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Review by musicmatters November 23, 2009 (7 of 11 found this review helpful)
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Performance: Sonics (S/MC): / |
I own several hybrid SACD's disks, but only just recently purchased a SA-CD player. On my standard CD player this album sounded great, but oh what a revelation this CD is on an SA-CD player!
I do not have to tell anyone how wonderful this album is. It was one of my favorite's growing up, and re-discovering it on SA-CD has been almost a religious experience. The sonics are better than I have ever heard on any album, and that's saying a lot because I own over 5,000 assorted CD's and albums.
The drums sound like Keith Moon has set his kit up in your living room and is pounding the hell out of them. But it is not just that they are loud, they are incredibly musical and alive sounding. You can almost see the drum skins reverberate back and forth.
As amazing as the drums are, the vocals, especially Pete Townshend's, sound close and fresh and immediate and supple. When he sings "I have no reason to be optimistic, but somehow when you smile I can brave bad weather" I you can see the smile on his face.
Daltry's vocals and Entwistle's bass both sound better that ever before, but for me it is the drums and Townshend's vocals that stand out on this issue. I am sure that after repeated plays, I will see more and more into the genius of this album and this re-issue.
Long live rock indeed...
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Review by vonwegen January 30, 2004 (6 of 6 found this review helpful)
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Performance: Sonics: |
Tommy is a snapshot of the Who in transition from their loud Mod roots to the more sophisticated fare of Who's Next and Quadrophenia. It has both the bare-bones hard rock of the My Generation album and baroque touches like John Entwhistle's French horn, making this release both raw & refined at the same time.
The 5.1 mix is like having Keith Moon in your living room--this has to be the most natural-sounding rock drum sound I've ever heard on disk, with the main drums positioned in the front right and the deeper rack toms and the floor toms put in the center speaker at peak moments. The electric guitar crunches all around and dances in and out of the masses of acoustic guitars (which sound like they were recorded with dynamic mics instead of the sweeter-sounding condenser microphones, giving a rawer feel). The vocals sound excellent, as does the bass guitar, lots of punch and clarity.
Disk one is essential, disk two less so, but still interesting, especially Moon's cackling laughter during abortive takes of "Tommy, Can You Hear Me?". There are a fair amount of instrumental versions of rejected takes.
The stereo mix is of historical importance because it is the original Kit Lambert 2-track mixdown tape, released 'as-is' for the first time. As such, it's less refined than the Jon Astley remix that is featured on the 1996 CD re-issue--the drums are markedly further back in the mix, and the guitars are not as clearly seperated and tend to overwhelm the drums, especially in loud sections.
30+ years on, the overall story of Tommy has dated badly in parts, but the main attraction of this SACD is that it showcases how well the Who played together as a band--despite Townshend's multiple guitar tracks on each sone & Entwhistle's overdubbed French horn parts, this album still sounds incredibly live and raw in both surround & stereo.
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Review by Compression Must Die May 8, 2004 (3 of 3 found this review helpful)
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Performance: Sonics: |
Between tapes, vinyl, original (wretch-book) CDs, and the MFSL gold release I have owned at least a dozen versions of this Pete Townshend opera. I have also heard it live through the Sony Isle Of Wight release and the most recent "complete" Live At Leeds release. I can confidentially say that I am pretty familiar with all its warts (drop-offs, poor drum mix, poor bass mix, overmixed guitars, etc.)
When Pete Townshend went into hiding to complete this re-mix, it was a labor both of love and sanity by all accounts. What he delivered to Who fans everywhere is a more complete musical package. The bass and drums are clearer, the backup vocals strong/clear, and the guitar/keyboard work steady.
By far the best rendition/re-issue of this product, geometrically enhanced by the SACD mastering technique. Of the 65+ SACDs I now own, this is one of my top 5 pop/jazz must haves.
o The Who - Tommy
o Steely Dan - Gaucho
o Elton John - Goodbye Yellow Brick Road
o Miles Davis - Kind Of Blue
o Duke Ellington - Blues In Orbit
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