1968 was the sixties; a time when everyone was immersed in
the era. '69 on the other hand saw many artists looking back. Let It Bleed (AM10) put
an end to the 60s long before anyone else was ready; the LP was an expose of
the dark underbelly of the decade - it was a glimpse, not of Woodstock, but of
Altamonte. The "New Yardbirds" appeared on the scene but quickly
became Led Zeppelin, poised to be the biggest band in the world; and they did
so, not just with the eponymous, bluesy first album (AM7), but six months later with
the release of LZII (AM8). The band showed an immediate focus and seeming instantaneous maturity - not to mention one memorable riff after another. Hard
edged, roots driven and meant to be loud, Led Zeppelin was a 70s band and
survival for any outfit was based on that. Abbey Road (AM10) would close up shop for the
Beatles; the decade was over. Many would break on through to the to other side, The Doors did
not; The Byrds did not; and those that couldn't shed that 60s ideology would
muddle along (Jefferson Airplane, Creedence Clearwater, The Moody Blues) less
inspired.
But it was albums like Tommy that would prove the mile markers,
those albums destined to influence rocks' heyday. Tommy was The Who blown open.
Keith's drumming (never appreciated by Pete Townshend) is wild, expressive and
over the top; it's Moony who ushers The Who into a new decade, not Townshend,
despite the beautiful melodies and uncompromising guitar. The Who individually
were the best at what they did, but it was Moony who propelled the band into a
new age.
Taking its cue from the band's 9-minute story song "A Quick
One While He's Away." Tommy takes things a step further by
telling its story across the entirety of a work. Pete Townsend's concept
involves little Tommy Walker, a boy rendered deaf, dumb and blind when he
witnesses a terrible event, but who goes on to achieve messianic status
when once again he regains his senses. The concept is used to comment on
everything from poor parenting and snake-oil salesmen to commercialism and
organized religion. With only 24 tracks to tell Tommy's tale (many of
them little more than minute long snippets), Townsend's compositions often get
bogged down by ensuring a story is told rather than that the individual songs
work. The album fits all the bullets for a ten with that exception: the songs
as the concept ends are mere snippets that do not fulfill a climax to over the
top disk 1.
It may not have been the first (Days of Future Past?), but Tommy is
an album one must listen to in totality. There's no point in which you can
happily let your mind wander, other than "Underture," (which may explain it as one of the most popular tracks
on the album, providing a chance to put
the kettle on, to throw something in the microwave or even roll a spliff). Let
It Bleed was the first truly 70s album; Tommy was the first album to move the
music center stage. This wasn’t background music, it was something you "did," and despite "Pinball Wizard" it wasn’t radio play. Tommy set the pace for a
decade to come.
