I feel like Christmas serves as its own mini opera within Tommy. It presents the problem of tommy in being "saved" compared to the other children (which the vocalization sounds kinda like seagulls/when kids cry but I assume its to voice their excitement). It goes into its various sections of loud excited with strange vocalization then bringing in tommy (verse then chorus) and back to the excited verse and chorus. The "bridge" of "tommy can you hear me" is intertwined with a slightly altered chorus. the overall song structure is very formulaic but the different sounds they managed to mash together (like juxtaposing tommy and the other kids) in one song is incredibly theatric. -Kara
Although it's definitely one of the shortest songs in the album, and one of the songs with the least lyrical content, one song that I particularly liked from Tommy was "It's a Boy". I think maybe I liked it because it really felt like something out of a play or musical rather than an album. And in that sense, I think it serves its purpose, as Tommy is supposed to be a rock opera and not a traditional album. As far as instrumentation goes, there's this really interesting brass instrument sound in the background (I think it's a french horn?) and it adds a sort of mystical and heroic quality to the song, setting up the idea that the boy being born in the song is Tommy, the main character of the album's story. With that same theme in mind, the chorus of all of the band's voices at the end adds the same sort of quality, much like they're proclaiming the birth of someone of great importance and divinity, tying into the idea of Tommy as a prophet figure. In terms of other music by The Who, this song seems like it can't really be traced back to any of the band's roots. It is, in purpose, a device to move the story of the album forward and introduce some of its main themes, which in principle is entirely different from the rest of their work since "Tommy" is their only album of this format. I also watched a video where The Who played "It's a Boy" at the Isle of Wight Festival in 1970, and this performance was entirely different from the song. Between the lack of horn in the background and the complete difference in the guitar, it sounded completely unrecognizable, other than the shortened "A son" chorus at the end. The performance was even way longer than the original song, at about 6 times the length, and all that extra time was filled with a bunch of random instrumental. Needless to say, the song's purpose doesn't seem to carry over when it leaves the studio, as it becomes less of an interesting plot device for the album and more of chance for the band to just fill the time with whatever they want.
I decided to focus on "1921" because I really liked the instrumental intro and the overall "vibe" of the song. The song has really great moments of crescendo into the chorus and backs away into the verses, which I thought added some extra mood and emphasis on the story. It is a bit repetitive throughout, but this also fits the story as Tommy (I think it's Tommy singing?) reminisces on the past "good life." The song hints at "It's a Boy" and his handicaps as well with "He saw it all You didn't hear it, you didn't see it You won't say nothing to no one Ever in your life, you never heard it" In reference to the murder and Tommy Jr's witness to it all. I made some connections with "Our Love Was" off of Sell Out, with the way they describe love in general. It's described as a sort of glow that echoes within both songs. Musically, they are quite different, but the same sort of crescendo does occur within both as well. Live, the song sounds quite different, especially the intro instrumentals. They sound a bit harsher with the guitar and also with the vocals on the chorus. I was a bit surprised by the rendition to be honest, because I thought it was a light song while listening to the album, but I do see how it can be an intense song as well.
I picked the song 1921. The song starts with some fairly dramatic guitar strumming and piano and then eases into a more gentle fingerpicking with a steady drumbeat when the first character sings. The more dramatic guitar strumming returns when the next character sings. The strumming gets faster and more intense during the “what about the boy” part of the song. The vocals during the lyrics “You didn't hear it, you didn't see it” overlap and almost echo which gave me the feeling as if I were Tommy and I had voices surrounding me telling me to forget what I saw and heard. One of the motifs that this song uses is the lyrical motif of Tommy hearing and seeing. In fact, the lyrics “You didn't hear it, you didn't see it” actually introduce Tommy losing these senses hence serving as the very start of the motif. This motif returns multiple times throughout the entire album with the lyrics “Tommy can you hear me?” from Tommy’s parents and “See me, feel me, Touch me, heal me” from Tommy himself. I’m not sure I would say that this song is dramatically different from previous songs that we have listened to from The Who. They did, however, have the song Glow Girl which has the lyrics “It's a girl, Mrs. Walker, it's a girl.” This is obviously very similar lyrics to It’s a Boy (the song right before 1921). I would definitely consider this song to be a predecessor of Tommy. I watched the live version of this song at the London Coliseum and it was really cool to watch the band almost act out the emotions of this song. I am a huge fan of live music because I think it provides a deeper connection to the feelings of a particular song and Roger Daltrey does a great job conveying the dramatic aspect of this song.
I listened to Sparks, which was just an instrumental. For the first 30 seconds of the song, it's just a few guitar chords, a simple bass line, and some cymbals. Then the drum rhythms start to get more complex and the bass line simplifies, while the guitar chords get slightly more dissonant. The song has a very chill, almost acoustic vibe at the start, which harkens to the beginning of the Overture a little bit, with its strummed chords and use of cymbals. The song as a whole seems to function pretty much as an outro of Amazing Journey. It doesn't even really feel like a transition to Eyesight to the Blind, since it fades out entirely, with Eyesight to the Blind changing the key and overall sound too. However, I think the transition from the more chill sounds to a faster, more dissonant sound foreshadows the darker aspects of life coming Tommy's way as the story progresses.
One thing I'm still trying to figure out is why its called Sparks.
In the album/rock opera Tommy, the song “Go To The Mirror” is a song that I particularly liked because it included a lot of interesting elements, like frequent shifts in instrumentation and tempo, as well as a sort of musical “symmetry” that progressed with the song that was really satisfying to hear. For example, the song starts and ends with the same heavy, energetic, and fast-paced composition including prominent drums, guitar, and bass which flows and evolves with the lyrics depending on whose perspective the song is in. Verses from the doctor’s or father’s perspective are sung in a more assertive tone accompanied by this heavier instrumentation. However, when the song shift’s to Tommy’s perspective, particularly with the lines “See me, feel me, touch me, heal me,”a prominent motif in the album reflecting Tommy’s humanity, the delivery of the lyrics becomes more sensitive and more melodic, which is accompanied by a very smooth yet noticeable shift in the instrumentation. At this point, the tempo of the song slows down, as do all of the instruments. The drums are hit at slower intervals, while the bass and guitar are played in a way that provides more reverb. As the music progresses, this pattern continues, with some changes, particularly at the “go to the mirror boy” part, as the aggression increases, and the drums and bass work together to create a sound that resembles making steps, as Tommy goes to the mirror. When Tommy’s last verse is introduced, this brings a new musical component to the song, as the tempo is still quick and energetic, though in a more bright and inspired way, and it evolves back into the original as the song comes to a close. In the live version of this song played at the London Coliseum, it was cool to see the band’s energy as they played, and also to see how, as different members sang from different character’s perspectives, they were highlighted by the spotlights in a way that allowed the audience to differentiate between the characters, adding more to the story.
I can definitely see some connections between some of The Who’s older work with this song, particularly with “I Can See For Miles,” which provided an earlier example of how smoothly they are able to shift in the tone and tempo of their songs. In “I Can See For Miles,” the song shifts from a more menacing tone to a celebratory one thanks to the instrumentation, and a similar yet more complex version of this happens in “Go To The Mirror.”
I really enjoy the song Pinball Wizard. I picked this song because I really just like how it sounds. I love the fast guitar at the beginning and just how fun it sounds overall, and the harmonies of the band members' voices. The background sounds like it is constantly driving forward, which is cool. One of the motifs is of Tommy being unable to hear and see, and it introduces it in what I think is a comical sense. The lyrics Ain't got no distractions "Can't hear no buzzers and bells Don't see no lights a-flashin' Plays by sense of smell Always gets a replay Never seen him fall That deaf, dumb and blind kid Sure plays a mean pinball" are bizarre and playful, and definitely keep the motif of Tommy being unable to use his senses in a fun storytelling way. I think it overall sounds similar to other songs by The Who, if not having an even stronger storytelling component. The lyrics of this song tell a clear story which is engaging and fun to listen to. Pinball Wizard live was really fun to listen to too, I feel like it had more of a bass-y feel than the non-live version. I think one of The Who's strongest traits is their live performances, so seeing them act out this song was probably very amazing in concert. It overall sounds more harsh live, which is definitely a different experience.
I chose "1921" because it sounds soft and slightly optimistic in the opening with the guitar strums, piano, and percussion. The first line "I've got a feeling twenty-one Is going to be a good year" made me chuckle in the context of 2021, because it most definitely has not been a good year. It contrasts the rest of the album because it's positive compared to the many negative songs about Tommy being abused and blind/deaf. The verse that says "You didn't hear it, you didn't see it" gives a glimpse into the darkness to come. Compared to earlier Who songs, it had a less Brit Pop-like feel and was all around less rock and roll. However, their live performances of "1921" are louder in every aspect of instrumentation and have a slightly faster tempo, which seems more typical of The Who.
I actually really enjoyed "Eyesight to the Blind" with its consistent guitar strums in between each line. I unfortunately cannot remember the name of the song but the instrumental reminds me of a little more current song. I'm not sure if this is necessarily a motif but I felt that every song did a great job at immediately giving you an idea of what the song would be about. The opening instrumentals set the tone really well for the rest of each song. For example, "Overture" started a little more heavy on the instrumentals and dark which matched the tone of the first lyric (Captain Walker didn't come home) very well. Similarly, "It's a Boy" begins very light which matches the tone for "It's a boy, Mrs. Walker, it's' a boy". On another note, the background instrumentals of "It's a Boy" sound similarly to "More Than a Feeling" by Boston to me. I think this album was a turning point for The Who overall; it definitely brought something different to the table. Before, I struggled time to time with seeing The Who's connection to the later rock era; however, after drawing similarities between Tommy and other songs, I see how their sound from this album alone influenced the genre.
I really enjoyed "I'm free". It started off with a catchy riff and then moved into a part where the lyrics are "If I told you what it takes to reach the highest high," and the feeling that part left me with was really amazing. It just sounded to mystical and mesmerizing. I was really disappointed when that part never appeared in the song again and it went back to the riff, buy it really caught my attention and made me feel as though I was doing something more than listening to a song. It gave me goosebumps the first time I listened. The riff and chorus was fine, but I don't think it evokes much the same feeling. It just mostly goes to a more general rock sound.
One song that I particularly liked from Tommy was "1921." I chose this song because it has some unique instrumentation and positive lyrics. In the version, the use of guitar and drum really enhance the song and bring it to the next level. Townshend’s singing is so passionate and he really pours his heart into the song. Overall, the live song is really upbeat and positive, and it makes listeners feel good.
I really liked the song’s positive message, which kind of contrasts Tommy’s story since his life had so many negative aspects to it. I thought it was interesting to see this positive perspective put on it. One verse that specifically highlights Tommy’s optimism is: “I had no reason / To be over optimistic / But somehow when you smiled / I can brave bad weather.”
Compared to the original, I think that the live version of "1921" is more typical of The Who’s music. The fast tempo, heavy instrumentation, and rich vocals really enhance the song. I think that it definitely is a predecessor of Tommy.
I think musically, my favorite song from Tommy was Im Free. It has a sort of folksy nostalgic sound to it that I really enjoy. Im not sure if i'm correct but I heard some inspirations of The Rolling Stones, The beach Boys, and Simon & Garfunkel. The song really grabs you with the first guitar riff, and then holds you with Rodgers sweet voice proclaiming that Tommy is now free! Such a pure and exciting song compared to the rest of this rollercoaster album!
My favorite song from Tommy is "Overture" which sounds like a cop out way to say I liked them all, but really I like the transitions and variation. In most albums especially modern nonclassical ones, my favorite tends to be the overtures because they give a summary of the whole album. I'm not exactly sure how to go about discussing tis song without discussing ever song in the album, but I will give it my best try. It starts off with strumming guitars and cymbals and transitions to horns with a smooth build up of drums and then again with the drums it transitions. I think drums hold the piece together because it allows tempo changes and interesting transitions that don't have to include guitars or horns or piano as heavily. The song uses musical motifs in terms of tune, but doesn't have many lyrics so it doesn't talk about Tommy or his experiences besides the fact that his dad is MIA. It has lyrics only at the very end. I don't think we have heard overtures, but it relates well to the idea of a concept album because it is summarizing the album which wouldn't work unless the songs within the album went well together. This is the first Who album with an overture which adds unity and fluidity to the album. I was very happy to find a live version, just because I wasn't sure they would play a solely instrumental piece. They played it Live at Leeds after the mini opera. This was their way of introducing Tommy. They still have their jokes with the audience which is really nice to hear. It changes in a way that's kind of hard to describe it just seems more rock and roll from the start. They did however play the whole thing which features more guitar and no horn. There is also no piano. The studio allowed them to do a lot that isn't as feasible live.
The song “1921” was particularly interesting to me. The music is very interesting because there are very strong beats behind the vocals, but the vocals are still kind of soft, painting an overall calmer mood for the song. I feel like the song would come off a lot harsher if only the instrumentals were played. It does not seem that any of the general motifs of Tommy were utilized in this song. As we discussed in class last week, this song seems to be pretty unrelated to some of the more prominent ideas discussed on the album. I think the vocals of this song make it elicit different emotions than some of the earlier songs performed by the band. Although this song seems to assume some positive ideas for the future, the way it is performed it still leaves a feeling of almost sadness, at least to me. The ideas are more positive, but the feelings that come from the vocal performance are less so. I think this contrast is different from many of the Who’s earlier songs. The live performance of this song was very enjoyable to listen to. I think the emotions seem rawer in this version without a studio to perfect every little thing. This song is definitely unique and I enjoyed listening to it again!
I chose to focus on "Pinball Wizard;" I like the pace and overall novelty of the song topic and its place in the Tommy album; it's one of the more fast-paced who songs, and it's part of the story is more upbeat than many. It's one of the more optimistic songs of Tommy, discussing the incredible, unbelievable abilities of the deaf, mute, blind boy that allude to and eventually contribute to his guru-like persona as he gains a cult following towards the end of the album. The song instrumentals are fascinating to hear; the guitar riffs and drums are quite fast-paced, and although parts of the song, such as the lyrics "Sure plays a mean pinball" and "He's a pinball wizard There has got to be a twist A pinball wizard's Got such a supple wrist" feel more fast-paced, plenty other parts of the vocals seem much slower and drawn out than the instrumental pace of the song, creating a contrast that I find rather mesmerizing. With its content and place in Tommy, begins a new venture into Townshend's fascination with gurus and spirituality like that of Meher Baba. Also, with the Tommy's darker themes and story premise, "Pinball Wizard" helps contribute to the whimsical, almost creepy take many Who songs have made their particular brand as they take on difficult subjects. I think the live performance at Woodstock translated very well; the pace, loudness and upbeat nature of the song, and it's lack of depth into controversial topics within itself, as well as its memorable and fun imagery creates a song that people can easily relate to, dance to, and find their own meaning within as they wish even without listening to the whole "Tommy" album, and, for those who do know the album, allows for an insider knowledge that pulls fans together and connects them to the band while still having fun with the general crowd.
I think my favorite song from Tommy is 'Sensation'. The song has the regular 'the Who' instrumentation with the addition of a piano, shaker and some light horns throughout. I don't personally see any motifs from Tommy musically, however, lyrically, there is description of senses which is a literary motif in the album. Musically, this song immediately makes me think of Jefferson Airplane and especially, the Beach Boys with many of the Brian Wilson-esque vocal lines. Did not have time to listen to the live version but I will and will update on what I thought (: .
The song I chose to focus on was "Christmas." The story behind Christmas was so interesting, with Tommy kind of mindlessly playing pinball while other children celebrate Christmas. The weird vocals in the song make it sound like there are children laughing in the background. When it gets back to the main chorus, all the vocals just become harmonious with the instrumentation. It's as if regardless of Tommy's situation, his life is subjectively complete, kind of like the whole ignorance is bliss idea. You can see this vocalization motif in other songs like "Tommy Can You Hear Me?" where the different voices are meant to represent Tommy's mom calling out to him. Like in a musical, there are different voices that have different roles, and I think this is where the rock opera style really comes to light.
I feel like Christmas serves as its own mini opera within Tommy. It presents the problem of tommy in being "saved" compared to the other children (which the vocalization sounds kinda like seagulls/when kids cry but I assume its to voice their excitement). It goes into its various sections of loud excited with strange vocalization then bringing in tommy (verse then chorus) and back to the excited verse and chorus. The "bridge" of "tommy can you hear me" is intertwined with a slightly altered chorus. the overall song structure is very formulaic but the different sounds they managed to mash together (like juxtaposing tommy and the other kids) in one song is incredibly theatric.
ReplyDelete-Kara
Although it's definitely one of the shortest songs in the album, and one of the songs with the least lyrical content, one song that I particularly liked from Tommy was "It's a Boy". I think maybe I liked it because it really felt like something out of a play or musical rather than an album. And in that sense, I think it serves its purpose, as Tommy is supposed to be a rock opera and not a traditional album. As far as instrumentation goes, there's this really interesting brass instrument sound in the background (I think it's a french horn?) and it adds a sort of mystical and heroic quality to the song, setting up the idea that the boy being born in the song is Tommy, the main character of the album's story. With that same theme in mind, the chorus of all of the band's voices at the end adds the same sort of quality, much like they're proclaiming the birth of someone of great importance and divinity, tying into the idea of Tommy as a prophet figure. In terms of other music by The Who, this song seems like it can't really be traced back to any of the band's roots. It is, in purpose, a device to move the story of the album forward and introduce some of its main themes, which in principle is entirely different from the rest of their work since "Tommy" is their only album of this format. I also watched a video where The Who played "It's a Boy" at the Isle of Wight Festival in 1970, and this performance was entirely different from the song. Between the lack of horn in the background and the complete difference in the guitar, it sounded completely unrecognizable, other than the shortened "A son" chorus at the end. The performance was even way longer than the original song, at about 6 times the length, and all that extra time was filled with a bunch of random instrumental. Needless to say, the song's purpose doesn't seem to carry over when it leaves the studio, as it becomes less of an interesting plot device for the album and more of chance for the band to just fill the time with whatever they want.
ReplyDelete- Preston Patam
I decided to focus on "1921" because I really liked the instrumental intro and the overall "vibe" of the song. The song has really great moments of crescendo into the chorus and backs away into the verses, which I thought added some extra mood and emphasis on the story. It is a bit repetitive throughout, but this also fits the story as Tommy (I think it's Tommy singing?) reminisces on the past "good life." The song hints at "It's a Boy" and his handicaps as well with "He saw it all
ReplyDeleteYou didn't hear it, you didn't see it
You won't say nothing to no one
Ever in your life, you never heard it"
In reference to the murder and Tommy Jr's witness to it all. I made some connections with "Our Love Was" off of Sell Out, with the way they describe love in general. It's described as a sort of glow that echoes within both songs. Musically, they are quite different, but the same sort of crescendo does occur within both as well. Live, the song sounds quite different, especially the intro instrumentals. They sound a bit harsher with the guitar and also with the vocals on the chorus. I was a bit surprised by the rendition to be honest, because I thought it was a light song while listening to the album, but I do see how it can be an intense song as well.
I picked the song 1921. The song starts with some fairly dramatic guitar strumming and piano and then eases into a more gentle fingerpicking with a steady drumbeat when the first character sings. The more dramatic guitar strumming returns when the next character sings. The strumming gets faster and more intense during the “what about the boy” part of the song. The vocals during the lyrics “You didn't hear it, you didn't see it” overlap and almost echo which gave me the feeling as if I were Tommy and I had voices surrounding me telling me to forget what I saw and heard.
ReplyDeleteOne of the motifs that this song uses is the lyrical motif of Tommy hearing and seeing. In fact, the lyrics “You didn't hear it, you didn't see it” actually introduce Tommy losing these senses hence serving as the very start of the motif. This motif returns multiple times throughout the entire album with the lyrics “Tommy can you hear me?” from Tommy’s parents and “See me, feel me, Touch me, heal me” from Tommy himself.
I’m not sure I would say that this song is dramatically different from previous songs that we have listened to from The Who. They did, however, have the song Glow Girl which has the lyrics “It's a girl, Mrs. Walker, it's a girl.” This is obviously very similar lyrics to It’s a Boy (the song right before 1921). I would definitely consider this song to be a predecessor of Tommy.
I watched the live version of this song at the London Coliseum and it was really cool to watch the band almost act out the emotions of this song. I am a huge fan of live music because I think it provides a deeper connection to the feelings of a particular song and Roger Daltrey does a great job conveying the dramatic aspect of this song.
I listened to Sparks, which was just an instrumental. For the first 30 seconds of the song, it's just a few guitar chords, a simple bass line, and some cymbals. Then the drum rhythms start to get more complex and the bass line simplifies, while the guitar chords get slightly more dissonant. The song has a very chill, almost acoustic vibe at the start, which harkens to the beginning of the Overture a little bit, with its strummed chords and use of cymbals. The song as a whole seems to function pretty much as an outro of Amazing Journey. It doesn't even really feel like a transition to Eyesight to the Blind, since it fades out entirely, with Eyesight to the Blind changing the key and overall sound too. However, I think the transition from the more chill sounds to a faster, more dissonant sound foreshadows the darker aspects of life coming Tommy's way as the story progresses.
ReplyDeleteOne thing I'm still trying to figure out is why its called Sparks.
-Sara Lim
In the album/rock opera Tommy, the song “Go To The Mirror” is a song that I particularly liked because it included a lot of interesting elements, like frequent shifts in instrumentation and tempo, as well as a sort of musical “symmetry” that progressed with the song that was really satisfying to hear. For example, the song starts and ends with the same heavy, energetic, and fast-paced composition including prominent drums, guitar, and bass which flows and evolves with the lyrics depending on whose perspective the song is in. Verses from the doctor’s or father’s perspective are sung in a more assertive tone accompanied by this heavier instrumentation. However, when the song shift’s to Tommy’s perspective, particularly with the lines “See me, feel me, touch me, heal me,”a prominent motif in the album reflecting Tommy’s humanity, the delivery of the lyrics becomes more sensitive and more melodic, which is accompanied by a very smooth yet noticeable shift in the instrumentation. At this point, the tempo of the song slows down, as do all of the instruments. The drums are hit at slower intervals, while the bass and guitar are played in a way that provides more reverb. As the music progresses, this pattern continues, with some changes, particularly at the “go to the mirror boy” part, as the aggression increases, and the drums and bass work together to create a sound that resembles making steps, as Tommy goes to the mirror. When Tommy’s last verse is introduced, this brings a new musical component to the song, as the tempo is still quick and energetic, though in a more bright and inspired way, and it evolves back into the original as the song comes to a close. In the live version of this song played at the London Coliseum, it was cool to see the band’s energy as they played, and also to see how, as different members sang from different character’s perspectives, they were highlighted by the spotlights in a way that allowed the audience to differentiate between the characters, adding more to the story.
ReplyDeleteI can definitely see some connections between some of The Who’s older work with this song, particularly with “I Can See For Miles,” which provided an earlier example of how smoothly they are able to shift in the tone and tempo of their songs. In “I Can See For Miles,” the song shifts from a more menacing tone to a celebratory one thanks to the instrumentation, and a similar yet more complex version of this happens in “Go To The Mirror.”
I really enjoy the song Pinball Wizard. I picked this song because I really just like how it sounds. I love the fast guitar at the beginning and just how fun it sounds overall, and the harmonies of the band members' voices. The background sounds like it is constantly driving forward, which is cool.
ReplyDeleteOne of the motifs is of Tommy being unable to hear and see, and it introduces it in what I think is a comical sense. The lyrics Ain't got no distractions
"Can't hear no buzzers and bells
Don't see no lights a-flashin'
Plays by sense of smell
Always gets a replay
Never seen him fall
That deaf, dumb and blind kid
Sure plays a mean pinball"
are bizarre and playful, and definitely keep the motif of Tommy being unable to use his senses in a fun storytelling way.
I think it overall sounds similar to other songs by The Who, if not having an even stronger storytelling component. The lyrics of this song tell a clear story which is engaging and fun to listen to.
Pinball Wizard live was really fun to listen to too, I feel like it had more of a bass-y feel than the non-live version. I think one of The Who's strongest traits is their live performances, so seeing them act out this song was probably very amazing in concert. It overall sounds more harsh live, which is definitely a different experience.
- Violet Bretz
I chose "1921" because it sounds soft and slightly optimistic in the opening with the guitar strums, piano, and percussion. The first line
ReplyDelete"I've got a feeling twenty-one
Is going to be a good year"
made me chuckle in the context of 2021, because it most definitely has not been a good year. It contrasts the rest of the album because it's positive compared to the many negative songs about Tommy being abused and blind/deaf. The verse that says
"You didn't hear it, you didn't see it"
gives a glimpse into the darkness to come. Compared to earlier Who songs, it had a less Brit Pop-like feel and was all around less rock and roll. However, their live performances of "1921" are louder in every aspect of instrumentation and have a slightly faster tempo, which seems more typical of The Who.
I actually really enjoyed "Eyesight to the Blind" with its consistent guitar strums in between each line. I unfortunately cannot remember the name of the song but the instrumental reminds me of a little more current song. I'm not sure if this is necessarily a motif but I felt that every song did a great job at immediately giving you an idea of what the song would be about. The opening instrumentals set the tone really well for the rest of each song. For example, "Overture" started a little more heavy on the instrumentals and dark which matched the tone of the first lyric (Captain Walker didn't come home) very well. Similarly, "It's a Boy" begins very light which matches the tone for "It's a boy, Mrs. Walker, it's' a boy". On another note, the background instrumentals of "It's a Boy" sound similarly to "More Than a Feeling" by Boston to me. I think this album was a turning point for The Who overall; it definitely brought something different to the table. Before, I struggled time to time with seeing The Who's connection to the later rock era; however, after drawing similarities between Tommy and other songs, I see how their sound from this album alone influenced the genre.
ReplyDeleteI really enjoyed "I'm free". It started off with a catchy riff and then moved into a part where the lyrics are "If I told you what it takes to reach the highest high," and the feeling that part left me with was really amazing. It just sounded to mystical and mesmerizing. I was really disappointed when that part never appeared in the song again and it went back to the riff, buy it really caught my attention and made me feel as though I was doing something more than listening to a song. It gave me goosebumps the first time I listened. The riff and chorus was fine, but I don't think it evokes much the same feeling. It just mostly goes to a more general rock sound.
ReplyDeleteOne song that I particularly liked from Tommy was "1921." I chose this song because it has some unique instrumentation and positive lyrics. In the version, the use of guitar and drum really enhance the song and bring it to the next level. Townshend’s singing is so passionate and he really pours his heart into the song. Overall, the live song is really upbeat and positive, and it makes listeners feel good.
ReplyDeleteI really liked the song’s positive message, which kind of contrasts Tommy’s story since his life had so many negative aspects to it. I thought it was interesting to see this positive perspective put on it. One verse that specifically highlights Tommy’s optimism is: “I had no reason / To be over optimistic / But somehow when you smiled / I can brave bad weather.”
Compared to the original, I think that the live version of "1921" is more typical of The Who’s music. The fast tempo, heavy instrumentation, and rich vocals really enhance the song. I think that it definitely is a predecessor of Tommy.
- Kate Latham
I think musically, my favorite song from Tommy was Im Free. It has a sort of folksy nostalgic sound to it that I really enjoy. Im not sure if i'm correct but I heard some inspirations of The Rolling Stones, The beach Boys, and Simon & Garfunkel. The song really grabs you with the first guitar riff, and then holds you with Rodgers sweet voice proclaiming that Tommy is now free! Such a pure and exciting song compared to the rest of this rollercoaster album!
ReplyDeleteMy favorite song from Tommy is "Overture" which sounds like a cop out way to say I liked them all, but really I like the transitions and variation. In most albums especially modern nonclassical ones, my favorite tends to be the overtures because they give a summary of the whole album. I'm not exactly sure how to go about discussing tis song without discussing ever song in the album, but I will give it my best try. It starts off with strumming guitars and cymbals and transitions to horns with a smooth build up of drums and then again with the drums it transitions. I think drums hold the piece together because it allows tempo changes and interesting transitions that don't have to include guitars or horns or piano as heavily. The song uses musical motifs in terms of tune, but doesn't have many lyrics so it doesn't talk about Tommy or his experiences besides the fact that his dad is MIA. It has lyrics only at the very end. I don't think we have heard overtures, but it relates well to the idea of a concept album because it is summarizing the album which wouldn't work unless the songs within the album went well together. This is the first Who album with an overture which adds unity and fluidity to the album. I was very happy to find a live version, just because I wasn't sure they would play a solely instrumental piece. They played it Live at Leeds after the mini opera. This was their way of introducing Tommy. They still have their jokes with the audience which is really nice to hear. It changes in a way that's kind of hard to describe it just seems more rock and roll from the start. They did however play the whole thing which features more guitar and no horn. There is also no piano. The studio allowed them to do a lot that isn't as feasible live.
ReplyDelete-Julia Alanis
DeleteThe song “1921” was particularly interesting to me. The music is very interesting because there are very strong beats behind the vocals, but the vocals are still kind of soft, painting an overall calmer mood for the song. I feel like the song would come off a lot harsher if only the instrumentals were played. It does not seem that any of the general motifs of Tommy were utilized in this song. As we discussed in class last week, this song seems to be pretty unrelated to some of the more prominent ideas discussed on the album. I think the vocals of this song make it elicit different emotions than some of the earlier songs performed by the band. Although this song seems to assume some positive ideas for the future, the way it is performed it still leaves a feeling of almost sadness, at least to me. The ideas are more positive, but the feelings that come from the vocal performance are less so. I think this contrast is different from many of the Who’s earlier songs. The live performance of this song was very enjoyable to listen to. I think the emotions seem rawer in this version without a studio to perfect every little thing. This song is definitely unique and I enjoyed listening to it again!
ReplyDeleteThank you!
I chose to focus on "Pinball Wizard;" I like the pace and overall novelty of the song topic and its place in the Tommy album; it's one of the more fast-paced who songs, and it's part of the story is more upbeat than many. It's one of the more optimistic songs of Tommy, discussing the incredible, unbelievable abilities of the deaf, mute, blind boy that allude to and eventually contribute to his guru-like persona as he gains a cult following towards the end of the album. The song instrumentals are fascinating to hear; the guitar riffs and drums are quite fast-paced, and although parts of the song, such as the lyrics
ReplyDelete"Sure plays a mean pinball"
and
"He's a pinball wizard
There has got to be a twist
A pinball wizard's
Got such a supple wrist"
feel more fast-paced, plenty other parts of the vocals seem much slower and drawn out than the instrumental pace of the song, creating a contrast that I find rather mesmerizing. With its content and place in Tommy, begins a new venture into Townshend's fascination with gurus and spirituality like that of Meher Baba. Also, with the Tommy's darker themes and story premise, "Pinball Wizard" helps contribute to the whimsical, almost creepy take many Who songs have made their particular brand as they take on difficult subjects. I think the live performance at Woodstock translated very well; the pace, loudness and upbeat nature of the song, and it's lack of depth into controversial topics within itself, as well as its memorable and fun imagery creates a song that people can easily relate to, dance to, and find their own meaning within as they wish even without listening to the whole "Tommy" album, and, for those who do know the album, allows for an insider knowledge that pulls fans together and connects them to the band while still having fun with the general crowd.
I think my favorite song from Tommy is 'Sensation'. The song has the regular 'the Who' instrumentation with the addition of a piano, shaker and some light horns throughout. I don't personally see any motifs from Tommy musically, however, lyrically, there is description of senses which is a literary motif in the album. Musically, this song immediately makes me think of Jefferson Airplane and especially, the Beach Boys with many of the Brian Wilson-esque vocal lines. Did not have time to listen to the live version but I will and will update on what I thought (: .
ReplyDelete- charlie
DeleteThe song I chose to focus on was "Christmas." The story behind Christmas was so interesting, with Tommy kind of mindlessly playing pinball while other children celebrate Christmas. The weird vocals in the song make it sound like there are children laughing in the background. When it gets back to the main chorus, all the vocals just become harmonious with the instrumentation. It's as if regardless of Tommy's situation, his life is subjectively complete, kind of like the whole ignorance is bliss idea.
ReplyDeleteYou can see this vocalization motif in other songs like "Tommy Can You Hear Me?" where the different voices are meant to represent Tommy's mom calling out to him. Like in a musical, there are different voices that have different roles, and I think this is where the rock opera style really comes to light.