July 15, 2020

1967-10-15 – The Observer

1967 10 15 The_Observer_Sun__Oct_15__1967_ 2

rclcntlcss fury. whilst Keith Moon.
astridc his 14 dmms. givcs a breath-
taking demonsu'ation of free rhythmic
drumming. Each bar is subdivided
into what sounds like totally arbitraryr
divisions, which are thus continually
unpredictable and always disturb-
ing. It is positively Bartokjan in its
elemental excitement, and hike the
song itself has the appearancc, at least.
of a spontaneous outburst.

All these elements are fused In a
devastating ending. The singer,
Roger Dalutry. has made his last
appeal; the lead guitar is waiting like
the entire Highland Pipe Band; the
drummer is quiet; the music is
screwed up a quartcr-tonc, and, all of
a .sufidetg, t3: léass guitar followed
. . quic .3 y a manner and sin
tam. Sqmchqw their lgst’ few come roaring in at full tilt with 3:
racords. like Pwturw of Lily and same ostinato bass that began the
‘ Happy Jack,’ have bocu lust too piece. It is a master stroke. Of its

clever, too self—consciously articu- kind. the record is mamhlcss.

latte. But now The VVho’s instinctive
Violence has broken loose with

brilliant effect.

Peter Townshend and his men have
made as yet no great contribution to
the deveIOpment of pop music. They
ignore the mystic East, seem not to
hair's heard of the flowcr—gazing
junkies of San Francisco, don't write
meaningful words, have private livcs
that are ttmalljir devoid of public tittle:
tattle. Yet to me they are the Sir
William Walton of pop music—
mastcrs of the royal fireworks, giants
of the occasional and the ceremonial.

Fireworks
With fury

g THE WHO have a sensational new
! record out this week, ‘ I can see for
5 miles' (Polydot' 604011). It has all
f the. rowdy exuberance that one
, always hopes their music will con-

‘STEPHEN
‘WALSH '

Parodying
a Mass

One time of Acton Grammar . . ,
School, produced by Chris Stamp, DESPITE Its redecqratxon the
brother of Tcrcncc, and managed by Wigmore Hall hasn I changed

Kit Lambert. son of Constant, the muchincharacter, and one still has
BTOUP was originally ,discovcred by the feeling that to play avam-garde
the latter in thc_ Raslwsty Tsvun. music there. is in some faint way
Ha'TOW' '1‘ was mm“ Mich“ 83*" I&se-majgsré. Yet, paradoxically,

bath,’ Lambert said latar. ‘Thcro . -
was a distinct satanic flavour—Keith tho famfllar surroundtnisoiin ?healfi

. . ' o ' t is
Moon looking the most (ml of all. With mus1c . tha . .
At the end of a stage show, Moon averagely dlffiCU-lt—IDUSIC Wthh

hammers his drum-kit to fragments; one associates with the chaste atmo-
Townshend used to hurt his £200

sphere of a BBC studio or the

guitar against thc amplification Commonwealth Institute.
equipment. ‘Ours .is a group with Monday's Mamaghten Concert, tho
built-in hatc,’ they say. ‘ Sometimes first of their new season, undoubtedly

you will just be gctting really musi‘
cally involved and some stupid girl
with FREDDIE tattomd on her front
will come up and cry “ Ringo." You
feel like smashing her with coke
bottles.’

But their music has a natural
pageantry, a rich and gaudy display
of shouting and stamping: They do
what cvctyone else has been doing
for years, but much batten A pound—
ing osrt’naro- bass is used to batter
a quite ”simple lyrical motif into an
endless stram‘of chordsi frenzics;
the lead guitar, 'mcanwhile, screams

profited in this way: it was difficult
and uncompromising, but for all that
it provided a most enjoyable and
rewarding evening.

.mo specific: reasons suggest them-
selves. First, the playing: a con-
sistently {I am tmnpted to say in-
credibly) efficient disglltu.F by jibe
Wilfliam York Ensemble. and by
Roger Smalley, who is certainly the
most gifted pianist o-f hvantieth—ccn-.
tury music tha-‘t I have hcard, either
livc or on record. Secondly, a work
of Smallcy's own, Missa Parodia I
and 11. which was receiving its London

away with a falling cousfienpoint orf premiere aftm' a perfomumco at tho