Tag Archives: student workers

Arachnophonia: John Mayer “Room For Squares”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Cole (class of 2021) and features John Mayer’s 2001 debut studio album Room For Squares. Thanks, Cole!

John Mayer

Room For Squares

John Mayer - Room For Squares

To me, John Mayer stands as one of the most interesting musical icons of my childhood. Originally making his name as a pop-rock singer-songwriter, Mayer garnered attention early in his career for his guitar ability (he attended Berklee College of Music’s guitar program for two semesters). After the success of his 2001 debut Room for Squares (for which he won his first Grammy) and 2003’s Heavier Things, Mayer pivoted when he released Try! (2005), a blues record released under the moniker of the John Mayer Trio. With his most acclaimed album, Continuum (2006), Mayer sought to unite his earlier pop-rock stylings with his recent efforts in blues.

Though for whatever reason, it’s Mayer’s first album, Room for Squares, that I find myself listening to more often than his more acclaimed and successful releases. I fully agree that Continuum is a masterfully executed record that showcases the best of his songwriting ability. And Where The Light Is: John Mayer Live in Los Angeles (2008) might be my favorite live album of all time. But there’s something wonderfully innocent about Room for Squares absent in his other works, like the lovable arrogance with which Mayer scoffs at those who doubted his decision to drop out in “No Such Thing”:

“I want to run through the halls of my high school
I want to scream at the
Top of my lungs
I just found out there’s no such thing as the real world
Just a lie you’ve got to rise above”

And then immediately doubts himself in “Why Georgia”:

“’Cause I wonder sometimes
About the outcome
Of a still verdictless life
Am I living it right?”

Or maybe it has more to do with the fact that, to me, the album itself is seems distanced from the controversy-plagued, self-proclaimed “ego addict” that Mayer eventually become known as. Contrast this with his 2003 acceptance speech for his first Grammy award (for “Your Body Is a Wonderland” off of Room for Squares), in which Mayer remarked “this is very, very fast and I promise to catch up,” and you might begin to appreciate the sort of unspoiled innocence of Meyer’s debut, and indeed, his early career as a whole. Regardless, Room for Squares remains an often stunning debut (see: guitar part on “Neon”) from a man who would go on to change the landscapes of both pop and blues music.

John Mayer live at Tower Records 2001

John Mayer playing live at Tower Records in Atlanta, Georgia 2001

Arachnophonia: Abba “Thank You For The Music”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Olivia (class of 2019) and features a compilation of songs by the Sweedish pop group Abba. Thanks, Olivia!

ABBA

Thank You For The Music

ABBA - Thank You For The Music

This 1994 collection of Swedish pop group ABBA’s most popular songs, recorded from 1972 through 1982, is an absolute classic. As the second Mamma Mia movie has recently been released, I felt it was time we looked back and appreciated this fabulous music group for all the music they’ve given us (and for what they WILL be giving us – news is that the group is set to release 3 new songs in 2019!).

ABBA group photo

ABBA, also known as Björn & Benny, Agnetha & Anni-Frid, banded together in Stockholm in 1972. They can proudly claim to be one of the best selling music acts of all time, as they’ve sold an estimated 300-500 million records worldwide. Bestselling songs include “Dancing Queen,” “Waterloo,” “Fernando,” and my personal favorite, “Gimme! Gimme! Gimme! (A Man After Midnight).”

When a person thinks of ABBA, they most likely envision a group of four Swedes with voluminous 70’s styled hair, dressed in spectacular costumes, dancing emphatically on stage, having the time of their lives. This is why I appreciate them so much – the energy, positivity, lightness and uplifting emotion the songs bring out in listeners are infectious and inspiring. It feels so good to belt out “Lay All Your Love On Me,” twirl around to “Honey, Honey,” and it is a well known fact that no one stays quiet when “Dancing Queen” comes on over the speakers. It’s no wonder they’ve stayed popular over so many years; the feelings that their songs evoke in listeners are timeless.

ABBA group photo

While the group isn’t planning on touring (in person) any time soon, there is word that a futuristic “hologram tour” (yes, you read that right) is set to debut in 2019 or 2020. All I know is that I have to be there…

ABBA 1994 box set cover

Arachnophonia: Gilbert & Sullivan “The Mikado”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Emma R. (class of 2021) and features Gilbert & Sullivan’s 1885 operetta The Mikado. Thanks, Emma!

Gilbert & Sullivan

The Mikado

Mikado CD cover

Gilbert and Sullivan remain known over a hundred years after their deaths for their light comic operas which have been reproduced the world over. Of their fourteen operas, The Mikado is one of the most often performed. The Mikado is a love story, a political satire critiquing the British politics of the day, and like all of Gilbert and Sullivan’s operas, it’s a comedy.

The problem? The Mikado is set in a highly fictionalized version of Japan, a culture which at the time [Editor’s note: The Mikado was first produced in London in 1885] was not well understood by the British public. Traditional performances use costuming, makeup and stage presence in ways that today can be considered stereotyping and offensive, not to mention the fact that often, the singers performing in the opera are not of Asian descent. In the century following its original production, more and more attention fell on the problematic aspects of the opera.

This year, the music department at the University of Richmond is presenting the Tucker-Boatwright Festival in collaboration with Boatwright Library, which this year focuses on the representation of the “other” in music and the arts at large, titled “Beyond Exoticism“. An advertising poster for a course tied to the festival included this photo of a production of The Mikado, and the headline “so, what do we think of this?”

Over the years, a number of productions have attempted in different ways to approach the show in a different light to remove the problematic aspects. One New York production, for example, created a new prologue which suggests that the whole show occurs in the mind of a Victorian British person suffering the hallucinogenic effects of a head injury. Other productions have changed the setting, for example, to Renaissance-Era Milan, or to a 1930s-Era British hotel.

1930s set Mikado

The Mikado raises a lot of tough questions about the proper place for historical musical and artistic works which today can be viewed as highly problematic or even offensive. I couldn’t possibly claim to have any of the answers. Luckily, Gilbert and Sullivan operas have a history of being open to modern interpretations, re-wordings, or re-settings, leaving the door open for future directors to present The Mikado as they see fit.

In the meantime, check out this audio recording from the D’Oyly Carte Opera Company, the original producers of many of Gilbert and Sullivan’s operas, at the Music Library, think about these hard questions, and come join this important discussion at the “Beyond Exoticism” events this year.

Arachnophonia: John Mayer “Born and Raised”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Elias (class of 2021) and features John Mayer’s 2012 studio album Born and Raised. Thanks, Elias!

John Mayer

Born and Raised

John Mayer - Born and Raised

John Mayer, the egotistical, narcissistic, prodigious, reformed paradox of a musician is by far my favorite artist of all time. When people think of John Mayer, they typically think of him for one of two things: his iconic love songs or TMZ headlines articulating exactly how he broke Katy Perry’s/Taylor Swift’s/Kim Kardashian’s/Jennifer Anniston’s heart. Either way, I rarely see people appreciating his musical talent or his raw songwriting genius. There’s a reason Eric Clapton calls him a “master” guitarist. And for me, there’s no better example of this mastery than on his fifth studio album, Born and Raised.

You wouldn’t guess it at first, Mayer often speaks in interviews about how his favorite type of music to write is blues. You get hints of this on sprinkled across his other hit albums, but Born and Raised is his real tribute to this passion. From first looking at the album art, it becomes apparent that this is no ordinary album from hit-machine John. There’s no photo of Mayer trying to seem like he doesn’t know his picture is being taken, and no angsty black and white filter over the whole image. No, Born and Raised sports old-fashioned text intertwined with clockwork, adorned with phrases such as “Music by John Mayer” and “Stereo Recorded Sound.” No glitz or glam, no profile shots algorithmically calculated to get girls to pick up the tape. Just the title, and a little style to set the tone.

ohn-Mayer-Born-and-Raised

Now, the music. The tracks on this album are slow, gentle folk songs, with a Mayeresque vibe to them. It opens with “Queen of California,” as Mayer immediately flexes his technical muscles with a flowing, articulated, methodical guitar riff cover almost the entire length of the song. It almost sounds like “Why Georgia” at first, but the album’s themes sink in after a spell. A gentle, clean electric guitar accents the track with smooth bends which work alongside Mayer’s voice to keep you interested.

Another highlight of the album comes with the fifth track, “Something Like Olivia.” If you’re still questioning Mayer’s prowess on the guitar, just watch the music video on YouTube. The fact that he can keep this riff going effortlessly whilst singing is beyond me, and the studio version certainly displays his mastery well. The lyrics are repetitive yet meaningful, and the chorus is easy to sing along to. “Something Like Olivia” is about a girl, but it’s not a love song. It’s a jam.

Finally, we have the title track. “Born and Raised” is deservingly named after the album (or… vice versa?), as the simple chord progression leaves Mayer’s voice at the forefront. A harmonica finishes out each chorus in lieu of a guitar solo, an ode to the unique blues/country rock theme of this album. Lyrically, “Born and Raised” is a strong track, telling the story of how he feels that life has passed him by, and how he no longer feels like he has dreams to work towards: “I still have dreams, they’re not the same/They don’t fly as high as they used to/I saw my friend, he’s in my head/And he said, ‘You don’t remember me do you?’”

As a whole, Born and Raised is a break from Mayer’s routine, and it feels like the first album he made more for himself than for the public. It’s not a collection of hits, and it’s not a collection of his best guitar playing. It’s a collection of jams, and though he would continue his adventure into Americana with his next album, Paradise Valley, it was a testament to the kind of music Mayer wanted to make. If nothing else, it’s a collection of good songs, and an album I think everyone should listen to.

Arachnophonia: The Sound of Music

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Emma A. (class of 2021) and features the libretto for the classic Rodgers & Hammerstein musical The Sound of Music. Thanks, Emma!

The Sound of Music: The Complete Book and Lyrics of the Broadway Musical

I’ve chosen to discuss the libretto for The Sound of Music. Growing up this movie, play, and its music were quintessential to my after-school evenings and my sister’s love for the music. She was Maria in our school’s production of this show which inspired my own love for the drama club years later. We would watch this movie over and over until we knew every word and could sing along perfectly. They are very happy memories that I share with my sister; and the rest of my family and I will always enjoy listening to and watching The Sound of Music no matter how many times we’ve done it before.

I love how some of the songs are so intricate and over-the-top (“The Lonely Goatherd”) and some are so sweetly written and simple (“My Favorite Things”). No matter which song from the show you’re playing, they are all different — no two sound the same. Some Broadway shows can be very repetitive and over the course of three hours song after song can become boring, but that was never the case for me with The Sound of Music. In addition, the talent that you need to sing some of the songs is amazing. That’s not to say anyone can’t sing along, but to sing them well requires some major pipes. My sister had this talent and seeing her perform our favorite show was one of the moments she truly knew that music and singing would be her life’s passion.

I think that watching, or even just listening to, The Sound of Music is a must for everyone, even if you’re not into musicals. The story line is so captivating and the music is beautiful. If you’ve never seen it before give it a try! If you’re feeling so inclined after, take out this book and learn some of the songs too!

Sound of Music banner

Arachnophonia: The Allman Brothers Band: At Fillmore East

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker AJ (class of 2019) and features a live recording of the Allman Brothers Band at the Fillmore East. Thanks, AJ!

The Allman Brothers Band

At Fillmore East

Allman Brothers Band - At Fillmore East

When I was 12 years old, my mother took me to my first concert. My love for music had become exceedingly apparent to my parents, and they figured that 12 years old was an appropriate age to expose me to live music.

My mother is a huge classic rock fan, so growing up I was fed a strict diet of Fleetwood Mac, Rolling Stones, Beatles, and other such legendary bands. However, my favorite band growing up was The Allman Brothers. Gregg Allman’s lyrics and Duane Allman’s guitar (later Dickey Betts’ guitar) constantly played over our car’s sound system during rides short and long. They were coming to our area around my birthday, so my mother decided to get us tickets. Now, although the members were in their old age, and weren’t in their prime anymore, I still believe that to this day it was one of the best concerts I have ever been to.

allman-brothers-band-1971

The Allman Brothers Band circa 1971 – Butch Trucks, Gregg Allman, Berry Oakley, Jaimoe Johanson, & Dickey Betts (L-R)

I wish I had a recording of the night, but unfortunately they weren’t taping this particular concert. The Music Library, however, has The Allman Brothers Band at Fillmore East on CD. A CD that I believe my mother and I listen to quite frequently on trips. There’s nothing better than live music, and nothing better than The Allman Brothers live; I highly recommend listening to this particular recording because it ends with two of my absolute favorite Allman Brothers songs: “In Memory of Elizabeth Reed” and “Whipping Post.”

“In Memory of Elizabeth Reed” is the first instrumental track the Allman Brothers Band wrote. It was written by Dickey Betts who dedicated it to a woman with whom he had had an affair with after she had passed away. This woman was actually Boz Scaggs’ girlfriend, but Dickey changed the name to keep their tryst a secret. Fun fact: the woman is buried in the same graveyard where Duane Allman is buried, and Dickey frequently visited to pay his respects and to write songs. He lifted the name “Elizabeth Reed” from a tombstone near where he used to write.

“Whipping Post” is a hard-hitting, in your face rock song about the torment of being in love with a woman who doesn’t love you back, even when you bend over backwards for her. Its powerful lyrics and driving rhythm really foreshadowed the Allman Brothers’ future success, as “Whipping Post” was one of the first songs written by the band. The song itself is actually quite difficult to play because the track is written in 11/4. Gregg Allman, who didn’t know how to read sheet music at first, had to ask Duane how to count it because he thought the rhythm felt wrong (rightfully so).

Arachnophonia : Benjamin Britten “The Young Person’s Guide to the Orchestra”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Colin (class of 2021) and features Benjamin Britten‘s The Young Person’s Guide to the Orchestra. Thanks, Colin!

Benjamin Britten

The Young Person’s Guide to the Orchestra

YPG Britten

“I expect you all know the sound of trumpets. And I expect most of you know about a trumpet player’s personality as well…”

The Young Person’s Guide to the Orchestra, composed by Benjamin Britten, is an educational piece of music that combines the second movement of the Abdelazer suite, “Rondeau,” with commentary by Eric Crozier describing the instruments within an orchestra. Originally commissioned for a British educational documentary titled Instruments of the Orchestra, this piece is unique for its use of a common theme throughout each instrumental section and the conductor’s description of each section aloud before they play the theme.

Britten - Young Person's Guide

Not only does each section in the orchestra perform its own perception of the theme, every individual instrument is highlighted in multiple variations throughout the 17-minute piece. Variation C is led by the clarinets when the narrator states “clarinets are very agile. They make a beautifully smooth, mellow sound.” In accordance with the description, Variation C is played in a moderato tempo where the clarinets have many slurred sixteenth-note runs to emphasize their smooth sound. The piece continues to highlight each instrument individually and multiple sections in pairs until it culminates in a triumphant ending led by the piccolos and flutes. The brass begins to play in half time, 6/8, compared to the rest of the orchestra playing rapid eighth notes in a 3/4 pattern, creating a dynamic between fast and slow that ends the composition in a glorious fashion.

Benjamin Britten

Portrait of British composer Benjamin Britten circa 1949

Young Person’s Guide was also featured in the coming-of-age film by Wes Anderson, Moonrise Kingdom. The piece is played throughout the film to add to the values of wonder and adventure present in the movie, and synonymously contribute to the performances of the child actors.

Arachnophonia: Come From Away

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Susie (class of 2019) and features the cast recording of the Tony-nominated musical Come From Away. Thanks, Susie!

Come From Away

Come From Away

When I first heard that Broadway was making a musical about the tragic events of 9/11, I was quite confused. Sure, Broadway has capitalized on many historical wars and disasters such as Allegiance (Japanese American internment during World War 2), The Color Purple (the lives of African American women in the early 1900s), and Miss Saigon (Vietnam War). But most people do not know someone directly affected by these events anymore, especially since the most recent was almost 50 years ago. Come From Away started being workshopped only 10 years after 9/11. So naturally, many people questioned the appropriateness of this musical. Then people began to hear about it. The story. The music. A beautiful tribute to the people of Gander, Newfoundland who sheltered 7,000 displaced people during the closing of the American Airspace due to the terrorist attacks. And the talent that came together to put on the show in the Broadway debut in 2017 was incredible. Rightly so, the show received 7 Tony Nominations as well as a Grammy Nomination for this album.

Come From Away Cast

The cast of Come from Away: Kendra Kassebaum, Jenn Colella, Sharon Wheatley, Lee MacDougall, Chad Kimball, Rodney Hicks, Joel Hatch, Petrina Bromley, Q. Smith, Astrid Van Wieren, Geno Carr, and Caesar Samayoa; photographed at the Staten Island Ferry Whitehall Terminal, in New York City.
Photohgraph by Mark Seliger. (Vanity Fair, February 2017)

The music on this CD tells a story. You can imagine being there in the audience, and because the music is such a large part of the story, you don’t miss much of the story line without the lines between the musical numbers. It opens with “Welcome to the Rock,” a catchy, full company number introducing the people and the town of Gander. “38 Planes” and “Blankets and Bedding” tell the story of the town preparing to shelter 7,000 people. Then you hear from the distraught passengers and the turmoil of their lives in “Lead Us Out of the Night” and “I Am Here”. Jenn Colella sings as the first American Airlines female pilot and beautifully delivers the story of a woman’s life as a pilot then realizing her favorite thing in the world was used in such a destructive and horrible way. If you only listen to one song on this track, listed to “Me and the Sky“. The passengers bring you through the struggle of returning home and realizing all that has happened in “Something’s Missing”. And finally with “10 Years Later” and “Finale”, the story ends with so much hope and love thanks to the people of Gander who opened their doors, homes, and hearts to thousands of people.

Arachnophonia: Hollywood String Quartet “Kodály, Smetana, Dvořák”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Madeline (class of 2019) and features the Hollywood String Quartet’s 1958 recording of works by Zoltán Kodály, Bedřich Smetana and Antonín Dvořák. Thanks, Madeline!

Hollywood String Quartet

Kodály * Smetana * Dvořák

This CD is perfect for those who enjoy string instruments and/or Central European music. Kodály is Hungarian, while both Smetana and Dvořák are Czech. All three of the works have an overall lively and lighthearted sound. It is intricate enough to serve as training for active listening, but also pleasing to listen to in your free time.

Of particular interest is the last piece, String Quartet No. 12, “American” by Dvořák, which was written during his time in the United States. His works during this time were greatly influenced by both Native American folk music and contemporary works of African Americans and other immigrants. His most famous piece, Symphony No. 9, From the New World was written during this period. The musicians of this recording, the Hollywood String Quartet, are considered to be the first American based classical group to have an international reputation. They accompanied pop singers in the mid-1900s, most notably Frank Sinatra. Fans of older movies may also recognize their work in cinema. Before HSQ was formed, many of the members provided the orchestral soundtrack for early 1900s Hollywood movies, hence the name of the group.

Hollywood String Quartet

Arachnophonia: The Who “Tommy”

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Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Gabriela (class of 2020) and features the rock opera Tommy, originally released by the Who in 1969. Thanks, Gabi!

The Who

Tommy

The Who: Tommy

I grew up listening to classic rock. My father played anything from The Beatles, to Led Zeppelin, to The Eagles for me from the moment I was born, and this is something I cherish greatly. Not only did it bring us closer together, but it sparked my interest in music and shaped music taste from a young age. The Who was particularly special to my father and me, and nothing was more special than Tommy.

I remember listening to the Tommy CD in my dad’s old Saturn Vue on the way to school. It was magical, and the first time that the classic rock sound I knew so well sounded like something completely different. Tommy is a rock opera written by The Who’s guitar player, Pete Townshend, and performed by the entirety of the band. It tells the story of a deaf, mute and blind boy who relies on his imagination to get him through his difficult life, and even develops a sense of touch that is strong enough to make him a champion at pinball. Like a musical, Tommy’s fascinating odyssey is told through music, as each song describes a different episode in his life.

In some cases, the detailed nature of Townshend’s songwriting makes the narrative easy enough to follow along with no visual component necessary. For example, the lyrics in the songs “Cousin Kevin,” where the listener learns of Tommy’s abusive relative, and “Go to the Mirror!,” where Tommy’s doctor finally determines the source of his disabilities, are straightforward and descriptive. However, some of the most powerful moments on the album exist within the instrumentals, where the music creates such a strong sense of imagery and emotion that it puts the listener in Tommy’s shoes without even using a lyric. The instrumental “Sparks” represents the “Amazing Journey” described to the listener immediately before it, and takes us along for the ride that is Tommy’s fascinating mind.

The Who - 1969

The Who in July 1969: L-R: Guitarist Pete Townshend, singer Roger Daltrey, drummer Keith Moon (1947-1978), and bassist John Entwistle (1944 – 2002) pose around a table for a feature in Vogue magazine. (Photo by Jack Robinson/Hulton Archive/Getty Images)

I don’t know if I could pick a favorite song today, but I remember my first favorite was “Sally Simpson,” a moment in which the main plot of Tommy is interrupted to tell the story of a young girl. Even the upbeat musical tone of the song itself seems to deviate from what the listener has heard on the album thus far. Here, Townshend further demonstrates his genius through the use of metafiction, or a story within a story. Sally, a young girl, is one of Tommy’s superfans who sneaks out of the house to watch Tommy speak, and is ultimately injured badly when she tries to get on stage to touch him. Although Sally’s life directly connects with Tommy’s, through her separate story, the listener gets an outsider’s perspective on how Tommy’s fame is impacting everyday people.

Listening to Tommy is a musical experience unlike any other. Not only is the story itself unique and full of lessons, but Townshend’s brilliant songwriting pairs so perfectly with the storytelling and singing of Roger Daltrey. Listening to Tommy is reading a novel you just can’t seem to put down; it is watching a movie where you want to catch everything so you try not to blink. The album even inspired a movie of the same name featuring a star-studded cast, and a subsequent Broadway musical. How many albums do you know that fit this description?

Tommy media

Poster for the 1975 movie version of Tommy (l) and for the 1993 Broadway production (r)

Most kids probably can’t sing along to “The Acid Queen,” (maybe for a good reason) but I’m thankful that I knew the words, even if I didn’t understand what it meant. I didn’t have to understand it to know it was something special. Thanks dad, for putting Tommy on in the car and eventually taking me to watch Roger Daltrey himself perform the album live in its entirety.