Tommy is the fourth studio album by the English rock band the Who. It was first released as a double album on 23 May 1969 by Decca Records; the album was composed by guitarist Pete Townshend as a rock opera that tells the story about a "deaf and blind" boy, including his experiences with life and his relationship with his family. Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, its critical standing diminished in years. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House and the 1970 Isle of Wight Festival.
The live performances of Tommy rejuvenated the band's career. Subsequently, the rock opera developed into other media, including a Seattle Opera production in 1971, an orchestral version by Lou Reizner in 1972, a film in 1975, a Broadway musical in 1992; the original album has been inducted into the Grammy Hall of Fame. It has been reissued several times on CD, including a remix by Jon Astley in 1996, a deluxe Super Audio CD in 2003, a super deluxe box set in 2013, including unreleased demos and live material. Tommy has never had a definitive plot, but the following synopsis was published following the original album's release. British Army Captain Walker is believed dead, his widow, Mrs. Walker, gives birth to Tommy. Years Captain Walker returns home and discovers that his wife has found a new lover; the Captain murders this man in an altercation. Tommy's mother brainwashes him into believing he didn't see or hear anything, shutting down his senses and making him deaf and blind to the outside world.
Tommy now relies on his sense of imagination, developing a fascinating inner psyche. A quack claims his wife can cure Tommy, while Tommy's parents are frustrated that he will never find religion in the midst of his isolation, they begin to neglect him, leaving him to be tortured by his sadistic "Cousin Kevin" and molested by his uncle Ernie. The Hawker's drug addicted wife, "The Acid Queen", gives Tommy a dose of LSD, causing a hallucinogenic experience, expressed musically; as Tommy grows older, he discovers that he can feel vibrations sufficiently well to become an expert pinball player. His parents take him to a respected doctor, who determines that the boy's disabilities are psychosomatic rather than physical. Tommy is told by the Doctor to "Go to the Mirror!", his parents notice he can stare at his reflection. After seeing Tommy spend extended periods staring at a mirror in the house, his mother smashes it out of frustration; this removes Tommy's mental block, he recovers his senses, realising he can become a powerful leader.
He starts a religious movement, which generates fervor among its adherents and expands into a holiday camp. However, Tommy's followers reject his teachings and leave the camp. Tommy retreats inward again with his "continuing statement of wonder at that which encompasses him". Townshend had been looking at ways of progressing beyond the standard three minute pop single format since 1966. Co-manager Kit Lambert shared Townshend's views and encouraged him to develop musical ideas, coming up with the term "rock opera"; the first use of the term was applied to a suite called "Quads", set in a future where parents could choose the sex of their children. A couple want four girls but instead receive a boy, raising him as a girl anyway; the opera was abandoned after writing a single song, the hit single, "I'm a Boy". When the Who's second album, A Quick One ran short of material during recording, Lambert suggested that Townshend should write a "mini-opera" to fill the gap. Townshend objected, but agreed to do so, coming up with "A Quick One, While He's Away", which joined short pieces of music together into a continuous narrative.
During 1967, Townshend learned how to play the piano and began writing songs on it, taking his work more seriously. That year's The Who Sell Out included a mini-opera in the last track, "Rael", which like "A Quick One..." was a suite of musical segments joined together. By 1968, Townshend was unsure about how the; the group were no longer teenagers. His friend, International Times art director Mike McInnerney, told him about the Indian spiritual mentor Meher Baba, Townshend became fascinated with Baba's values of compassion and introspection; the Who's commercial success was on the wane after the single "Dogs" failed to make the top 20, there was a genuine risk of the band breaking up. Live performances remained strong, the group spent most of the spring and summer touring the US and Canada but their stage act relied on Townshend smashing his guitar or Moon demolishing his drums, which kept the group in debt. Townshend and Lambert realised they
"Pinball Wizard" is a song written by Pete Townshend and performed by the English rock band the Who, featured on their 1969 rock opera album Tommy. The original recording was released as a single in 1969 and reached No. 4 in the UK charts and No. 19 on the U. S. Billboard Hot 100; the B-side of the "Pinball Wizard" single is an instrumental credited to Keith Moon, titled "Dogs". Despite the title, it has no musical connection to the Who's 1968 UK single "Dogs"; the lyrics are written from the perspective of a pinball champion, called "Local Lad" in the Tommy libretto book, astounded by the skills of the opera's eponymous main character, Tommy Walker: "He ain't got no distractions / Can't hear those buzzers and bells / Don't see 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 pin ball.", "I thought I was the Bally table king, but I just handed my pinball crown to him". Townshend once called it "the most clumsy piece of writing done".
The song was a commercial success and remains one of the most recognised tunes from the opera. It was a perpetual concert favourite for Who fans due to its pop familiarity. In late 1968 or early 1969, when The Who played a rough assembly of their new album to critic Nik Cohn, Cohn gave a lukewarm reaction to it. Following this, Townshend, as Tommy's principal composer, discussed the album with Cohn and concluded that, to lighten the load of the rock opera's heavy spiritual overtones, the title character, a "deaf and blind" boy, should be good at a certain game. Knowing Cohn was an avid pinball fan, Townshend suggested that Tommy would play pinball, Cohn declared Tommy to be a masterpiece; the song "Pinball Wizard" was written and recorded immediately. The single version was sped up and runs to 2:57, whilst the natural length album version runs to 3:04; this song is one of the band's most famous live songs, being played at every Who concert since its debut live performance on 2 May 1969. The live performances deviated from the album arrangement, save for an occasional jam at the end sometimes leading to another song.
Bootleg recordings show that this song has been known to last as long as 8 minutes, although live versions lasting as long as that are rare. Pinball Wizard was played during the Super Bowl XLIV Halftime Show on 7 February 2010. Roger Daltrey – lead vocals Pete Townshend – backing vocals, co-lead vocals, acoustic guitar, electric guitar John Entwistle – bass guitar Keith Moon – drums The song was performed by Elton John in Ken Russell's 1975 film adaptation of Tommy; this version was released in 1975 as a promotional single only in the US, in 1976 in the UK, where it reached number 7. John's version uses a piano as the song's centerpiece in place of the acoustic guitar in the original, features additional lyrics specially written by Townshend for the movie version, as well as a subtle inclusion of musical phrases from The Who's 1960s hit "I Can't Explain" during the outro. Unlike most of the soundtrack's music, which featured various combinations of The Who and some of the era's best session players, Elton John used his own band and producer Gus Dudgeon for the track.
John has performed the song as part of his Las Vegas Red Piano Show, as well as on various tours. To date, it is the only cover of a Who song to reach the top 10. Ray Cooper – tambourine, congas Davey Johnstone – acoustic and electric guitars, backing vocals Elton John – piano, vocals Dee Murray – bass, backing vocals Nigel Olsson – drums, backing vocals Rod Stewart performed the song for the 1972 orchestral version of Tommy, it is included on several of Stewart's greatest hits compilations; the song was featured in a medley with another song from Tommy in a recording by the British pop group The New Seekers in 1973. This version reached No. 16 on the UK charts and in Australia, No. 28 in Canada, No. 29 U. S. In 1977, Barry Williams performed the song during a "Songs from Movies" medley on an episode of The Brady Bunch Variety Hour; the London Symphony Orchestra recorded a version of the song on its 1978 album Classic Rock: The Second Movement to which Pete Townshend contributed vocals. Mcfly recorded the song in 2005 as a B-side to their hit single I'll Be Ok In 2009, Canadian world music band Sultans of String recorded the song on their second album "Yalla Yalla."
Kaiser Chiefs perform the song live, most famously during the closing ceremony of the 2012 Summer Olympics. Tenacious D regularly perform the song as a part of a medley of songs from Tommy The Ukulele Orchestra of Great Britain has performed the song as an a cappella sea shanty; the track is featured on the video games Rock Band 2, Rock Band Unplugged and Karaoke Revolution: American Idol Encore 2, as well as on The Who's Tommy Pinball Wizard. Bruce Springsteen makes a reference to the song in his song "Sandy", in the album Asbury Park, with the lyric "And the wizards play down on Pinball Way"; the rhythm of the song is similar to the song Folsom Prison Blues and is sung as a Mashup
Thirty Years of Maximum R&B
Thirty Years of Maximum R&B is a box set by British rock band, The Who released by Polydor Records internationally and by MCA Records in the U. S.. The set consists of four CDs that spans The Who's career from their early days when they were known as The High Numbers 1964 to their 1991 cover of Elton John's "Saturday Night's Alright for Fighting", it contains well-known tracks from studio albums, interviews and sketches. A video entitled Thirty Years of Maximum R&B Live was released in 1994. All songs written by Pete Townshend except. Any tracks with ** are dialogues recorded for BBC radio. Background music on'Poetry Cornered' is'Laguna Sunrise' taken from Black Sabbath's 1972 album, Black Sabbath Vol. 4. The WhoRoger Daltrey - vocals, percussion, guitar Kenney Jones - drums on "The Real Me", "You Better You Bet", "Eminence Front", "Twist and Shout" John Entwistle - bass guitar, piano, vocals Keith Moon - drums, vocals on "Bell Boy" and "Girl's Eyes" Pete Townshend - guitars, piano, vocalsAdditional musiciansJon Astley - drums on "Saturday Night's Alright" Steve "Boltz" Bolton - guitar on "I'm a Man" John "Rabbit" Bundrick - keyboards on "The Real Me" and "I'm a Man" Jody Linscott - percussion on "I'm a Man" Simon Phillips - drums on "I'm a Man"DesignDesign & Art Direction by Richard Evans 1988 intended box set tapes Thirty Years of Maximum R&B liner notes - Song-by-song liner notes for the album
"My Generation" is a song by the English rock band the Who, which became a hit and one of their most recognizable songs. The song was named the 11th greatest song by Rolling Stone on its list of the 500 Greatest Songs of All Time and 13th on VH1's list of the 100 Greatest Songs of Rock & Roll, it is part of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and is inducted into the Grammy Hall of Fame for "historical and significant" value. In 2009 it was named the 37th Greatest Hard Rock Song by VH1; the song has been said to have "encapsulated the angst of being a teenager," and has been characterized as a "nod to the Mod counterculture". The song was released as a single on 29 October 1965, reaching No. 2 in the UK, The Who's highest charting single in their home country and No. 74 in America. "My Generation" appeared on The Who's 1965 debut album, My Generation, in extended form on their live album Live at Leeds. The Who re-recorded the song for the Ready Steady Who EP in 1966, but it was not included on the EP, this version was released only in 1995 on the remastered version of the A Quick One album.
The main difference between this version and the original is that it is abridged and instead of the hail of feedback which ends the original, the band play a chaotic rendition of Edward Elgar's "Land of Hope and Glory." In the album's liner notes the song is credited to both Elgar. Townshend wrote the song on a train and is said to have been inspired by the Queen Mother, alleged to have had Townshend's 1935 Packard hearse towed off a street in Belgravia because she was offended by the sight of it during her daily drive through the neighbourhood. Townshend has credited Mose Allison's "Young Man Blues" as the inspiration for the song, saying "Without Mose I wouldn't have written'My Generation'." Townshend told Rolling Stone in 1985 that "'My Generation' was much about trying to find a place in society."On a interview for Good Morning America, in 1989, the band was discussing the upcoming 1989 tour to celebrate the 20th anniversary of Tommy, Townshend talked about the famous line "I hope I die before I get old."
He said that, for him, when he wrote the lyrics, "old" meant "very rich." The most striking element of the song is the lyrics, considered one of the most distilled statements of youthful rebellion in rock history. The tone of the track alone helped make it an acknowledged forebear of the punk rock movement. One of the most quoted—and patently rewritten—lines in rock history is "I hope I die before I get old," famously sneered by lead singer Roger Daltrey. Like much of The Who's earlier Mod output, the song boasts clear influences of American rhythm and blues, most explicitly in the call and response form of the verses. Daltrey would sing a line, the backing vocalists, Pete Townshend and John Entwistle, would respond with the refrain "Talkin"bout my generation": The vocal melody of "My Generation" is an example of the shout-and-fall modal frame; this call and response is mirrored in the instrumental break with solo emphasis passing from Townshend's guitar to Entwistle's bass and back again several times.
Another salient aspect of "My Generation" is Daltrey's delivery: an frustrated stutter. Various stories exist as to the reason for this distinct delivery. One is that the song began as a slow talking blues number without the stutter, but after being inspired by John Lee Hooker's "Stuttering Blues," Townshend reworked the song into its present form. Another reason is that it was suggested to Daltrey that he stutter to sound like a British mod on speed, it is proposed, albeit less that the stutter was introduced to give the group a framework for implying an expletive in the lyrics: "Why don't you all fff... fade away!" However, producer Shel Talmy insisted it was "one of those happy accidents" that he thought they should keep. Roger Daltrey has commented that he had not rehearsed the song prior to the recording, was nervous, he was unable to hear his own voice through the monitors; the stutter came about as he tried to fit the lyrics to the music as best he could, the band decided it worked well enough to keep.
The BBC refused to play "My Generation" because it did not want to offend people who stutter, but it reversed its decision after the song became more popular. The instrumentation of the song duly reflects the lyrics: aggressive. "My Generation" featured one of the first bass solos in rock history. This was played by Entwistle on his Fender Jazz Bass, rather than the Danelectro bass he wanted to use; the song's coda features drumming from Keith Moon, as well, whereupon the song breaks down in spurts of guitar feedback from Townshend's Rickenbacker, rather than fading out or ending cleanly on the tonic. There are two guitar parts; the basic instrumental track followed by Townshend's overdubs including the furious feedback on the coda. Taking a lead from The Kinks's "You Really Got Me", the song modulates from its opening key of G up to C via the keys of A and B♭. Townshend's guitars were tuned down a whole step for the recording. Live versions of the song meander into extended jams, going on as long as fifteen minutes, as evinced by the versio
Anyway, Anyhow, Anywhere
"Anyway, Anywhere" was a single released by The Who in 1965. It features call-and-response lyrics and some of the first recorded guitar feedback; the song was composed by lead singer Roger Daltrey and guitarist Pete Townshend, the only time they wrote together. The guitar feedback, although not the first to be heard on a record, is thought to be the first solo with feedback; this is the first. Townshend said of the song: I wrote the first verse and Roger helped me with the rest. I was inspired by listening to Charlie Parker, feeling that this was a free spirit, whatever he'd done with drugs and booze and everything else, that his playing released him and freed his spirit, I wanted us to be like that, I wanted to write a song about that, a spiritual song; the song was played live for most of The Who's career, but since 1999 has become a staple for their live shows. It can be found on BBC Sessions and The Kids Are Alright. David Bowie recorded a version of this song for his Pin Ups album in 1973.
The Flaming Lips recorded a version of this song which appeared on a Mojo magazine CD of Who covers called Mojo: The Who Covered. A version of this song has been recorded by Ocean Colour Scene for The Who tribute album Substitute - The Songs of The Who
British Phonographic Industry
The BPI Limited known as the British Phonographic Industry or BPI, is the British recorded music industry's trade association. Its membership comprises hundreds of music companies including all three "major" record companies in the UK, hundreds of independent music labels and small to medium-sized music businesses, it has represented the interests of British record companies since being formally incorporated in 1973 when the principal aim was to promote British music and fight copyright infringement. In 2007, the association's legal name was changed from British Phonographic Industry Limited, it founded the annual BRIT Awards for the British music industry in 1977, The Classic BRIT Awards. The organizing company, BRIT Awards Limited, is a owned subsidiary of the BPI. Proceeds from both shows go to the BRIT Trust, the charitable arm of the BPI that has donated £15m to charitable causes nationwide since its foundation in 1989. In September 2013, the BPI presented the first BRITs Icon Award to Sir Elton John.
The BPI endorsed the launch of the Mercury Prize for the Album of the Year in 1992. The recorded music industry's Certified Awards program, which attributes Platinum and Silver status to singles and music videos based on their sales performance, has been administered by the BPI since its inception in 1973. In September 2008, the BPI became one of the founding members of UK Music, an umbrella organisation representing the interests of all parts of the industry; the charitable arm of the BPI, the trust was conceived in 1989 by a collection of leading music industry individuals with a mission to give young people a chance to express their musical creativity regardless of race, sex or ability. The BRIT Trust is the only music charity supporting all types of education across the entire spectrum of music. Through the projects it supports, which include Nordoff-Robbins Music Therapy and the BRIT School, the Trust offers young people the opportunity to enhance their lives through music. Proceeds from the BRIT Awards and the Classic BRITs shows go to the BRIT Trust, which has donated £15m to charitable causes nationwide since its foundation.
Opened in September 1991, the BRIT School is a joint venture between The BRIT Trust and the Department for Education and Skills. Based at Selhurst in Croydon, the school is the only non fee-paying performing arts school in the UK, it teaches up to 1,100 students each year aged from 14–19 years in music, drama, musical theatre, production and art & design. Students are from diverse backgrounds and are not required to stick to their own discipline. Nor do students have to work/perform in the evening to pay for the tuition; the BPI administers the BRIT Certified Platinum, Gold and Bronze awards scheme for music releases in the United Kingdom. The level of the award varies depending on the format of the release and the level of sales achieved. Although the awards program was for many years based on the level of shipments by record labels to retailers, since July 2013, certifications have been automatically allocated by the BPI upon the relevant sales thresholds being achieved. Member companies do, still have the option to certify titles based on shipment levels if they choose to.
Since July 2014, audio streaming has been included for singles at a ratio of 100 streams equivalent to 1 unit. From June 2015, audio streams were added to album certifications. According to BPI, they would take the 12 most-streamed tracks from the standard version of an album, with the top two songs down-weighted in line with the average of the rest; the total of these streams will be divided by 1,000 and added to the physical and digital sales of the album. On 6 April 2018, the BPI announced changes to its certifications. A new Bronze certification was introduced, which will be awarded to an artist's first album to reach 30,000 units. Additionally, the program was re-branded as BRIT Certified, with public promotion of the programme being assumed by the BRIT Awards' social media outlets and digital properties. Chief executive Geoff Taylor justified the change by stating that it was part of an effort to cross-promote the certifications with "the UK's biggest platform for artistic achievement".
Adam Barker – Universal Music UK Mike Batt LVO – Deputy chairman, BPI - Dramatico Entertainment John Craig OBE – First Night Records Jonathan Cross – Warner Music UK Nick Gatfield – Sony Music Entertainment Nick Hartley – PIAS David Joseph – Universal Music UK Max Lousada – Warner Music UK Korda Marshall – Infectious Music Iain McNay – Cherry Red Records Emma Pike – Sony Music Entertainment Peter Stack – Union Square Music Geoff Taylor – Chief executive officer, BPI and BRIT Awards Limited Tony Wadsworth CBE – Chairman, BPI and BRIT Awards Limited Kiaron Whitehead – General counsel, BPISource: BPI The BPI have developed bespoke software and automated crawling tools created in-house by the BPI search for members repertoire across more than 400 known infringing sites and generate URLs which are sent to Google as a DMCA Notice for removal within hours of receipt. Additionally, personnel are seconded to the City of London Police Intellectual Property Crime Unit to support anti-"piracy" operations.
Home Taping Is Killing Music Official C
"Baba O'Riley", a song by the British rock band the Who, is the opening track to the band's studio album Who's Next, was issued in Europe as a single on 23 October 1971, coupled with "My Wife". Roger Daltrey sings most of the song, with Pete Townshend singing the middle eight: "Don't cry/don't raise your eye/it's only teenage wasteland"; the song's title is a combination of the names of two of Townshend's philosophical and musical influences: Meher Baba and Terry Riley. "Baba O'Riley" appears in Time magazine's list of the All-Time 100 Songs, Rolling Stone's list of "The 500 Greatest Songs of All Time", the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll. It features on live albums: Who's Last, Live from Royal Albert Hall, Live from Toronto, Greatest Hits Live. In concert Daltrey plays the violin solo on harmonica. Townshend wrote "Baba O'Riley" for his Lifehouse project, a rock opera, to be the follow-up to the Who's 1969 opera, Tommy. In Lifehouse, the song would be sung at the beginning by a Scottish farmer named Ray, as he gathers his wife Sally and his two children to begin their exodus to London.
When Lifehouse was scrapped, eight of the songs were salvaged and recorded for the Who's 1971 album Who's Next, with "Baba O'Riley" as the lead-off track. Townshend stated in an interview that the song "is about the absolute desolation of teenagers at Woodstock, where audience members were strung out on acid and 20 people had brain damage; the irony was that some listeners took the song to be a teenage celebration:'Teenage Wasteland, yes! We're all wasted!'"The "Baba O'Riley" title combines the names of Meher Baba and Terry Riley, two of Townshend's philosophical and musical mentors. The song is mistakenly called "Teenage Wasteland", after the phrase repeated in the song. "Teenage Wasteland" was in fact a working title for the song in its early incarnations as part of the Lifehouse project, but became the title for a different but related song by Townshend, slower and features different lyrics. A demo of "Teenage Wasteland" is featured on Lifehouse Chronicles, a six-disc set of music related to the Lifehouse project, on several Townshend compilations and videos.
The song is composed in the key of F major. However, it was recorded using the European "A", 446 Hz, rather than the standard 440 Hz. "Baba O'Riley"'s backing track was derived from the Lifehouse concept, where Townshend wanted to input the vital signs and personality of Meher Baba into a synthesiser, which would generate music based on that data. When this idea fell through, Townshend instead recorded a Lowrey Berkshire Deluxe TBO-1 organ using its marimba repeat feature as the backing track; this modal approach was inspired by the work of minimalist composer Terry Riley. The song was derived from a nine-minute demo. "Baba O'Riley" was 30 minutes in length, but was edited down to the "high points" of the track for Who's Next. The other parts of the song appeared on the third disc of Townshend's Lifehouse Chronicles as "Baba M1" and "Baba M2". "Baba O'Riley" was released as a single in several European countries. However, in the United Kingdom and the United States, it was released only as part of the album Who's Next.
"Baba O'Riley" appears at No. 340 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is in the Rock and Roll Hall of Fame as one of the 500 Songs Roll; the band Pearl Jam plays a cover of the song during concerts, a readers' poll in Rolling Stone awarded this cover as #8 in their Greatest Live Cover Songs. During live performances, Roger Daltrey plays the studio violin part on harmonica. "Baba O'Riley" was used as the theme song for the popular television series CSI: NY. The live version of the song from the album Who's Last plays in the opening segment of the Miami Vice episode "Out Where the Buses Don't Run". One of the working titles of That'70s Show was "Teenage Wasteland," a reference to the repeated lyric in the song; the song was used in trailers for A Bug's Life, American Beauty, Resident Evil: Retribution, The Peanuts Movie, Season 3 of Stranger Things. Baba O'Riley was included in the soundtrack for the 1997 film "Prefontaine" and the 1999 film "The Summer of Sam".
The song was featured in the 2004 romantic comedy film The Girl Next Door, The song was used in the beginning of the 2012 movie Premium Rush. The song has been used in episode 14 of season one in the TV series House and in episode 10 of season one in the TV series The Newsroom. A remixed version of this song, re-done by Alan Wilkis, appears in the 2012 remake of Need for Speed: Most Wanted, as well as the Family Guy season 13 episode "Quagmire's Mom", the third Robot Chicken: Star Wars special and episode 11 of season one of Superstore; the song is featured in an episode of Joe Pera Talks With You, "Joe Pera Reads You the Church Announcements" on Adult Swim, in which Pera is unable to contain his excitement after hearing the song for the first time in his life. The song is sung in episode 7 season 1 of Sense8 by Riley's dad at the airport. Since 2003, "Baba O'Riley" has been played during player introductions for the Los Angeles Lakers during home games at the Staples Center; the song is played prior to live UFC events during a highlight package showing some of the most famous fights in the mixed martial arts company's history.
It is the official theme song of competitive eater Joey Chestnut. At both the opening and closing ceremonies of the 2012 London Olympics, the track "The Ro