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MM Tommy Premiere article
This article appeared in Melody Maker in April-May 1969.
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PETE TOWNSHEND'S TRIUMPH!
Chris Welch
That's the verdict after a hair-raising curtain-raiser to the Who's
long awaited opera "Tommy" last week.
For two years Townshend has been toying, planning and talking
about his musical project. At last it has been completed in the form of
a double album.
And in a generous, unprecedented hour long show for the press and
pop industry held at London's Ronnie Scott Club, the Who gained an
excited reaction from critics. The group played selections from their
controversial opera, which has been branded as "sick" in some quarters.
As enormous speaker cabinets were piled high along the walls of
the club and hummed ominously at the assembled throng, Pete dryly
explained the story line. "It's about a boy who is born normal, just
like you and me. Then he witnesses a murder and becomes deaf, dumb and
blind." He is later raped by his uncle and gets turned on to LSD as has
been explained in various in-depth interviews. "It's not sick - contrary
to what one hears on Aunty. I think Aunty is the sickest thing in this
country." (Applause)
Pete went on to explain the boy develops a talent for playing
pinball, is healed and becomes the hero of the younger generation. A lot
of the story line escapes the memory owing to the Who's partially
successful attempt to make the audience deaf, dumb and blind.
In the confined space of Ronnie's, a venue used to the refined
rhythms of jazz, the overwhelming intensity of the Who's performance left
score's of people literally deaf. Some twenty hours after the event, my
ears were still singing and I was barely able to sleep without a vision
of Keith Moon thrashing like a demon swimming before me.
Despite the discomfort of those nearest the speakers, nobody
wanted to miss a minute of the group's riveting rave-up, which included
their classic versions of "Shakin' All Over" and "Summertime Blues."
And the opera underlined Pete's flair for inventive lyrics and
original composition, not forgetting the sense of humour and sense of the
dramatic always evident in his work. "Pinball Wizard," their current
chart smash, is one of the best songs from the set but there are plenty
more which will make their double album real value for the money, unlike
many recent doubles.
As a playing group the Who seem to be at their best ever with a
sudden spurt of activity in recent months almost amounting to a
Renaissance.
Said Roger Daltrey later: "We're really pleased about everything
at the moment. I think Pete's opera is incredible. It's been a long
time coming it's true, but the actual studio time was only about eight
weeks. Of course, we're knocked out with the single. It's about the
most commercial song on the album. I suppose it's about our biggest
since 'Happy Jack,' isn't it?
"I haven't really gotten into singing it yet. Some of the songs
on the album are bloody hard. They take a lot of concentration to
remember, with all the key changes and breaks. I can't say I enjoy
singing 'em yet! Pete's lyrics are really getting ridiculous. Some of
the things he's doing are unbelievable."
"In the last six months it's been like the rebirth of the Who. I
suppose in the early days we were too far ahead of the time and now
audiences are catching up. We've calmed down a lot. Our act hasn't
calmed down at all. I mean, we have changed as people. That's what
makes everything so good."
Even if the Who have calmed down, they can still scare you.
There were moments during "Tommy" when I had to clutch the table for
support. I felt my stomach contracting and head spinning. But we
wanted more.
It was thrilling to watch Pete leap and twist around with his
guitar, Roger hurling and spinning his microphone like a rodeo star, and
Keith wriggling around on his drum stool, sometimes disappearing into a
blur of sticks and grimaces.
Some might call Keith's playing destructive and tasteless and
their volume crippling and cruel. Both are vital ingredients to the
Who, a group who must surely be hailed as one of the mainstays of
British pop.
They may be loved or hated. We couldn't do without 'em.
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