TOMMY SACD Review

["Scott Schrade" <schrade@xxxxxxxxxxx>]

Disc One of the new Deluxe TOMMY SACD is the regular album
that we're all used to, remastered from the original mix down master
that The Who used to make the vinyl record some 34 years ago.

And while it sounds good, I still think I prefer the entirely remixed
version that came out on CD in 1996.  Why?  Because I feel the 
'96 version is simply a better, clearer mix.

I should've prefaced all this by saying that I only have normal, stereo
CD capability.  I don't have an SACD player & I don't have a 5.1
surround sound system.  Someone else will have to inform us about
the CD's sound in those areas.

On regular CD players, don't expect this new version of TOMMY 
to "bring out" the instruments better.  It doesn't.  While they're is a
noticeable beef in bass undertones, the mix is still the same as it was
in 1969.  That means Entwistle's individual bass notes are still some-
what buried & Moon's drums still sound a bit like "tin cans."

That's why I prefer the '96 version.  That version remixed the indi-
vidual 8 tracks, boosting what needed to be boosted (as best they
could) while still maintaining the original integrity, the overall sound,
of the '69 mix.

So, as far as Disc One is concerned, I'll leave it at that.  I prefer the
'96 version.  Some may prefer, in a nostalgic sort of way, this new 
SACD & its use of the original '69 mix.  Maybe next month I will,
too!  But right now, I prefer the '96 CD.

OK.  Disc Two.  The bonus material.  Much more interesting & 
exciting.  Let's briefly go track by track.

1. "I Was" is a short 17-second bit of layered & overdubbed human
voices, clicking wood blocks, maracas, & what sounds like string
noises.  A goofy throw-away track with more humor than art.

2. "Christmas" (Out-Take 3) is a different band version of the song
without vocals.  Basically a different take of the song that the band
decided not to add vocals to or work on further.  The drums are
loud & mixed way up front.  Nice, but the lack of vocals makes it
rather ho-hum.

3. "Cousin Kevin Model Child" is just like the ODDS & SODS
version but both of Moonie's mirrored vocal tracks are more equal
giving the vocals a thinner, more disjointed feel.

4. "Young Man Blues" (Version 1) is the version that everyone
wanted on the ODDS & SODS reissue.  The better studio take
of this song, there are still problems playing-wise.  Why didn't this
song translate in the studio?  Moon's drums are very loud.  And so
are his bits of apprehension & struggle!  Still, nice to finally have
this one on CD.

5. "Tommy Can You Hear Me?" (Alternate Take) is another
instrumental version to which no vocals were added.  It breaks
down into a somewhat confused studio jam & ends very abrupt-
ly with some Moon antics.

6. "Trying To Get Through" is an unfinished studio track that ap-
parently got discarded.  This one has Pete's studio rehearsal vocals
& is fun in a punky, sloppy way.  Later the song settles down into
a quiet tenderness with more studio jamming & an eventual fade-out.

7. "Sally Simpson" (Out-Takes) is a series of attempts to record
the song through many false starts, much joking, lots of silliness,
& dry unaltered Daltrey vocal tracks.

8. "Miss Simpson" is simply an alternate take of "Sally Simpson."
This version is still rough & unfinished but Daltrey employs some
interesting phrasing on certain parts which can excite.  Think of it
as a live studio version.  I like this one even though it gets sloppy
at times.

9. "Welcome" (Take 2) is an instrumental take of the song.  Again,
no vocals which hampers total enjoyment.  Neat to hear the inter-
play of the instruments & the suspended pauses, though.

10. "Tommy's Holiday Camp" (Band's Version) is the full band's
version of this song (Pete's demo is what was used on the original
album).  This version is sloppy & has no vocals.  Why add vocals 
to a sloppy instrumental?  

11. "We're Not Gonna Take It" (Alternate Version) is a much 
faster tempo take with vocals.  Interesting that Pete's vocals are
given the lead on all but the choruses.  This version does go into
the "See Me, Feel Me" bit but still incorporates the quirky, quick
ending found on Pete's demo.  It doesn't fade out slowly like the
original album.  I like this one, too.  Very neat.

12. "Dogs (Part 2)" is the one we're used to but mixed a bit dif-
ferently in that OX's bass breaks are more thin & distorted sound-
ing.  I prefer the old mix.

13. "It's A Boy" is Pete's demo starting with a harsh edit intro-
ducing the pleasant acoustic guitar that cuts in right after Pete's
"Overture" demo ends.  Plus a quick fade out before 1921 (or
1929) would start which sounds rather forced.  I would've liked
to have had "Overture" included, as well.

14. "Amazing Journey" is Pete's demo again, shortened with a
fade out & minus all the tape loops & sound effects.  I was upset
that they didn't leave the weirdness in.  I liked the weirdness.
Boo who.

15. "Christmas" is the short demo version as on ANOTHER 
SCOOP (no "Tommy, can you hear me" parts).  Nice & brief,
I've always liked this version.  

16. "Do You Think It's Alright?" is Pete's short demo of the song.

17. "Pinball Wizard" is Pete's demo with the full guitar break in
the middle unlike ANOTHER SCOOP & like the version that
was on the flexi-disc contained in early versions of the Maximum
R&B book.  I never understood why that phenomenal guitar
break was ever edited out in the first place; it's stunning & gives
the song a nice little jam section.  Great playing by Pete.

That's it.  I'm going to bed.  Oh, the packaging.  It's similar to
all the "Deluxe" editions we've been getting.  Clear slipcase, four-
way fold-out, a booklet, plenty of great & rare pics.  The pack-
aging is outstanding.

Grade:  A-


- SCHRADE in Akron