Saturday, May 31st, 1969

Melody Maker runs a review of Tommy entitled "An extremely tasteful pop opera"

 

Transcript: (unverified)

An extremely tasteful pop opera

ALBUMS

WHO: “Tommy” (Track).

Many groups devote much energy to obtaining an original approach. The Who have always been able to devote their energies to using an original sound which has been there from the start. The Who’s whole concept has been unique from the earliest days of the British group boom. They have taken their own path at all times, and this has lead to fulfilment in “Tommy,” a pop opera written by Pete Townshend and performed on a two album set that will add great prestige to the recording industry and pop scene alike.

There is nothing terrifyingly deep or pretentious in “Tommy.” Nor is there anything remotely obscene. If anything, it is extremely tasteful in its treatment of very real situations. By now, from the trailer single “Pinball Wizard” which became the Who’s biggest hit for some time, most people will be aware of the story line which concerns a deaf, dumb and blind boy who baffles his parents, is bullied by his cousins, turned on to LSD, assaulted by his uncle, but through it all develops the ability to play pinball machines with uncanny ability before undergoing a miracle cure.

The story is thus concerned with mind expansion under the most extreme circumstances. In four sides the music covers a variety of moods from coarse excitement to crystal beauty, and that such variety is obtained is a tribute to Kit Lambert’s production, and the Who’s instrumental ability. Pete’s guitar work is heard at its best ever especially on the “Overture” and the half-time instrumental “Underture,” a piece of work which had its origins in an early Townshend composition “Rael” which had the germ of an idea for an opera. Pete shelved his plans for a while when a certain “Teenage Opera” was gaining publicity.

John Entwistle must be praised for his horn playing and bass lines and the tersely descriptive “Fiddle About.” Several of the songs, like “Christmas,” are strong enough to be taken out of context and stand up on their own like “Pinball.” Roger Daltrey sings with great care and conviction throughout, and Keith Moon’s drumming is as vital and invaluable as ever.

Let us hope the success of “Tommy” will spur Pete quickly on to the next project.

Photo caption: DALTREY sings with care