Sensation: The Story Of Tommy (DVD) By The Who

The 1969 release of Tommy by the Who proved to be one of the seminal albums in rock history. A full-fledged opera by a rock group was not only unique and creative but contained some of the better music of its era. It propelled the Who from being a popular and respected British invasion group to one of the most popular rock bands in the world.

It has been 45 years since the release of Tommy. Now the story of that epic album has been released on DVD as Sensation: The Story Of Tommy.

Just about every living important contributor to the project was interviewed including new interviews with Pete Townshend and Roger Daltrey. The reflections of the two band members over four decades after the album’s initial release are particularly interesting. Add in contributions by engineer Bob Pridden, artwork creator Mike McInnerney, plus a number of others and you have as about a complete picture of the album’s creation as one can receive at this particular point in time.  There is even an archival interview with the late John Entwistle.

There is a judicious use of clips interspersed throughout the program. The sound and pictures are high quality and the pacing of the film is excellent. A number of the better known tracks make an appearance including “Pinball Wizard,” “See Me, Feel Me,” “The Acid Queen,” “I’m Free.” “Sensation,”  and “We’re Not Gonna Take It.”

There are a number of bonus tracks including previously unreleased footage from a 1969 performance at the Beat Club, featuring a number of songs from the album, and a 45 year old interview with Townshend which provides a nice bookend to the newer one.

The only problem with a musical documentary of this type is it begins to lose interest after the first several viewings. Still, for any fans of the Who or the era in music, it will be a worth-while purchase.

 

See Me Fee Me 45 by The Who

TOMMY by the Who has gone down in history as one of rock’s most creative and memorable albums. Released during 1969, its popularity has now spanned three generations. While the rock opera told a story, it did have three singles reach the BILLBOARD MAGAZINE Top 100 Singles Chart.

The highest charting single from the album was “See Me Feel Me.” Released during the fall of 1970, it peaked at number 12.

It was a song that built gradually and was fueled by one of Roger Daltry’s better vocal performances. It is a song that is still instantly recognizable today.

I Can’t Explain 45 by The Who

Way back in early 1965 a single spent two weeks on the BILLBOARD MAGAZINE Pop Singles Chart, peaking at number 93, and then quickly disappeared. “I Can’t Explain” was an inauspicious beginning in the United States for the Who.

The Who are now legends in the rock world having built a body of work that has rarely been equaled in music history.

From the crashing opening guitar chords by Pete Townshend to the frenetic drums by Keith Moon, it was a typical Who performance that would soon become all to famaliar.

At the time it was a far different sound that was coming from the British Invasion as it was a much harder rock style. It was classic Who at the beginning of their career.

Summertime Blues 45 by The Who

Eddie Cochran released “Summertime Blues” during 1958. It contained one of the signature guitar intros in music history. It reached number 8 on the singles chart in The United States.

The Who covered the song as a part of their LIVE AT LEEDS album, which is considered one of rock’s legendary live albums.

They released a slightly shortened version of the live track as a single July 11, 1970. It rose to number 27 while spending 9 weeks on the charts.

While the song will always be thought of as an album track. Its sledgehammer rock approach was welcome radio fare during 1970. An essential rock performance.

I Can See For Miles 45 by The Who

“I Can See For Miles” was The Who’s first top ten single in The United States when it reached number 9 during late 1967. While they would have 26 chart hits and sell tens of millions of albums, it would be their only single to reach the top ten.

It was a typical Who rocker that would just attack you with a hard driving sound. The Who were never a subtle band, especially during the pre-Tommy part of their career.

This is a song that has withstood the passage of time well. A must listen for anyone interested in late sixties rock.

Live At Leeds (Super Deluxe Edition) by The Who

I bought the original Live At Leeds vinyl album shortly after it was released in May of 1970. It is considered one of the best live albums in existence and Rolling Stone Magazine ranked it 170 on their list of “The 500 Greatest Albums of all Time.”

I next bought the album when it was released on CD during the mid-’80s. I bought it again during the mid-’90s when a remastered version was released with extra tracks. Next it was on to the 2001 Deluxe Edition. It had now been extended to two discs, with the second containing the entire Tommy set.

We now come to the 2010 release, Live At Leeds (Super Deluxe Edition). It is a massive four-CD, one vinyl LP, one seven inch vinyl 45 with picture sleeve, plus a coffee table-type book with a multitude of pictures. Released in conjunction with the 40th anniversary of the original release, it presents the whole story and more.

When The Who decided to record a live album, they booked two venues. They performed at Leeds University on February 14, 1970, and a day later at the Hull City Hall. While many people considered the Hull show to be superior, there was an issue with the recording equipment, as the bass part was lost on four of the tracks. Thus, the Leeds show entered music history.

While the first two discs present the entire Leeds show, the Hull performance has now been resurrected. Yes, the bass is missing on the first four songs but the rest of the concert has a surprisingly good sound. Why it has laid dormant for four decades is beyond me.

The two concerts are very similar, although some tracks are extended on one show or the other. The only real difference was “Magic Bus,” which was not performed at the Hull show. The concerts, which were performed within 24 hours of each other, show The Who to be a well oiled and tight group who had their long set down pat. I think in some ways I prefer the Hull set a little better, but both are ferocious rock attacks on the senses.

The vinyl LP is pressed on heavy gram vinyl and contains the original six tracks that were released in 1970. The sound is at least equal to that of the CDs if you have the proper equipment.

The 45 rpm record, with an accompanying picture sleeve, contains “Summertime Blues” on the A side and “Heaven & Hell” on the flip side. It is one of those artifacts that is nice to have but is not really essential.

The main attribute of the book is the pictures. It is nice to flip through while listening to the music.

Live At Leeds (Super Deluxe Edition) is the ultimate set of the two concerts. It will be my last Leeds acquisition unless there is something I don’t know about that will be released as a Super Duper Deluxe Set 10 years from now.

Its length and price make it primarily appealing for Who fans. It is one of those releases that fill in the gaps while presenting a lot of good music

Article first published as Music Review: The Who – Live At Leeds (Super Deluxe Edition) on Blogcritics.

My Generation 45 by The Who

“My Generation” by The Who would be a call to a generation of youth back in 1965. “Hope I die before I get old” captured the essence of youth rebellion. The young still can’t invision they will ever become their parents or their grandparents.

It would be their breakthrough hit in Britain, and while it would only reach number 74 on The American singles charts, it would generate enough airplay to put The Who on the road to stardom.

It is a furious rock attack, lead by Townshend’s thunderous guitar with feedback and Keith Moon’s pounding drums. John Entwistle fills in the gaps with his bass and Roger Daltry gives one of the best vocal performances of his career.

Moon and Entwhistle are both dead but Townshend and Daltry continue to play the song live, long after what they though would be a brief career.

Endless Wire by The Who

I have mixed feelings about Endless Wire. I was fine with The Who continuing as a group following Keith Moon’s death in 1978, but John Entwistle’s passing in 2002 hurt my image of the group as an ongoing entity. Pete Townshend and Roger Daltrey, however, have kept The Who alive. They continue to tour and in 2006 released their first studio album in 24 years. Their usual band mates are now Zak Starkey on drums, Pino Palladino plays bass, and John “Rabbit” Bundrick handles the keyboards.

Whether you view Endless Wire as basically a Daltrey/Townshend duet album or a full blown Who release, it is a solid effort. It may not approach Tommy or Who’s Next in terms of quality or consistency, but still produces enough good music to make it interesting and worthwhile.

For a group that sang about wanting to die before they got old, they have produced an intelligent, dignified, and yes a mature album. The anger and rawness may have dissipated, but the passion and energy remain. Over four decades into their career Pete Townshend and Roger Daltrey are aging gracefully and creatively.

The album is divided into two distinct parts. There are nine songs in the first half while the second part is comprised of the ten song “Wire & Glass: A Mini-Opera.”

The first part of the release works best for me. Townshend proves that he can still construct a good song, and his guitar playing remains at one of the highest levels in rock music. Daltrey’s voice may be a little lower than in his prime, but it is still a potent instrument. My favorite track is the acoustic and beautiful “God Speaks Of Marty Robbins.” “Black Widow’s Eyes,” which may be Daltrey’s best performance on the CD, and the oddly titled “Mike Post Theme” are good rockers. “A Man In A Purple Dress” has a nice stripped down sound.

“Wire & Glass” is more problematic. What’s there is very good in places. The problem is that many of the songs are too short and appear almost unfinished. I have the feeling that such tracks as “Mirror Door,” “Pick Up The Peace,” and “Sound Round” could have been spectacular if a little more effort had gone into their development. Good stuff but just not enough to it.

Endless Wire contains some good music and provides a satisfying listen. It shows that Townshend and Daltrey are not just an oldies band, but can still produce relevant music. Hopefully it will not be another 24 years before they produce a follow-up.

Thirty Years Of Maximum R&B by The Who

Thirty Years Of Maximum R&B is a four disc, five hour, career spanning history of The Who. The musical journey begins in 1964 with tracks released when they were known as the High Numbers and finishes in 1991 with their recording of “Saturday Night’s Alright (For Fighting)” which was their contribution to the Elton John tribute album, Two Rooms.

This is probably not a box set for those who are unfamiliar with the group’s music. It would be best to start with a couple of their classic albums or a simple greatest hits release such as Meaty Beaty Big and Bouncy. If, however, you are a serious fan of The Who, this is an essential package that is full of classic moments with a number of surprises thrown in for good measure.

The enclosed booklet is spectacular as it is filled with rare photos and interesting commentary by Pete Townshend. Some of the tracks could have more clarity which is really inexcusable given that the producers has access to the original masters. This is especially apparent with some of their later material.

Disc one takes the group from their beginnings to the release of the single “Call Me Lightning.” The four songs by the High Numbers show a rawness and energy. Songs such as “Zoot Suit” and “I’m The Face” hint at what they would become in a very short time. “I Can’t Explain” kicks off the official Who career and “My Generation,” “Happy Jack,” “Boris The Spider,” and “Pictures Of Lily” quickly follow and form a catalog of some of the best rock ‘n’ roll to be issued in the mid-1960’s.

Disc two begins with the sophisticated rocker, “I Can See For Miles.” Classic tracks from Tommy make an appearance. “Overture,” “Acid Queen,” “Pinball Wizard,” “I’m Free” and a live version of “See Me, Feel Me” are all reminders of the brilliance of Pete Townshend’s groundbreaking rock opera. The only real mistake on this disc was to issue the shortened version of “Summertime Blues” instead of the original longer track from Live At Leeds which was one of the best concert tracks in hisory

Disc three is rooted in some of the strongest music of their career. “Baba O’Riley,” “Bargain,” “Behind Blue Eyes,” and “Won”t Get Fooled Again,” show The Who evolving as keyboards are more prominent in their sound and the production has a slickness to it. The power of the music would remain as The Who would solidify themselves as one of rock’s premier groups.

Disc four covers the years that are considered the group’s weakest. However, when you assemble their best material from this era it holds up pretty well. “Long Live Rock” and “Squeeze Box” would be welcome additions to any album. Songs such as “Who Are You,” “Sister Disco,” “You Better You Bet,” and “Eminence Front” sound better and fresh when removed from their original albums. Two live tracks, “Twist and Shout” and “I’m A Man” were previously unreleased at the time and present The Who as an effective and dynamic cover band.

Thirty Years Of Maximum R&B is a wonderful journey through three decades of some of the best music that was ever produced by a rock ‘n’ roll band. So sit back and turn the sound up real loud.

It’s Hard by The Who

It’s Hard was released in 1982. At the time few people would have guessed it would be the Who’s last studio album for almost a quarter of a century. By the time of 2006’s Endless Wire, the band would be down to two original members as John Entwistle would pass away during 2002.

Roger Daltrey would dislike It’s Hard while Pete Townshend would speak highly of it. Similarly, reviews of the album at the time of its release would range from poor to very good. I find the quality to be similar to that of 1981’s Face Dances, in that there are a few high points and some ordinary material. As such it ranks in the bottom part of The Who catalogue of releases but is still listenable every once in awhile.

The musicianship and Roger Daltrey’s vocals are of normal Who standards. It is the quality of many of the songs that drag the album down. Pete Townshend was involved with his own solo projects and may have been using some of his leftovers for this release. Again there is nothing bad but only a few tracks break away from the ordinary.

“Athena” was originally Townshend’s ode to actress Theresa Russell. When the feelings were not returned the song was presented in its present form. It became a top thirty hit in the United States and is a catchy rock tune.

“Eminence Front” was a story about partying to avoid problems. Sung by Townshend, it was the closest to a classic Who song that the album would contain.

John Entwistle contributed three compositions. “It’s Your Turn” was an interesting and well written tune about not aging gracefully and not passing the torch on to the next generation. “Dangerous” would be one the least interesting tracks of his career. Interestingly, Roger Daltrey would provide the lead vocal for both songs. “One At A Time” has some of the better lyrics that he would create.

While some other songs would not be brilliant, bits and pieces of them would be positive. “I’ve Known No War” and “Cooks County” are social commentaries by Townshend. “Cry If You Want” was better than much of what was being issued in the early 1980s. However such songs as “One Life’s Enough,” “A Man Is A Man” and the title track are just forgettable.

In the final analysis, It’s Hard is probably only for hard core fans of the group. Many albums in the Who’s catalogue contain some of the best rock ‘n’ roll in the history of music and completely over shadow this release. Still, from a historical perspective, this can provide an interesting if not essential listening experience.