The Who - "Tommy" 2 xVinyl, LP, Album, 1969 (Decca)

I was 15 years old when I purchased the "Tommy" album.  Oddly enough, considering that I'm a huge Who fan (with Keith Moon/John Entwistle) now, then, I just liked the idea that they smashed their instruments after each performance.  But at 15 I got caught up on the grand aspects of pop music, and when I heard that Pete Townshend was working on an 'opera,' well, this was going to be my first Who purchase.   I admired the Townshend scope and ambition.  Also in publications like Rolling Stone, it was reported that he worked on this project for a long time.  Once I heard it, I knew it was a masterpiece, in fact, I knew so, because being a media child at the time, it was written that "Tommy" is an iconic album.   The truth is, I played the album a few times and forgot about it.  For god sake for one, they were not The Kinks!

Within decades I avoided any album by The Who after "Tommy," but over time, and with great patience, I purchased and listened to Who records that led to their 'opera.'   As a 63-year-old man, I consider that there is no such bad thing as a bad Who album or song before "Tommy."  I lost my "Tommy" album when I made the massive switch from vinyl to CD, during the digital revolution and never replaced it as I did with the earlier Who recordings.

Last March I was on a 9-hour flight from Tokyo to Los Angeles, and in that numb state of mind, I watched the current version of The Who do "Tommy."  I loved it. Not sure if it was due to the boredom of a long plane flight and being trapped in a confining coach seat on the airline, or that I just appreciated the entertainment wherever I can find it.   But it stayed with me until I went to a local record store.  It was a week ago that I bought a used copy of "Tommy" to re-introduce myself to the record without the cultural baggage that came with the rock n' roll opera.   It brought back my memory of being 15, and now I recall why I didn't like the album that much.

The music itself is brilliant.   There is not one bad tune on the entire album.  And I even love the Keith Moon song "Tommy's Holiday Camp" as well as the always brilliant composition by Entwistle "Do You Think It's Alright?"   What I do not like is the actual sound of the album itself.  My cultural hero Kit Lambert failed The Who in the sonic department.   The recording strikes me as a demo more than a finished recorded work.  A sketch when it needed a full oil-paint on a canvas.   Keep in mind that I love Lambert's production on all Who recordings that he worked on, except for the iconic "Tommy."    If I were a total lunatic, I would collect every recording of "Tommy" possible, and I may go down that dark and slippery slope shortly, but meanwhile, I think the best version of "Tommy" is the live recordings such as the longer version of "Live at Leeds."

The big primary question is "Tommy" good for rock n' roll or pop?  I don't have an answer for that.  For one, I have always seen the album as a work that is one whole and not separated by individual song tracks. Of course, this is not always the case by the artists in question.  Still, this is how I look at albums.  I rarely look at an album and go "that's a great song, but the rest...." I take the entire work as if it is (or was) a narrative novel.   There are economic reasons why albums exist, and the difference between the 45 rpm single and the 33 1/3 long player.   But when I play an album, I'm embracing the huge world that this 12" represents to me.   "Tommy" may be one of the first albums for me (as a teenager) that led to the bigger picture of how one approaches the album.  That, and "Sgt. Pepper" of course.

Andy Newman -"Rainbow" Vinyl, LP, Album, 1972 (Track Records)

Eccentricity is not appreciated enough in the mainstream pop music world.   Andy Newman was in the band Thunderclap Newman, which included him (of course), Speedy Keen (the chief songwriter) and teenage guitarist Jimmy McCulloch.   An odd trio of music makers, but Newman added surprised touches to Keen's compositions by adding his turn of the century style of boogie-woogie piano, and the punk instrument that is a Kazoo.   What made Thunderclap Newman so wonderful was the Newman touch and he took the songs to another level. Especially with the song 'Accidents" which has an incredible middle part that is pure Andy Newman solo artist. 

After the band split up, Newman made this very strange solo album "Rainbow."  It's all him playing the instruments and mostly instrumentals.  It's like all the weird parts of Thunderclap Newman, leaving out the singing and the pop side of things.  "Rainbow" is very much music rooted in the 1920s, there is a touch of the British Music Hall, but it's more of a scaled down version of big band jazz of the early 20th century.  The most dominant instruments are Newman's piano and kazoo playing.   He also plays various saxes as well, and my only complaint is that I wished to hear a full-blown arrangement with him playing all the horns, piano, etc.  And he does in spots, but a lot of the songs/arrangements are just for piano and kazoo.  

I lost track of him as a musician after Thunderclap Newman, and only recently discovered this solo album by Andy.   I regret that he didn't make more music or albums in the later years. It seems he put together another version of Thunderclap Newman to play the old songs, but as far as I know, no new music.  Still, "Rainbow" and the first and only Thunderclap Newman album "Hollywood Dream" are amazing.  Also do note that the b-side to Thunderclap Newman's only hit song in the U.S. "Something in the Air" is "Wilhemina" which is a superb Andy Newman song.  A classic.  Look out for it!  

The Who - "Live At Leeds" Vinyl, LP, Album, 1970 (Decca)

My copy of The Who's "Live AT Leeds" is battered and well-played by my guess, a teenager.  If one used a DNA test on the vinyl surface, my assumption that they would find body fluids as well as various meals, and traces of dope.  I bought my copy at Rockaway Records in Silver Lake, and it was appropriately priced due to its condition.  It also had some, not all of the inserts.  For instance, the black and white photo image of The Who was missing, as well as the other photographs, including the poster.   I have to presume that more likely the original owner probably placed the photos as well as the poster on their bedroom wall, but the contracts and other paper stuff is still intact. 

Since the original release, it has been remastered, remixed, and more songs added to the package, but still, I prefer the old scratched version of this early live masterpiece.  This is The Who stretching out as a band, and it's interesting that side two only lasts around 14 minutes, when side two's "My Generation" lasts for 14:27.  And it includes a 7-minute version of "The Magic Bus."  "Live At Leeds" represents not only the live Who but a very heavy sounding Who.  One can imagine that the volume for one, must have been like a Jet taking off in a closed room.  As you can gather, The Who consisted of a lead singer, lead guitarist, lead bassist, and of course, the lead drums.  No one in the band holds back.  It's full-frontal attack that only ends in quiet dynamics of a song piece, or at the end of the show. 

"Live At Leeds" by no means is my favorite Who album, but still, it represents the year 1970, and what that meant in rock.  Clearly an important documentation of a live album, and it's aesthetic.  Songs are not intended to ape the recordings, but actually, a re-thinking of the original records or maybe the live version is the original, and the studio recordings were a softer xerox.  Nevertheless, listening to my version of this album puts me in place when I was 15 years old, and I think I actually know the kid that owned and played this album - in theory at least! 

Small Faces - "From The Beginning" Vinyl, LP, Album, Reissue, Mono, 2015/1967 (Decca)

In theory, this is a band that yells out "in mono" and not digitalized.  Small Faces is a series of moments that are brilliant.  The ultimate 'mod' band that could have taken over the world, but somehow kept missing the bus, train, or boat to the journey to conquer the world.   Small Faces were the perfect combo - a great lead singer, with excellent support from the other three, and all were small in height.   The foundation to their sound is dynamic R n' B but done in garage style fashion.  Their songs were not art statements, but an excellent observation of the world around them.  "My Mind's Eye" (one of the great psych songs), "Hey Girl" (one of the best "Hey" songs), "All or Nothing," and their non-original song "What'cha Gonna Do About It." 

This is youth music made by youth.  With that in mind, Small Faces were totally fucked in the management department, where they had to shop on the owner's dime.  The great thing about Steve Marriott is that he's from a big showbiz planet.  He was in the original production of "Oliver," and had quite a history even before Small Faces.  Ronnie Lane (his co-writer and the equal half), the great organ playing by Ian McLagan, and the crazed drumming by Kenny Jones.  All four elements equal a great sense of noise and purpose. 

Historically and culturally one often compares Small Faces to The Who.   They do share a vibe, in that both early careers (for Small Faces it was only 'early') seemed to be a mirror image of each other.  Pete Townshend is very much the observer who had school smarts, but Marriott and company's intelligence comes from the streets.   These four lads lived hard.  And that aspect comes through their music.  "From The Beginning" is a fantastic album.  It grooves from side one to the end of side two  Totally Mod-tastic.  

Thunderclap Newman - "Something in the Air" b/w "Wilhemina" 45 rpm Vinyl Single, 1969 (Track Records)

The most interesting member of the trio band Thunderclap Newman is their piano/sax player Andy Newman.   The fact that they use his last name as part of the band's name means a lot to me.  "Something in the Air' we have talked about before, but, the b-side is one of my all time favorite b-sides as well as a great tune.  "Wilhemina" is the only song written by Andy Newman, the odd looking member of Thunderclap Newman. Well, the whole band reeks of eccentricities, due that their guitarist Jimmy McCulloch was something like fifteen-years-old at the time of these recordings.  And Speedy Keen (a pal of Pete Townshend, therefore the producer) wrote most of the material for the band.  Still, if "Wilhemina" were on their first album, it would have been my favorite cut out of that fantastic LP. 

Good-timey that goes back to a Munich beer hall sometime in the past (but not THAT past) is Newman singing the joys of a lass named Wilhemina while drinking good German beer.  A-side is about revolution, and the B-side is .... drinking beer and enjoying female company.  Your pick! 

The Who - "Rarities Vol. 1 1966-1968" Vinyl, LP, Compilation, 1983 (Polydor)

Without a doubt the ugliest record design in my collection.  The fact is, I had to think for ten minutes to make a decision either way regarding purchasing this collection of Who B-sides.  Two songs here made the decision for me.  Their cover of the Rolling Stones "The Last Time" and "Under My Thumb."  Still, what bothered me greatly was the choice of the record label to use a portrait of The Who that was very much from the early 1970's when in fact, the actual recordings in this collection were made in the years 1966 -1968.  Little things like that bug me to no end!

If one forgets the cover, this is a great Who album.  B-sides have always been a fascination for me. I have enjoyed the A-side but have been consistently curious about what's happening on the flip side.  Very much like the curiosity regarding what's behind the door.   More pleasure has been found when I do play the mysterious B-side. 

For the past two years, I have been trying to locate the 45 rpm single of "The Last Time" b/w "Under My Thumb."  It's around but usually too far away (I rarely order items from overseas) or too expensive.   The Who recorded these two songs and put it out as a single as a support for the Stones who just got busted for narcotics in 1967.  The summer of love didn't mean that much in The Who world. The record is two voices of disgust, hate, and sour mood.  Which is usually a good combination for a good Who record.  The other highlight of this collection is that there are five John Entwistle songs on it. "Doctor Doctor" and "Dr. Jekyll & Mr. Hyde" are brilliant pieces of pop noise. The Entwistle songs are consistently amusing because the bass playing is aggressive, loud, and then there's the French horn in the chorus.   There are not that many French horns on a pop record unless it is something done by the Who's bass player.  And the Keith Moon manic drumming also shows up a bit louder on an Entwistle tune.  Kit Lambert's (and Chris Stamp's) production is muddy, chaotic, and always sounds best in Mono.  

It's extraordinary that I have heard the title "Dogs" in conjunction with The Who, but never actually heard this record for the last fifty years.  It's fantastic!  One of the great Townshend classics that somehow went way under the radar.   And also one gets what I suspect is the Keith Moon influenced Beach Boys/Jan & Dean tunes that are in this collection as well.   "Rarities Vol. 1"  is their best album after "The Who Sell Out."

Thunderclap Newman - "Hollywood Dream" Vinyl, LP, Album, 1970 (Track Records)

Thunderclap Newman is a band put together by Pete Townshend and his manager Kit Lambert.   The band was a trio consisting of Pete's driver Speedy Keen, who I gather is the normal guy in the group, Andy Newman, who is the eccentric and maybe slightly older piano/sax player, and their teenage wonder guitar player Jimmy McCulloch, who ended up in Paul McCartney's Wings, when they were huge.  Why Townshend felt a need to put this band together, I think was to give Keen some attention as a songwriter.   Townshend produced and played bass on this album "Hollywood Dream." 

First of all, it's a brilliant record that probably wasn't meant to become a classic.  The scope of Keen's songs go from Hollywood myth town to getting your head together and make this album via Traffic's aesthetic of going to the country.  Thunderclap Newman didn't go to the country but instead went to Townshend's home studio in London which I suspect was a tiny hole-in-the-wall.  Each member has a distinctive sound and role in the band.  Speedy sings lead and drums, and Andy Newman and Jimmy to me are the stars of the group.  Jimmy because he was 15 or so, doing amazing guitar work, but Andy like the other Andy in the future Roxy Music, adds textures and layers of ambient sax sounds which are essential to the Thunderclap sound - and of course is amazing piano playing which sometimes reminds me of Monk meeting some turn-of-the-century whore house pianist.  It's an amazing group of sounds that fits into Keen's songwriting vision.  "Something in the Air" is the great classic hit off this album, and pretty much shows why they are great, but "Accidents" is the track that goes beyond that even by its length of nine minutes as well as an off-color joke that goes well with its length as well as it's great music.  Especially the Andy Newman freak-out sequence in the middle of the piece.  A classic. 

John Entwistle - "Smash Your Head Against The Wall" Vinyl, LP, Album, 1971 (Decca)

The first cut, "My Size" yells out 1971 classic rock.   The chunk-chunk guitar cords and Entwistle's voice sounds like it is recorded in another room, is classic riff-rock.  My favorite parts of a Who album are always the John Entwistle songs.  When Pete gets spiritual, John is more interested in rock n' roll issues like revenge, violence, and in a spiritual mode, how to recover a night of drinking.  "Smash Your Head Against the Wall" is the ultimate solo bass player's solo album who belongs to a major band.   And remember John wrote "Boris the Spider" the best Who song ever. 

"What Are We Doing Here?" is the song for musicians who are on an endless tour.  I imagine John wrote this between groupie and drinking sessions where one gets on a reflective thinking 'woe me" state of mind.  The truth is I'm making light of his lifestyle, but under the humor and rock n' roll behavior is a great songwriter.  To call him and Keith Moon the rhythm section is slight, due that both lead players on their instruments.  As Noel of Oasis fame had commented, if not in exact wording, that The Who is a band that has a lead singer, and a lead guitarist, but also a lead Bass player as well as the lead drummer.  That is an accurate description of The Who. 

Entwistle's first solo album is him playing everything except guitar and drums.  His arrangements are excellent, especially what he does with the horn section.  Not exactly like a soul horn section, but more of a British toot-toot horns, and it's very useful on these set of songs.  "Heaven and Hell" is a magnificent piece of work, and "Ted End" is one of Entwistle's great underrated songs.  Worth the price of this album. 

Edwin Astley - "Secret Agent Meets The Saint" (RCA) Vinyl, 1965

Two shows that made an impression on me as a child were the British series "Secret Agent" (Danger Man, UK) and "The Saint."   In the back of my mind, I have remembered the theme songs and often hummed them in my daily baths.  Someone either on Facebook or some other social media site brought the title theme of "Secret Agent" to my attention.  A super catchy face-paced melody that is the opposite of the slower-pace show.  Patrick McGoohan played John Drake, a British secret agent who travels the world for the Queen.   When I watched it as a boy, it seemed sophisticated to me.  It wasn't like "Wild Wild West, " or the other knock-off James Bond shows on TV.  It had its own gritty glamor.  McGoohan was cool in every sense or meaning of that word.  The music, on the other hand, is frantic, busy, with an orchestration that featured a speeded-up Harpsichord.  

"Roger Moore plays the Saint," and he's a combination of private detective and borderline criminal.  Simon Templar (his fictional, given name) as played by Moore, had a built-in charm factor.  He wasn't cool but was fun.   To be in the Templar/Moore world was to participate in the good times.  As he traveled around the world, us viewers went with him.  Even though most of the sets were fake (like "Secret Agent"),  one could feel the sense of exotica or a new adventure.  

The composer Edwin Ashley, who did both tv series, was very much into the British film soundtrack world.  He is also the father of Karen, who married Pete Townshend, and his other daughter is Virginia Ashley, a noted songwriter-singer.    The happy arrangements and melody of "The Saint" is very much like the mood of the series.  The British composer has this unique talent of doing something corny sounding, but great at the same time.   The one song that does it for me in a big way is the "Theme from Secret Agent" or known here on this album as "High Wire."  As I write, the title song goes through my head, and I think it maybe impossible for me to escape from its clutches.  The Harpsichord is the key here.