Track Listing

1. Overture
2. It's a Boy
3. 1921
4. Amazing Journey
5. Sparks
6. Hawker
7. Christmas
8. Cousin Kevin
9. Acid Queen
10. Underture
11. Do You Think It's Alright?
12. Fiddle About
13. Pinball Wizard
14. There's a Doctor
15. Go to the Mirror!
16. Tommy, Can You Hear Me?
17. Smash the Mirror
18. Sensation
19. Miracle Cure
20. Sally Simpson
21. I'm Free
22. Welcome
23. Tommy's Holiday Camp
24. We're Not Gonna Take It

Product Details

• Amazon Sales Rank: #1253 in Music
• Brand: WHO
• Released on: 1996-03-12
• Number of discs: 1
• Format: Original recording remastered
• Dimensions: .24 pounds

Album Description
Japanese-only SHM-CD (Super High Material CD) pressing of this classic rock album. SHM-CDs can be played on any audio player and delivers unbelievably high-quality sound. You won't believe it's the same CD! Universal. 2008.

Amazon.com essential recording
Tommy had the dubious distinction of being the first-ever rock opera; however, it's none the worse for that, Ken Russell's adaptation notwithstanding. Due largely to Pete Townshend's skill as a songwriter and composer, Tommy tells a coherent story and includes quality rock and roll at the same time, an impressive feat by itself. While surprisingly more linear than the later Quadrophenia, Tommy boasts several songs that stand up well on their own, including the classic "Pinball Wizard," "The Acid Queen," "I'm Free," and "Sally Simpson." Much of the rest doesn't make much sense lyrically unless you listen to the entire album, but you'll probably want to do that anyway, preferably with the lights low and the stereo cranked. --Genevieve Williams

Customer Reviews

THE Rock Opera. Seminal Storytelling Album
Pete Townshend possibly feels a lot like David O. Selznick, the producer of the movie `Gone With The Wind' in fearing that he will only be remembered in his obituary by his creating that one work, as Townshend, like Selznick, seems to have been spending his time after completing their most important work in trying to top it.

To my mind, Townshend should have no regrets about not topping `Tommy', as it is easily one of the two or three most important albums and works in the entire Rock canon, similar in importance and possibly superior in quality to `Sergeant Pepper's Lonely Hearts Club Band' and `Blond on Blond', to name just two others high in the ranks of great Rock albums.

One thing which surprises me about writing on `Tommy' is how little deep analysis has been essayed about the story behind the songs. In a nutshell, the story is this:

Tommy Walker is born while his father is off on some journey (`It's a boy') from which he becomes several years late in returning. Tommy's mother takes up with a lover, father returns, mother and lover kill father with Tommy as a witness, and mother and lover tell Tommy he saw and heard nothing (`You didn't hear it'). Tommy becomes functionally blind, deaf, and dumb to all outside appearances, however, it is evident that within his own head, he can see and hear everything (`There's a doctor I've found'). He is tormented by various malicious relatives (`Cousin Kevin' and `Fiddle About') and `treated' by various attempts, including hallucinogens (`Acid Queen'). As he grows up, the only outside experience to which he responds is a pinball machine, at which he becomes expert (`Pinball Wizard'). Tommy is finally cured by watching his image in a mirror smashed by, I believe, his mother's lover (`Smash the Mirror'). Being released from his isolation for Tommy is like being released from a practically lifelong mystical experience heightened by pinball. The charisma with which Tommy is imbued by this experience leads him to become a `New Messiah' (`Sally Simpson') creating a movement which expands beyond local resources (`Welcome') and becomes institutionalized into a ritual modeled after playing pinball while deaf dumb and blind (`Tommy's holiday camp'). The story ends with a revolt of Tommy's disciples against his new religion (`We're not gonna take it').

The theme of being oppressed runs throughout practically all of Townshend's work, although in `Tommy', it takes a back seat to mysticism. The people who dote on the philosophical background of `The Matrix' should sink their teeth into the `Tommy' story and ruminate on that a while. The major musical theme of the work seems to be Townsend's search for a magical chord. And, anyone who, like myself, has seen `Tommy' performed live by the original Who will have no trouble believing Townsend has found his chord as he hits that first great whirlwind chord in `Pinball Wizard'. Talk about a rush! In general, a lot of the music echoes earlier Who works. Townshend seems to constantly cut and paste phrasings from one work to another and I have no problem with this except in the most tedious of the three instrumental pieces (`Underture') in the album.

Some writers have said that 'Tommy' is more like an Oratorio or a Song Cycle than it is an Opera, but I disagree. Neither of these other two genres requires a plot, and an Opera does, and Tommy has a plot. I prefer to think of it as a selection of arias and instrumental passages from which some bridging dialogue has been left out. My biggest problem with this plot is that the actual event that triggers Tommy's autism is only hinted at in the most vague of terms. It is easy to believe that it was a murder, but the lyrics of `You Didn't Hear It' never come even close to saying exactly what the event was. On the other side of the coin, the great majority of the songs on the album `Tommy' directly support carrying the story forward. Practically the only exception is the Sonny Boy Williamson classic `Eyesight to the Blind'. It is probably symptomatic that only `Pinball Wizard', `I'm Free', and `Sensation' out of the 24 cuts in `Tommy' really work for the Who outside the context of the whole work. That's why I'm especially happy to have seen The Who perform virtually the whole album live, four days after it was initially released. It is also interesting to see that the two cuts describing episodes of sadism were written by Entwistle and not Townshend.

This CD contains exactly what was on my original vinyl two record album bought in 1969, suitably enhanced with modern electronics. My greatest respect for Townshend is for creating a classic musical form, the Opera, using an entirely ROCK instrument, with the slightest classical leavening from John Entwistle's French horn on a few early numbers. So many `rock' versions of traditional forms simply overlay rock performances on classical arrangements or make classical arrangements of rock melodies. Aside from `Quadrophenia', the only other work which succeeds at doing this is Spooky Tooth/Pierre Henry work `Ceremony An Electronic Mass'.

Listening to this album and every other early Who album reminds one just how much their performances were a collaborative effort between the original four, and how much we miss Keith Moon and John Entwistle today. We can only say that with `Tommy' and numerous other works and recorded performances, the memory of The Who will live forever.

Seminal work in the history of Rock.

Reason alone to buy a SACD capable player
Just get it. I have been enjoying DVD-Audio for the last year yet there were many titles I wanted in the SACD catalog so I recently purchased the Pioneer DV-563AS, a DVD player that will play back both DVD-Audio and SACD yet costs under 200.00. The Deluxe edition of Tommy simply sounds fantastic when playing the SACD 5.1 mix, the difference between it and the regular layer using a normal CD player is quite significant. Although I will admit to being prejudiced as Tommy is one of my all time favotite albums, this new version is simply superb, I am such a believer in the new high bit rate/sampling rate and 5.1 formats. It is amazing how good a near 35 year old recording can sound. Even if you don't have an SACD player this disc is very much worth getting, the stereo mix is excellent, you get a bonus disc with 17 additional tracks and the packaging is excellent, very high quality.

A Review From Someone With SACD Player...
okay... i normally don't review too many albums on amazon, but was i amazed to read all these reviews from people who chat about the album but then go on to say "but i haven't heard it on SACD yet." so i thought someone might benefit from reading about the surround mix in SACD...

well, it is simply amazing, especially for having been mixed by the near-deaf townsend (surely its a joke!).

the most amazing thing about the 5.1 surround mix is how present and powerful keith moon's drumming is. i have always pointed to "quadrophenia" as the shining example of his frenetic hammering of the drums. but now i can more fully appreciate his drumming on "tommy." the drums sound amazing on this SACD surround mix. no other words can describe it.

one of the reasons for the drums being more powerful is the ability to follow keith's "live in the studio" drumming more closely. you see, all the "accentuating" drum parts (tympani, gongs, cymbal splashes) are all separated from keith's drums in the mix... it wasn't as clear in the stereo mix which drums keith is playing, and which drums are over-dubbed elements.... but here, they are coming at you from different sides of the room. this makes for some amazing parts, particularly during "sparks" and "overture", where keiths keeps pounding out a rhythm, then the tympani drums build up to a crescendo.

also, pete and roger's vocals are sometimes separated in the mix. pete's first words on the alubm came as a shock. he sings, "captain walker didn't come home. his unborn child will never know him." and he's coming from the rear right speaker (mostly) and roger and all come in later, together chanting "a son, a son, a son" from the front speakers. its pretty powerful stuff from the get-go.

i could go on and on. but the most amazing thing truly is the fidelity... i hear things i've never heard before, and i thought i was prety intimately familiar with the album. subtle touches now are given such depth and prominence... and the separation that is achieved with surround sound allows the listener to follow a particular part or a particular instrument...
you can hear pete breathe in before singing... you can hear the sound of his pick against the acoustic guitar. you can hear a few of keith's dud hits on the snare (thought they are few, and always charming to hear).

another reviewer said, "reason alone to buy a SACD player."
i agree.

thanks for reading.