THE WHO-TOMMY-TRACK DOUBLE LP 613013/14 COMPLETE - NMINT
£
18
$
24
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Description
THE WHO-TOMMY TYPE DOUBLE LP-STEREO LABEL TRACK - with POLYDOR MOULDED LABELS and MATRIX NUMBERS: 613013 A//1 613013 B//3 613014 A//1 613014 B//2 and the records pressed with alternate sides on each disc . Record One has sides 1 & 4 and Record Two 2/3. CATALOGUE NUMBER 613013/613014 - SET 2657-002 YEAR 1969 COUNTRY OF RELEASE U.K. SLEEVE DOUBLE GATEFOLD-E J DAY UNLAMINATED INSERTS/EXTRAS 12 PAGE GLOSSY PICTURE/LYRIC BOOK (NOT NUMBERED)
GRADING/CONDITION DISC(s)
MINT- (FABULOUS PAIR OF DISCS, in the sort of condition you would expect to have bought them home from the shops.NO EVIDENT playwear NO hairlines from reinsertion into sleeves etc (they have been housed in 2 quality lined inners ) and as far as I can see just 2 small insignificant surface marks on side 4 to mention. As it is the first time I have listened to the album in many years I played AND LISTENED to it all the way through, and sonically is a good as ever it was, (I really miss Keith Moon)
LABELSEXCELLENT++ (CLEAN LABELS with NO writing rips tears stickers/removal marks with TRACE spindleusage and MINIMAL handling storage and ageing marks)
SLEEVE Front board.Inner gatefold EX+CLEAN SLEEVE with NO writing rips tears stickers or remains: Front board is unworn and unmarked with only MINIMAL ageing and handling. INNER GATEFOLD are unmarked and in top condition
Rear Board EX+ Rear board is much as the front, very clean with VERY LIGHT ageing and handling Flipbacks N/A N/A Spine EX Spine is complete with and uncrushed, has storage rubbing wear on either side Top & front edges EX+ Top and bottom Edges have VERY LIGHT wear Opening EX+ Openings have MINIMAL usage and VERY LIGHT wear. Corners EX+ All corners have LIGHT wear bit heavier at the top of the spine. INNER /EXTRASPICTURE/LYRIC BOOK: EXCELLENT+ (NICE and CLEAN with NO rips tears folded page corners or writing, and VERY LIGHT usage and handling wear.)
DETAILS
A bold and daring work for its time, Tommy was the album that launched The Who into the stratosphere of rock stardom, and Pete Townsend into a household name and the upper echelon of rock and roll figureheads. The story of Tommy in itself is somewhat vague. In a nutshell, it's the story of a deaf, dumb, and blind boy who is eventually cured (?) and becomes a quasi-religious figure. On paper, it's a story whose logic doesn't seem to hold up even as fantasy, but Townsend is trying to send some messages here: it's his view, and subsequent rejection, of the psychedelic experience in music and LSD in general; his view of rock and roll stardom and the way people elevate musicians into a Godly figure; and fame itself and the aftermath of a fall from grace.
But the way the story leaves a number of holes in the plot, no doubt a deliberate decision, merely adds to the mystery and intrigue of the story. All the songs serve to tell the story, even if the story is a little disjointed. Everything here mostly works, but some of the highlights include the seminal anthem "Pinball Wizard", "I'm Free", "Amazing Journey/Sparks", and "We're Not Going to Take It/See Me, Feel Me".
Many of the songs here are daring, tackling such subjects as bullying (John Entwistle's "Cousin Kevin") violence ("You Didn't Hear It"), prostitution and statutory rape ("The Acid Queen"), and sexual molestation ("Do You Think It's Alright/Fiddle About"). If there's one flaw to this album, it's the production.
Although The Who's instrumental attack is tight and well-executed, they sound very subdued, flat, and uninspired throughout most of the set. However, the right decision was made to keep overdubs to a minimum; instead of adding several musicians such as an orchestra or choir to add to the "opera" proceedings, they kept the instrumentation and vocals mostly to the four band members and limited the overdubs to some keyboards and Entwistle's horns.
This would end up being The Who's, and Pete Townsend's, main masterpiece and defining moment by a band who's had several defining moments. What was intended to be a story and a statement ended up being nearly impossible for them to dispense with even as their catalog of music grew. But Tommy would cement The Who as one of the best of all time.
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