bonus disc
The first twelve tracks are out-takes and demos and the last five are stereo-only demos.
- "I Was" – 0:17
- "Christmas" (Outtake 3) – 4:43
- "Cousin Kevin Model Child" – 1:25
- "Young Man Blues" (Version one) (Allison) – 2:51
- "Tommy Can You Hear Me?" (Alternate version) – 1:59
- "Trying to Get Through" – 2:51
- "Sally Simpson" (Outtake) – 4:09
- "Miss Simpson" – 4:18
- "Welcome" (Take two) – 3:44
- "Tommy's Holiday Camp" (Band's version) – 1:07
- "We're Not Gonna Take It" (Alternate version) – 6:08
- "Dogs (Part Two)" (Moon) – 2:26
- "It's a Boy" – 0:43
- "Amazing Journey" – 3:41
- "Christmas" – 1:55
- "Do You Think It's Alright" – 0:28
- "Pinball Wizard" – 3:46
A cover of "One Room Country Shack" was also recorded and considered for inclusion but was scrapped from the final track listing as Townshend could not figure out a way to incorporate it in the plot of "Tommy."[85]
- 2013 reissue live disc
- "Overture" (Including Introduction) – 7:00
- "It's A Boy" – 0:39
- "1921" – 2:29
- "Amazing Journey" – 5:07
- "Sparks" – 2:49
- "The Hawker (Eyesight To The Blind)" – 1:54
- "Christmas" – 3:11
- "The Acid Queen" – 3:30
- "Pinball Wizard" – 2:47
- "Do You Think It's Alright?" – 0:21
- "Fiddle About" – 1:12
- "Tommy, Can You Hear Me?" – 0:55
- "There's A Doctor" – 0:24
- "Go To The Mirror!" – 3:12
- "Smash The Mirror" – 1:10
- "Miracle Cure" – 0:12
- "Sally Simpson" – 4:01
- "I'm Free" – 2:12
- "Tommy's Holiday Camp" – 0:48
- "We're Not Gonna Take It" – 3:28
- "See Me, Feel Me" – 7:51
All tracks are from the Capitol Theatre, Ottawa, Canada, 15 October 1969,[86] except for "Tommy's Holiday Camp", "We're Not Gonna Take It" and "See Me, Feel Me" which are from Swansea City Football Club, 12 June 1976.[87]
Other incarnations
1971 Seattle Opera production
In 1971, the Seattle Opera under director Richard Pearlman produced the first ever fully staged professional production of Tommy at Seattle's Moore Theater. The production included Bette Midler playing the role of the Acid Queen and Mrs. Walker, and music by the Syracuse, New York band Comstock, Ltd.[88]
London Symphony Orchestra version
On 9 December 1972, entrepreneur Lou Reizner presented a concert version of Tommy at the Rainbow Theatre, London. There were two performances that took place on the same evening. The concerts featured the Who, plus a guest cast, backed by the London Symphony Orchestra conducted by David Measham.[89] The concerts were held to promote the release of Reizner's new studio recording of this symphonic version of Tommy.[90]
The album and concerts featured an all-star cast, including Graham Bell (as The Lover), Maggie Bell (as The Mother), Sandy Denny (as The Nurse), Steve Winwood (as The Father), Rod Stewart (as The Local Lad), Richie Havens (as The Hawker), Merry Clayton (as The Acid Queen) and Ringo Starr (as Uncle Ernie). Townshend plays some guitar, but otherwise the music is predominantly orchestral.[91] Richard Harris played the role of the specialist on the record, but he was replaced by Peter Sellers for the stage production. The stage show had a second run on 13 and 14 December 1973 with a different cast including David Essex, Elkie Brooks, Marsha Hunt, Vivian Stanshall, Roy Wood, and Jon Pertwee on 13 and 14 December 1973.[92]
The orchestral version was also performed twice in Australia on 31 March 1973 at Melbourne's Myer Music Bowl and on 1 April at Sydney's Randwick Racecourse). Moon appeared as Uncle Ernie (in Melbourne only), Graham Bell as the Narrator, with local stars Daryl Braithwaite (as Tommy), Billy Thorpe, Doug Parkinson, Wendy Saddington, Jim Keays, Broderick Smith, Colleen Hewett, Linda George, Ross Wilson, Bobby Bright, Ian Meldrum (as Uncle Ernie in Sydney), and a full orchestra.[93][94] The Melbourne concert was videotaped, then televised by Channel 7 on 13 April 1973.[95]
1975 film
In 1975 Tommy was adapted as a film, produced by expatriate Australian entrepreneur Robert Stigwood and directed by British auteur Ken Russell. The movie version starred Daltrey as Tommy, and featured the other members of the Who, plus a supporting cast that included Ann-Margret as Tommy's mother, Oliver Reed as "the Lover", with appearances by Elton John, Tina Turner, Eric Clapton, Arthur Brown, and Jack Nicholson. Russell insisted on having a known cast, though Townshend wanted people who could sing the material, and was particularly disappointed at not being allowed to cast Stevie Wonder as the Pinball Wizard.[96] The film was released with a multichannel hi-fi soundtrack and many major cinemas, billing it as quintaphonic sound, which placed speaker banks in the four quadrants of the house and directly behind the centre of the screen.[97]
Townshend also oversaw the production of a soundtrack album, on which the unrecorded orchestral arrangements Lambert had envisaged for the original Tommy LP were realised by the extensive use of synthesizer.[98] He started work on the soundtrack album immediately after the Who's 1973 US tour in December, and worked on it almost continuously for the next four months.[96] As well as the Who, the film's music track and the original soundtrack LP also employed several session musicians including Caleb Quaye, Ronnie Wood, Nicky Hopkins, Chris Stainton, and longtime Who associate John "Rabbit" Bundrick.[99] Due to Moon's commitments with the filming of Stardust, Kenney Jones (who would take over as the Who's drummer after Moon's death in 1978) played drums on much of the soundtrack album.[100]
"Pinball Wizard" was a major hit when released as a single. This sequence in the film depicts Elton being backed by the Who (dressed in pound-note suits); the band portrayed the Pinball Wizard's band for filming,[101] but on the music track and soundtrack album, the music was performed entirely by him and his regular touring band.[99] Most of the extras were students at Portsmouth Polytechnic and were paid with tickets to a Who concert after filming wrapped.[102]
The film and its soundtrack album feature six new songs, all written by Townshend, and an alteration to the general sequence of existing songs is also changed. The CD reissue of the film soundtrack also included an additional Overture.[103]
Broadway musical
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.[104] 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.[105]
The musical had a mixed response from critics,[106] while Daltrey and Entwistle thought the show was too passive.[105] Anthony DeCurtis, writing in Rolling Stone, said the orchestra drummer had "the thankless task of having to reproduce Keith Moon's parts".[107] Townshend and McAnuff rewrote parts of the musical when it moved from La Jolla to Broadway, to show a darker side for the title character.[108] McAnuff won a Tony Award in 1993 for Best Director, while Wayne Cilento won the award for Best Choreographer.[109] The Broadway run lasted from 1993 to 1995.[110] McAnuff revisited Tommy during the 2013 season of the Stratford Shakespeare Festival.[111]
Sales chart performance
- Album
Year | Chart | Peak Position |
---|---|---|
1969 | Billboard Pop Albums | 4[112] |
1969 | UK Chart Albums | 2[40] |
1975 | UK Chart Albums | 37[113] |
- Singles
Year | Single | Chart | Peak Position |
---|---|---|---|
1969 | "Pinball Wizard" | Billboard Pop Singles | 19[114] |
1969 | "Pinball Wizard" | UK Singles Charts | 4[41] |
1969 | "Pinball Wizard" | Dutch Singles Charts | 12[115] |
1969 | "I'm Free" | Billboard Pop Singles | 37[114] |
1969 | "I'm Free" | Dutch Singles Charts | 20[116] |
1970 | "See Me, Feel Me" | Billboard Pop Singles | 12[117] |
1970 | "See Me, Feel Me" | Dutch Singles Charts | 2[118] |
Sales certifications
Region | Certification | Certified units/sales |
---|---|---|
France (SNEP)[120] | Gold | 174,300[119] |
United Kingdom (BPI)[121] Awarded to the soundtrack to the film too |
Gold | 100,000^ |
United States (RIAA)[122] | 5× Platinum | 5,000,000^ |
* Sales figures based on certification alone. |
According to two articles published in The Daily Telegraph in 2006 and in Gibson Guitars' website in 2012, the album Tommy sold 20 million copies worldwide.[1][2]
Personnel
- The Who
- Roger Daltrey – Vocals and harmonica
- John Entwistle – Bass guitar, French horn and vocals
- Keith Moon – Drums
- Pete Townshend – Guitar, keyboards and vocals
See also
References
- Footnotes
- Citations
- ^ a b Perry, Andrew (22 June 2006). "Hope I don't have a heart attack". The Daily Telegraph. London. Retrieved 25 May 2010.
- ^ a b c d Drozdowski, Ted (3 May 2012). "Pinball Wizard: Pete Townshend Finds His Signature Guitar Sound". Gibson Guitars. Retrieved 9 June 2012.
- ^ a b c Atkins 2000, p. 121.
- ^ Atkins 2000, pp. 121–122.
- ^ Marsh 1983, p. 214.
- ^ Marsh 1983, p. 215.
- ^ Marsh 1983, p. 217.
- ^ Marsh 1983, p. 227.
- ^ Marsh 1983, p. 283.
- ^ Marsh 1983, pp. 282, 283.
- ^ Marsh 1983, pp. 313, 314.
- ^ Marsh 1983, pp. 293–294.
- ^ Marsh 1983, p. 294.
- ^ Marsh 1983, p. 296.
- ^ Marsh 1983, p. 308.
- ^ Neill & Kent 2002, p. 190.
- ^ Marsh 1983, p. 309.
- ^ Marsh 1983, p. 310.
- ^ Marsh 1983, pp. 313–316.
- ^ Marsh 1983, p. 316.
- ^ Neill & Kent 2002, p. 191.
- ^ Neill & Kent 2002, p. 192.
- ^ a b c Neill & Kent 2002, p. 210.
- ^ Marsh 1983, p. 317.
- ^ Neill & Kent 2002, p. 219.
- ^ a b Marsh 1983, p. 323.
- ^ Neill & Kent 2002, p. 220.
- ^ Marsh 1983, pp. 316, 318.
- ^ a b Marsh 1983, p. 318.
- ^ Marsh 1983, p. 321.
- ^ Marsh 1983, p. 319,320.
- ^ Neill & Kent 2002, p. 216.
- ^ a b Marsh 1983, p. 324.
- ^ a b c Marsh 1983, p. 325.
- ^ Neill & Kent 2002, p. 221.
- ^ Marsh 1983, p. 327.
- ^ Neill & Kent 2002, pp. 227, 228.
- ^ Neill & Kent 2002, p. 228.
- ^ a b c d Neill & Kent 2002, p. 230.
- ^ a b c Neill & Kent 2002, p. 232.
- ^ a b c d e Neill & Kent 2002, p. 231.
- ^ a b c Marsh 1983, p. 340.
- ^ Neill & Kent 2002, p. 421.
- ^ a b c Unterberger, Richie. "Tommy – The Who". Allmusic. Retrieved 3 July 2013.
- ^ "Review: Tommy". Q. London: 116–7. March 2004.
- ^ Randall, Mac (22 January 2004). "Tommy Deluxe Edition". Rolling Stone. New York. Retrieved 3 July 2013.
- ^ Kemp 2004, p. 871.
- ^ a b "Review: Tommy". Uncut. London: 110. March 2004.
- ^ Christgau, Robert (12 June 1969). "Whooopee!". The Village Voice. New York. Retrieved 3 July 2013.
- ^ "A Grand Opera in Rock". Life Magazine: 20. 17 October 1969. Retrieved 3 July 2013.
- ^ Christgau, Robert (1969). "Robert Christgau's 1969 Jazz & Pop Ballot". Jazz & Pop. Retrieved 17 April 2014.
- ^ Christgau, Robert (25 January 1983). "Consumer Guide". The Village Voice. New York. Retrieved 3 July 2013.
- ^ Kemp 2004, p. 872.
- ^ "The 500 Greatest Albums of All Time". Rolling Stone. New York: 118. 11 December 2013.
- ^ Dimery, Robert; Lydon, Michael (2011). 1001 Albums: You Must Hear Before You Die. Hachette UK. p. 455. ISBN 978-1-844-03714-8.
- ^ a b Bayles, Martha (1994). Hole in Our Soul:The Loss of Beauty and Meaning in American Popular Music. University of Chicago Press. p. 224. ISBN 0-226-03959-5. Retrieved 7 July 2013.
- ^ "Tommy". High Fidelity. 23 (6): 418. June 1973.
- ^ Marsh 1983, p. 336.
- ^ a b c Marsh 1983, p. 337.
- ^ a b Tommy (Media notes). Polydor. 531–043–2.
{{cite AV media notes}}
: Unknown parameter|artist=
ignored (|others=
suggested) (help) - ^ "Tommy [Mobile Fidelty]". AllMusic. Retrieved 18 August 2014.
- ^ a b Atkins 2000, p. 282.
- ^ Astley 2000, pp. 120, 121.
- ^ JoneUnterbergers, Richie (15 August 2014). "Tommy [Deluxe Edition]". AllMusic.
- ^ "The Who to release Super Deluxe Box Set and Deluxe Edition". The Who (official website). 11 November 2013. Retrieved 15 August 2014.
- ^ a b c Atkins 2000, p. 136.
- ^ Marsh 1983, p. 339.
- ^ Marsh 1983, p. 343.
- ^ Marsh 1983, p. 346.
- ^ Marsh 1983, p. 348.
- ^ Marsh 1983, p. 350.
- ^ Neill & Kent 2002, pp. 239.
- ^ Neill & Kent 2002, p. 240.
- ^ Neill & Kent 2002, pp. 241–242.
- ^ Neill & Kent 2002, p. 243.
- ^ Graham, Bill; greenfield, Robert (1922). Bill Graham Presents: My Life Inside Rock and Out. Da Capo Press. p. 321. ISBN 978-0-306-81349-8.
- ^ Marsh 1983, p. 353.
- ^ Neill & Kent 2002, p. 271.
- ^ Atkins 2000, p. 137.
- ^ Atkins 2000, pp. 127–128.
- ^ Atkins 2000, p. 128.
- ^ Marsh 1983, p. 391.
- ^ "Live:Featuring Rock Opera Tommy". AllMusic. Retrieved 27 September 2013.
- ^ Erlewine, Stephen Thomas. "Join Together – The Who". AllMusic. Retrieved 27 September 2013.
- ^ Atkins 2000, p. 114.
- ^ Neill & Kent 2002, p. 241.
- ^ Neill & Kent 2002, p. 387.
- ^ Bargreen, Melinda (22 July 2005). "Seattle Times". Seattletimes.nwsource.com. Retrieved 13 April 2011.
- ^ Neill & Kent 2002, pp. 313–314.
- ^ Marsh 1983, p. 400.
- ^ Eder, Bruce. "Tommy – As Performed by the London Symphony Orchestra". AllMusic. Retrieved 18 August 2014.
- ^ Neill & Kent 2002, p. 340.
- ^ Neill & Kent 2002, pp. 325, 326.
- ^ "Tommy Australian concert production 1973". Milesago.com. Retrieved 13 April 2011.
- ^ Neill & Kent 2002, p. 326.
- ^ a b Marsh 1983, p. 440.
- ^ Neill & Kent 2002, p. 369.
- ^ Marsh 1983, p. 442.
- ^ a b Marsh 1983, p. 441.
- ^ Neill & Kent 2002, p. 344.
- ^ Neill & Kent 2002, p. 350.
- ^ Neill & Kent 2002, p. 353.
- ^ "Tommy (Original Sountrack)". AllMusic. Retrieved 15 August 2014.
- ^ Wollman 2006, p. 161.
- ^ a b Wollman 2006, p. 165.
- ^ Wollman 2006, p. 168.
- ^ Wollman 2006, p. 169.
- ^ Wollman 2006, p. 166.
- ^ Hurwitz, Nathan (2014). A History of the American Musical Theatre: No Business Like It. Routledge. p. 225. ISBN 978-1-317-91205-7.
- ^ Washburne, Christopher; Derno, Maiken, eds. (2013). Bad Music: The Music We Love to Hate. Routledge. p. 314. ISBN 978-1-135-38547-7.
- ^ "Tommy". Stratford Festival. Retrieved 13 March 2013.
- ^ "Artist Chart History – The Who". Allmusic. Retrieved 25 November 2009.
- ^ "The Official Charts Company – Tommy by The Who Search". The Official Charts Company. 6 May 2013.
- ^ a b "The Who Billboard singles". Allmusic. Retrieved 28 November 2011.
- ^ "Pinball Wizard". Hung Medien / hitparade.ch. Retrieved 28 November 2011.
- ^ "I'm Free". Hung Medien / hitparade.ch. Retrieved 28 November 2011.
- ^ "Billboard Hot 100". Billboard Magazine. 5 December 1970. p. 75. Retrieved 28 November 2011.
- ^ "See Me, Feel Me". Hung Medien / hitparade.ch. Retrieved 28 November 2011.
- ^ "Les Albums Or :" (in French). Infodisc.fr. Retrieved 12 August 2012.
- ^ "French album certifications – The Who – Tommy" (in French). Syndicat National de l'Édition Phonographique.
- ^ "British album certifications – Original Soundtrack – Tommy OST". British Phonographic Industry. Retrieved 12 August 2012. Select albums in the Format field. Select Gold in the Certification field. Type Tommy OST in the "Search BPI Awards" field and then press Enter.
- ^ "American album certifications – The Who – Tommy". Recording Industry Association of America. Retrieved 12 August 2012.
- Bibliography
- Atkins, John (2000). The Who on Record: A Critical History, 1963–1998. McFarland. ISBN 978-0-786-40609-8.
{{cite book}}
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(help) - Marsh, Dave (1983). Before I Get Old : The Story of The Who. Plexus. ISBN 978-0-859-65083-0.
{{cite book}}
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(help) - Neill, Andy; Kent, Matt (2002). Anywhere Anyhow Anywhere : The Complete Chronicle of The Who. Virgin Books. ISBN 978-0-7535-1217-3.
{{cite book}}
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(help) - Kemp, Mark (2004). Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. ISBN 978-0-743-20169-8.
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(help); Invalid|ref=harv
(help) - Wollman, Elizabeth (2006). The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig. University of Michigan Press. ISBN 978-0-472-11576-1.
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Further reading
- Barnes, Richard and Townshend, Pete (1977). The Story of Tommy. Eel Pie Publishing. 128 pp.
- Cawthorne, Nigel (2005). The Who and the making of Tommy. Unanimous Ltd (Vinyl Frontier 5). 224 pp. ISBN 1-903318-76-9
- Townshend, Pete (1993). Tommy : The Musical. Pantheon. 173 pp. + a CD w/ the song I Can't Believe My Own Eyes. ISBN 0-679-43066-0. Also titled The Who's Tommy: The Musical.
- Townshend, Pete (1996). Tommy : The Interactive Adventure Then and Now. Eel Pie Publishing. Kardana & Interplay Productions. Cdrom for PC (CD-MCR-263-0 / CD-C95-263-0) or for Mac (CD-MCD −263-UK)
External links
- Tommy at Discogs (list of releases)
- Lyrics
- A number of interviews where Pete Townshend has commented on the concept and meaning of Tommy:
- Tommy liner notes – Song-by-song liner notes for the original album