As the Who mull 1921 in the future tense (“Got a feeling ’21 is gonna be a good year”), you can’t help but reflect that 2021 is quite soon, and that pop’s past is a foreign country, where things were done differently. Our hero, regaining his faculties with the breaking of a mirror, becomes the head of a cult that later turns on him. Tortured by relatives, prodded by quacks, and slipped some acid, he plays a mean game of pinball by vibes alone. Having hidden in plain sight since its release in 1969, when it was an instant success, it is easy to forget what a gruelling tale Tommy tells: of a boy traumatised by an act of violence, losing vision, hearing and speech. What a gruelling tale Tommy tells: of a boy traumatised by an act of violence, losing vision, hearing and speechĪlternately a rock opera about a pinball wizard, a meditation on the illusory nature of reality inspired by an Indian guru, or the first time British popular culture came to grips with childhood abuse, Tommy – or “Thomas”, as warm-up act Noel Gallagher teasingly calls it – is an enduringly harrowing proposition. Banks of keyboards and backing vocals inflate what is already a swollen work to manic intensity: the Acid Queen’s crescendo, or Sally Simpson, laced with slinky honky-tonk piano. If it ever starts to get not good and loses the essence of what the Who brings to the stage, we’ll stop.It would have been illuminating to hear Tommy through the prism of classical guitars, castanets, and French horn, but few here would complain of another chance to see the splay-legged Pete Townshend windmilling his arm like a boss, or Daltrey flinging his mic around with lazy mastery. I’ve always been of the opinion that you don’t give this business up. “We said this is the beginning of a long goodbye at the beginning of our 50th anniversary tour. “We haven’t planned anything, but we also haven’t ever thought about giving up,” says Daltrey. The Who haven’t played since a run of dates in South America with Guns N’ Roses last October.
“It’ll be interesting to see how people pick up on that,” says Daltrey, “but I’m very happy with it.” He has yet to figure out the encore section of the show, but he imagines it will feature some of the Who’s biggest hits that weren’t on Tommy. “But it really works.” They’ve also added a new grand finale since the record fades out at the end. “It’s an echo of the piano that covers a guitar change that is quite difficult since my guitarist has to change from electric to 12-string acoustic,” says Daltrey. “This time the track was already done and he laid rhythm guitar over it.”ĭaltrey says he’ll make minor changes, however, like the tiny bit of gospel music that Sally Simpson hears when she goes to see Tommy deliver a sermon. “He’s usually the writer and he’s creating the whole tapestry of the track that I sing to,” says Daltrey. The bandmates have been making music for over 50 years, but this is the first time they’ve worked in this capacity together. Townshend ultimately added guitar parts to seven of the 11 songs.
“He said to me, ‘I’d love to play some guitars on it.’ “What Pete loves to do is play around in the studio. “He convinced me to finish it,” says Daltrey.
Unbeknownst to him, his management sent the unfinished work – which includes a cover of the 1972 Manassas song “How Far” along with Stevie Wonder’s 1974 politically-charged “You Haven’t Done Nothin'” and the original compassion “Certified Rose” – to Pete Townshend.
#Roger daltrey tommy archive#
“I wanted to put it into the archive and just shelf it.” And when he finally was ready to pick it back up during downtime from Who tours, he didn’t like what he heard. Sessions began long before his 2015 battle with viral meningitis that nearly took his life. Earlier this month, Roger Daltrey resumed his solo career after a 26-year break with the release of his new LP As Long As I Have You, though not long ago he was ready to abandon the whole project.
0 kommentar(er)
