Tag: music

Those of you that read this regular column know that I sometimes give space to what I do not like.  More often I write about things that I do like, but just to mix it up, now and then I have to be the author of a critical piece.

This is one of those.  The career of this hack has been rife with nothing but luck and I think that he has been more detrimental to musical art than he has contributed.  Why would I take on one of the most honored icons of pop music?  Because he is a shallow and an opportunistic person.  Can you say Tea Partier?  Sure you can.

His entire life is pretty much a lie.  We shall start with his name, and go further.  Ready?

We last discussed the first side of the seminal album, Quadrophenia, by The Who, entirely written by Peter Townshend.  Since that time I have done more extensive research, and found some interesting things that I hope will be illuminating for everyone.  They were for me.  Without too many details in the introduction, I can say with a good bit of confidence that this record almost dissolved the band.

Roger put Pete in hospital with punches, Kit was almost banned, and the fraud that the management was doing to the band was discovered.  That was part of the genesis for the song “How Many Friends Have I Really Got” that was part of The Who by Numbers some time later.  But there is more!

I have a frank correction to make, and then what is more like a clarification as to the original characters who were combined to make Jimmy.  I also have a stupid one to make, about the name of the album itself.  Shall we begin?

I apologize for posting late tonight, but a very rare event happened.  The International Space Station made a transit directly overhead at posting time, and I did not want to miss it.  Besides, my lovely friend wanted to watch it with me.  It was a spectacular sight, and the ISS was not bad, either, LOL!

Second, I was going to add a new crosspost site that is run by our friend ninkasi23, but never figured out how to make it so.  I trust that she will email or call me to help me over my stupidity.

I was going to write about the compilation album, Meaty, Beaty, Big, and Bouncy this time but we have already discussed every song on that record.  However, I will make a comment about the title.

Most people think that the title was just sort of a dirty joke, but it actually was a description of the band members.  I think that Lambert came up with it, but I am not really sure.  Here is the meaning:

At the time, and still, Daltrey was pretty fit, so he was Meaty, meaning all muscle and no fat.  Moon, of course, kept the beat, so he was Beaty.  Entwistle, aka The Ox, was a really big guy, and of course Townshend was always leaping about the stage, so he was Bouncy.  Now you know, as Paul Harvey used to say, the rest of the story.

I thought that I was done with it, I really did!  I was really better the past few days.  But depression has set in again.  I hate it!  I want to be normal, get a job (all of you know that I do have a brilliant side), and get back with my family.

Not likely.  My garden is ready to pick, and I have not the energy to do anything to make it so. Melancholia is a curse that I have lived with, off and on, for half a century now.  For a couple of weeks I was over it, but that was just because of a fantasy.

Now, never concern yourselves that I will do anything rash.  I will live until I die, and will not die from my own hand.

Sometimes I wright about bands that are not my favorites, but that had several nice songs.  10cc is one of them.  I own not a single record of theirs, but always thought that they were pretty good.  Not spectacular, but pretty good.  I am a casual listener, and until I began my research I did not even realize that they from the United Kingdom.

I should have known because of the song Rubber Bullets, but they use them here as well.  They were really pretty good, and at their best could express emotion extremely well, to the point of causing tears now and then.  Nothing like The Who, but still pretty good.

What I intend to do tonight is just to give a short survey of 10cc, not a deep analysis like I do with The Who.  I am sure that many of you are bored with my long and ponderous explication of the work from The Who, so this is sort of a break from it.  Also, I am changing my convention for names of bands, albums, and songs.  As before, the name of the band will always be in bold, and the name of the album in italics.  Starting now, the names of individual songs will be in italics, but with “quotation marks before and after” to do a better job of distinguishing the songs from the albums.

This is an extremely difficult piece to write, because the only living soul who understands it is Peter Townshend, and he still has a bit of difficulty articulating the concept in terms that we mere mortals can understand.  This is not in any way a criticism of Mr. Townshend, but more of a comment of my own poor understanding of his high goals.

In a nutshell, perhaps a cracked one, the concept for Lifehouse was sort of like A Brave New World, or 1984, in that society has been overtaken by a monied elite and thought suppression was the norm.  Does that sound timely?  I think that Townshend has presaged the ideas that the “modern” Republican Party is trying to impress on us all, but perhaps I give him too much credit.  I think not.

The concept that I finally came with was that individuality was suppressed, and group think was being imposed by the technocrats that ruled.  I ask for everyone’s thoughts on this, because it is so hard to decipher.

Those of you who read my pieces know that I often write about my favourite band, The Who.  (I used the UK spelling intentionally this time, rare for me these days).  This time we shall examine what many people say was their finest work.  I am not sure that I agree completely, but it was extremely good.

Who’s Next is actually a compilation of songs, most from Townshend, that became an album after the ill fated Lifehouse project, Townshend’s opus, never came to light.  He finally finished it, many years later, but the final product was far different than this record.  We shall discuss Who’s Next tonight, and will continue the discussion about Lifehouse next week, after I see your comments and questions.

First let us get to the facts.  Ready to go?

Last week we examined the original vinyl record of Live at Leeds.  Due to the technological limitations of vinyl, it was only about 45 minutes, give or take a couple, long.  The album was rereleased in 1995 on CD, and because that medium is capable of much more time, around two hours, many more tracks were added that had been recorded at the time.

Tonight we shall listen to those tracks and discuss whether or not we think that they are good.  I think that they are all no worse than very, very good and that many of them are outstanding.  Please listen and tell me what you think.  For those of you who have not signed up for an account, please do so so that you can comment in future.

Let us get started.

Live at Leeds was the first live recorded record album by The Who that was legitimate.  There were plenty of rather crudely recorded, pirated versions of many of their live performances, but back in 1970 those analogue ones, mostly recorded by audience members under cover, rapidly were degraded by the very process of analogue to analogue copying, making even third generation copies almost unintelligible.   That is too bad, because some of those performances were great.

After the huge success of Tommy, and the concomitant success of the associated tour, Kit Lambert and The Who decided to record an actual live record that would capture their sound.  Live at Leeds did it well, but was too short because of the limitations of vinyl records at the time.  Remember, and I have covered this topic before, only 45 minutes, give or take a few, were possible with the vinyl technology at the time.

Let us examine what is really a wonderful record.  Note that there is very little video available, so that just the music is usually given here.  By the way, the album charted at #3 in the UK and at #4 in the US.

This shall complete our discussion of Tommy, the seminal record album by The Who from early in 1969.  We had an excellent discussion last week, and hope to have an equally good, if not even better one tonight.  I was particularly interested that there was a range of thoughts about it, from some who just hated it to those who just loved it.  That is fine.  That is just personal taste.

I should go on record to say that my mum liked Overture.  She was pretty reserved about music other than the Swing Era kind, since she came of age then, but allowed to me that she really liked the French horn.  I was pretty dumb at the time that we were listening to, on the radio, one of the most important bands that ever existed.

With no more ado, here is the second disk (the third side) of Tommy.  Please comment profusely.