First the Who in 1968. Then the London Symphony Orchestra with guest soloists in '72. And now the film soundtrack with various artists, seven years after the original shot.

"Tommy." It's seven years old now and getting stronger, unlike most rock and roll compositions which always seem to fade away after a year or two. In most fields of music seven years is nothing. In the ever fickle, rapidly changing world of rock and roll, it's everything.

ALL THREE recorded versions of "Tommy" are currently listed on Billboard's (that's unheard of in the rock market) albums charts and doing a respectable job of holding their own among the 200 or so more contemporary numbers contained.

The Who's version—already a monster bestseller with over $7 million sales in the U.S. alone—clocks in at number 88 with a bullet after five years absence from the charts. Retailing at $11.98, MCA Records expects to do a minimum of $1 million more.

The London Symphony Orchestra version (Ode) with soloists Rod Stewart, Ringo Starr, Steve Winwood, Maggie Bell, Merry Clayton, Richard Harris and 3/4 of the Who, comes in at 167 with a bullet and will probably go gold again, also after several years off the charts. Retail is $9.98.

And then the soundtrack version (Polydor). It rests this week at number 18 with a bullet and, at $9.98, has already been certified gold. It's still rising on the charts.

EVEN "Jesus Christ Superstar," in the heyday of its popularity, never quite enjoyed success like this. You would probably be safe in saying that "Tommy," given the list of its achievements, is the most popular rock and roll composition ever.

But it has been changing over the years. In its original Who form, "Tommy" was pure rock and roll—the raucous, foot stomping, butt kicking sort which only an English street punk band can play.

It was a simple production, far more accessible than "Quadrophenia," the Who's later and more highly praised work. All vocals were by Roger Daltrey, all instruments by composer Pete Townshend, bassist John Entwistle and drummer Keith Moon. And, unlike the two following efforts, it was basic tummy thumping rock and roll.

The London Symphony took "Tommy" out of the realm of pure rock. True, the Who was featured, but the second recording with various artists singing different roles and the big symphonic sound in the background, gave "Tommy" a distinct theatrical air it had been lacking.

Unlike the Who's version, the London rendition rested on middle ground: There were rock types involved with the singing, but they weren't rocking. They were performing a tight piece of music in a fashion acceptable to nearly everyone. There were no changes in the basics of the music, just in instrumentation and arrangements.

Then Hollywood enters the picture. The Polydor version, perhaps last of the "Tommy" rehashings, perhaps not, is different still. And even further removed from the original rock and roll.

THE SOUNDTRACK version—featuring Roger Daltrey, for the third time as Tommy, and Elton John, Tina Turner, Eric Clapton, Ann-Margret and the Who—comes complete with 1001 strolling strings and the opulent production characteristic of the genre.

With the soundtrack version, another new audience enters under the "Tommy" spell. This time, it's the moviegoers who don't normally buy records but will pop if they fall deeply in love. Apparently they have.

And that's "Tommy." Seven years old and still killing them. As rock, as theatrics, as a soundtrack. Some odyssey.

But which to spend your money on? Number one? two? three? It's a lot of money to spring for so you'll want to get it straight from the start. Well...

FOR ROCK and roll types, nothing will ever equal the Who's version. And, since "Tommy" is a tale which could only happen in a rock culture, probably no other version will ever come quite as close to delivering Townshend's original intent. Well worth every penny of the price.

But for those to whom rock and roll is not exactly the cultural bees knees, the symphonic hijinks of the London orchestra do the music justice. Most of the time. And the Hollywood clutter of the soundtrack also does it justice. Some of the time. Neither measure up to the original in any way, but it's pretty hard to go wrong with such a good piece of music.

Started It All

...the Who: Townshend, Moon and Entwistle

Billboard Top Disc Listings

Billboard’s best sellers for week ending April 19.

Distributed by Knight News Wire

TOP SINGLES

1. PHILADELPHIA FREEDOM—Elton John Band, MCA. 2. (Hey Won't You Play) ANOTHER SOMEBODY DONE SOMEBODY WRONG SONG—B.J. Thomas, ABC. 3. LOVIN' YOU—Minnie Riperton, Epic. 9. YOUNG AMERICANS—David Bowie, RCA. 10. CRASH LANDING—Jimi Hendrix, Reprise.

COUNTRY SINGLES:

1. ALWAYS WANTING YOU—Merle Haggard, Capitol. 2. BLANKET ON THE GROUND—Billie Jo Spears, United Artist. 3. ROSES AND LOVE SONGS—Ray Price, Myrrh. 4. ROLL ON BIG MAMA—Joe Stampley, Epic. 9. IT WAS ALWAYS SO EASY (To Find an Unhappy Woman)—Moe Bandy, GRC. 10. THE BARGAIN STORE—Dolly Parton, RCA.

SOUL SINGLES:

1. L-O-V-E (LOVE)—Al Green, Hi. 2. SHAKY GROUND—Temptations, Gordy. 3. WHAT AM I GONNA DO—Barry White, 20th Century. 4. ONCE YOU GET STARTED—Rufus, ABC.