Tommy Original Cast Recording
Musical Numbers A Word From Pete Townshend Show Music Magazine

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cast in studio recording Tommy- @Joan Marcus
Jonathan Dokuchitz, Marcia Mitzman, Des McAnuff & Michael Cerveris in studio

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     Musical Numbers

Act One
1 - Overture	4:41
	Orchestra & Bill Buell

2 - Captain Walker	1:45
	Paul Kandel, Marcia Mitzman, Michael McElroy, Timothy Warren

3 - It’s a Boy	:53
	Lisa Leguillou, Marcia Mitzman, Jody Gelb, Pam Klinger, Alice Ripley

 4 - We’ve Won	1:01
	Donnie Kehr, Jonathan Dokuchitz, Michael Arnold

5 - Twenty-One	4:41
	Marcia Mitzman, Lee Morgan, Carly Jane Steinborn, Jonathan Dokuchitz

6 - Amazing Journey	3:12
	Michael Cerveris

 7 - Courtroom Scene (dialogue)	1:16
	Tom Flynn, Bill Buell, Norm Lewis, Marcia Mitzman

8 - Sparks 	2:14

9 - Amazing Journey (reprise)	1:04
	Michael Cerveris 

10 - Christmas	5:04
	Jonathan Dokuchitz, Marica Mitzman, Bill Buell, Jody Gelb & Ensemble
	See Me/ Heal Me
	Michael Cerveris

11- Do You Think It’s Alright	1:09
	Marcia Mitzman, Jonathan Dokuchitz

12 - Fiddle About	1:35
	Paul Kandel

13 - See Me, Feel Me (reprise)	1:08
	Michael Cerveris

14 - Cousin Kevin	3:35
	Anthony Barrile & Ensemble

15 - Sensation	4:14
	Michael Cerveris & Ensemble

16 - Sparks (reprise)	1:55

17 - Eyesight to the Blind	2:50
	Michael McElroy, Lee Morgan & Ensemble, Lee Morgan (harmonica solo)
18 - Acid Queen	4:01
	Cheryl Freeman

19 - Pinball Wizard	3:50
	Donnie Kehr, Christain Hoff, Anthony Barrile & Ensemble


1 - Underture (Entr’acte) 	2:37

2 - It’s a Boy (reprise)/There’s a Doctor	1:13
	Marica Mitzman, Jonathan Dokuchitz

3 - Go to the Mirror	3:36
	Norm Lewis, Alice Ripley, Marcia Mitzman, Jonathan Dokuchitz
	Listening to You
	Buddy Smith, Jody Gelb, Tracy Nicole Chapman, Michael Cerveris

4 - Tommy Can you Hear Me?		2:00
	Anthony Barrile, Michael Arnold, Paul Dobie, Christian Hoff, Donnie Kehr,		
	Norm Lewis, Michael McElroy, Lee Morgan, Timothy Warren & 
	Sherie Scott

5 - I Believe My Own Eyes	4:01
	Jonathan Dokuchitz, Marcia Mitzman

6 - Smash the Mirror	2:41
	Marcia Mitzman

7 - I’m Free	2:52
	Michael Cerveris

8 - Streets of London 1961-63 (dialogue)	:36
	Paul Kandel

    Miracle Cure
	Tom Flynn, Paul Dobie, Timothy Warmen, Michael Arnold, Michael McElroy

9 - Sensation (reprise)	2:21
	Michael Cerveris & Ensemble

10 - I’m Free/Pinball Wizard	3:55
	Michael Cerveris, Marcia Mitzman, Jonathan Dokuchitz, Anthony Barrile
	& Ensemble

11 - Tommy’s Holiday Camp	1:57
	Paul Kandel

12 - Sally Simpson	3:35
	Anthony Barrile, Sherie Scott, Paul Kandel, Bill Buell, Pam Klinger,
	Security Guards

13 - Welcome		3:20
	Michael Cerveris & Ensemble

14 - Sally Simpson’s Question      1:13
	Sherie Scott, Michael Cerveris

15 - We’re Not Gonna Take it	    3:03
	Michael Cerveris & Ensemble

16 - See Me, Feel Me (reprise)	5:07
	Michael Cerveris & Buddy Smith
	Listening to You (reprise)
	Michael Cerveris & Company

Musical Director: Joe Church

Recorded May 9, 10, 11 1993 at the Hit Factory, NYC. 
Mixed and mastered at Air Studios Lyndhurst, Hampstead, London.

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This album was recorded by George Martin in less than 30 hours with the original cast
and musicians of Tommy currently performing at the St James Theatre on Broadway.
I sat in on the sessions and watched in amazement as this eminent and graceful man
urged the project along like a skilled rider driving a race-horse. Most of the great cast
albums of the last 20 years have been recorded in this hectic but impressive way.
There are so many people involved ( in our case what seemed like about 150) and their
remuneration is so complex that the only way to capture a show is to hire a massive
recording studio, run the show, then fix up the odd mistakes later. That is very much how
George worked. 

It was astonishing to me that so much sound could be created and captured (sounding like
rock-and-roll) in such a short time. It reminded me of the early days of Who recording
when our first album was recorded in 8 hours. As an example of the speed of that
particular process : the backing vocals were laid down track by track without stopping
the tape machine in between songs! I am much happier these days to be able to take
my time- a lot of time if necessary- as we did when we were  working on the original
Tommy album in London in 1968. That took several months to complete, with frequent
breaks for additional writing and revision. But watching this cast album session was so
exciting that I had to keep leaving the room. I get rather frustrated watching other
musicians record; I keep wanting to join in. 

With singers, musicians and orchestrations of this quality, I was really superfluous other
 than to pop into the control room and feed the horse a carrot every half-hour.

What I particularly love about this version of Tommy is that it has a George Martin sound. 
Now I'm not sure I realized that George Martin had a sound of his own, but he does.
 It is carried, I think in the way he contributes all the traditional skills of studio recording
developed during the late '50s and '60s and combines them with brand new techniques.
He is a real font of technological focus in this respect. And he is a producer., George is
a perfect pivot for what the Broadway version of Tommy really is. For this Tommy is a
bridge between the old, respected and beloved traditions of music theatre and the
relatively new and experimental world of rock-and-roll.

The music team on Tommy have done such a great job. Joe Church, the music 
supervisor, and his assistant, Jeanine Levenson, have carried their affection for my original 
album into this project. Both of them write great music of their own, but they are also
 capable of selfless commitment to the composition of others. At times I felt my music
 and I were being borne on a cloud of skillful love. Steve Margoshes' orchestrations
 and faithful to my original ideas, and never fail to honour their simplicity and sometimes
 their naivety. But wherever there is another job to be done, to move the show along,
 to get the cast dancing, or to buy time while scenery is shifting, his work is creative
and intense - so perfectly in tune with my own harmonic sensibilities that I have
blushed at hearing my small work so elevated. 

Tommy is a very different kind of Broadway show. And this is a very different kind of
cast album. It conjures up the spirit of the theatrical experience, but it also generates
a new excitement of its own. This is really the fourth definitive version of Tommy;
certainly only the second in which I have had a guiding hand. This is a rock record.
Firmly rooted in mood, style and methods of the '60s., it is at the same time totally
contemporary work, alive today in its most successful incarnation yet.

I hope you enjoy this cast album. If you have seen the show, this record brings back
the life and colour of Des McAnuff's extraordinary direction, the brillance of John 
Arnone's design, Chris Parry's dazzling lighting design, Eriksson Design and Wendall
Harrington's fabulous projections, Wayne Cilento's smart choreography, David 
Woolard's colourful and imaginative wardrobe. Most of all I hope it brings back the
music you have heard, the sound of the young and vital cast, the excitement of the show. 
If you have not seen the show yet, I know this record will send you a single message:
the music lives on. I am not sure how. But I think it has more to do with you than me.
Come and see us. We are entering a new millenium both for music theatre, and for

- Pete Townshend. 

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