Tommy [2 LP] [VINYL]

Product Information

Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.

Tommy ranked 190th greatest album by Rolling Stone magazine". Rolling Stone . Retrieved 2 March 2022.Interview with Pete Townshend at Manchester Arena, England, 12 December 1996, by Stephen Gallagher (British Youth & Popular Culture Editor, Ubu). The album was commercially successful, reaching No. 2 in the UK album charts. It peaked at No. 7 in the US in 1969, [44] but in 1970 it re-entered the charts, at which time it went on to peak at No. 4. [45] 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 18 August. [46] " 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 An EP of selections from the album was planned to be released in the UK in November 1970 but was withdrawn. [47] As of 2012, Tommy has sold 20 million copies worldwide. [25] [48] Even more curious — and probably for the best for the sake of integrity — is the powers that be didn’t fix the quasi-typos from the original production. Meaning, certain titles there don’t quite match up with the original label. “Pin Ball Wizard,” for example, is the most obvious one, as it should be “Pinball Wizard.” They did, however, seem to update “Eyesight To The Blind” on the disc label to read, “Eyesight To The Blind (The Hawker),” and also credit writer Sonny Boy Williamson in the process, whereas my U.S. pressing just says, “Eyesight To The Blind.” If you are a collector on the fence trying to figure out whether to splurge for a copy of this new reissue, little details like these may make a difference.

In 1991, Townshend broke his wrist in a cycling accident and could not play guitar. Looking for alternative work while recuperating, he responded to a request from the PACE Theatrical Group for the rights to a Broadway musical adaptation of Tommy. The group introduced him to La Jolla Playhouse director Des McAnuff, and the pair began to develop the musical together. It opened at La Jolla in summer 1992 and was an immediate commercial success. [124] Townshend wrote a new song, "I Believe My Own Eyes", to explain the relationship between Tommy's parents, but otherwise tried to be faithful to the music on the original album. [125] If you are still hoping to get an original UK edition of Tommy, here is my advice. Get this half-speed master edition now while you still can, then keep an eye out for any used “OG” copies that may well start showing up in the stores in the months ahead as older collectors and audiophiles purge their copies for a clean new edition. Randall, Mac (22 January 2004). "Tommy Deluxe Edition". Rolling Stone. New York . Retrieved 3 July 2013.

Tracklist

Christgau, Robert (25 January 1983). "Consumer Guide". The Village Voice. New York . Retrieved 3 July 2013. Dimery, Robert; Lydon, Michael (2011). 1001 Albums: You Must Hear Before You Die. Hachette UK. p.455. ISBN 978-1-84403-714-8. Perhaps the most startling revelation in the recent reissues isn't on tape, but in the Quadrophenia super deluxe edition's booklet. Published for the first time is a letter from Townshend to his lawyer detailing his instructions for his exit from the band, after internal problems left him "losing any impetus either to write for the Who as a vehicle, or play with its members as a musician. I will not be dissuaded from my present feeling." Larkin, Colin (2007). Encyclopedia of Popular Music (4thed.). Oxford University Press. ISBN 978-0195313734.

First released in 1965, My Generation was The Who’s debut album. It peaked at #5 and unleashed The Who on to the world. It has been described as one of the greatest albums of all time by Rolling Stone, MOJO, and the NME and was included in the US Library of Congress’s National Recording Registry as ‘culturally significant’ to be preserved and archived for all time.

Credits

In 1970 Ferdinand Nault of the Montreal ballet group Les Grands Ballets Canadiens created the first dance-based adaptation of Tommy. [105] The ballet performance toured New York in April 1971, which included a light show and accompanying films by the Quebec Film Bureau. [106] [107] 1971 Seattle Opera production [ edit ] This album is super bold including a subplot that only lasts one song. It’s about the story of Sally Simpson who is a fan of Tommy’s and accidentally got slashed in the face being at the front of the stage, and then moved on and got married to someone else and forgot about him. It’s not completely relevant to the entire story but it’s such an interesting, short story that connects some of the themes and plays off the main narrative. This is one of the earliest examples of postmodern storytelling that I could think of in music. Neill, Andy; Kent, Matt (2002). Anywhere Anyhow Anywhere: The Complete Chronicle of The Who. Virgin Books. ISBN 978-0-7535-1217-3.

The Who continued to play a smaller selection of Tommy live in subsequent tours throughout the 1970s. [102] 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. [103] [104] Other incarnations [ edit ] 1970 Les Grands Ballets Canadiens [ edit ] Now, I realize some fans who came onboard after the band’s heyday may wonder why Tommy doesn’t sound as massive as, say, August 1971’s Who’s Next or October 1973’s Quadrophenia — well, that difference simply comes down to time passing, technology improving, and the band achieving a level of financial success that allowed them to spend more on their productions than they previously could afford. From everything I’ve read, The Who were on the cusp of bankruptcy, and had Tommy not been a mega-hit, they might well have imploded and disappeared from the scene. So, it is important to go into this listening experience with open ears and open minds to best appreciate these magnificent, groundbreaking recordings from 1968-69. 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.In 2013, Townshend and Daltrey participated in a documentary about the making of the album Tommy. The documentary is titled Sensation: The Story of the Who's Tommy and features in-depth interviews with them. [75] Editions and cover art [ edit ]