Customer Reviews

White City

5 star:		(23)
4 star:		(6)
3 star:		(4)
2 star:		(0)
1 star:		(2)

 

 

This CD is a masterpiece. Don't buy it... if you want more Who music. I'm not even sure it's rock. The music - or "novel" as it's subtitled -- defies genre. (Liner notes state that White City is a film written by Pete Townshend.) Townshend always refused to be confined by traditional rock music format, as demonstrated by his fondness for "rock operas," and quirky Who songs.

The whole of it is a fine composition, with tracks linked lyrically and musically. It's best listened to in its entirety. With each listen you'll hear something new. (I can say this even after having worn out a cassette of same.) Townshend layers the music, and fills many "unused spaces" with surprising sounds (in a much more disciplined way than, say, Beck). He uses vast and unusual combinations of instruments, such as the harmonica and horns in "Face the Face." He uses repetition, and strings the listener through 2-minute intros. Lyrics contain their own layers of meaning and word craft that come to light over time.

This "album" elevates Townshend to a level of compositional artistry that most musicians will never see... largely because they don't even know it's there.

This is one of the most underrated albums in the history of rock. Townshend's vocals are absolutely soaring - I can't think of many vocal performances on an album that even come close to the level of emotion he conveys on this one. Every song is brilliant and the album is extremely diverse. Songs vary greatly in style, no two songs are alike. The lyrics are great as usual. Crashing By Design is one of those songs that you listen to and wonder how in the world it didn't become a top ten smash, it is unbelieveably catchy. And the lyrics on this one in particular are so poignant, you can really tell that this is a guy who has known some emotional turmoil. I haven't seen many people talking about Hiding Out in the reviews, which is surprising - he is absolutely pouring his soul out in this one, the vocals reach for the sky. Give Blood, White City Fighting, Face the Face, some really urgent, angry, moving stuff throughout. Face the Face will make you get up and bounce around the room, the groove is completely infectious. A rave up that builds and builds almost gospel-style, with a million different instruments. I am Secure is a beautiful, introspective piece that shows that Townshend is that rare breed of artist that can range from screaming rock anthem to heartwrenching ballad and make both really work. I can understand why Pete was really disappointed by the lack of recognition and appreciation by the press and the public for this album, as it deserved a lot more attention than it got. Pete Townshend is one of a handful of songwriters in rock history who is possessed of true genius, and i think this is his best album.

This album came out in November of 1985 (a month before my sixth birthday), and was the last Top 40 album Pete put out, as well as the last Top 40 album by any of the remaining three former members of The Who. The third track, "Face the Face," was also the last hit single by any of them; it reached #26 in America, the same position the album reached on both the American and British charts. (There's also a film of this album, with some songs that weren't included on the album, but I haven't seen the film yet; the main character is named James, a grown-up version of Jimmy from 'Quadrophenia.') Though it's billed as a novel, which might seem pretentious to some people, and has a very Eighties (i.e., overproduced) sound to it, it's very tight and consistent. It's also a concept album, about a middle-aged man having some difficulties in life coming home to the place he grew up and feeling disillusioned by what has happened to the place in spite of good childhood memories, and concept albums just aren't considered hip anymore.

My faves on here are "Face the Face" (so loud, thumping, and energetic, particularly the long and tense build-up in the beginning), "Give Blood" (which also has an amazing musical build-up before the lyrics begin), "Brilliant Blues" (the only song on here where he uses his trademark high notes; it shows he takes care of his voice instead of constantly showing off with a tenor/low-range falsetto just because he can), "Crashing by Design," "White City Fighting" (co-written with David Gilmour), and the closing track, "Come to Mama" (which has a beautiful sweeping flourish of instrumentation as it winds down towards the end). This is an album that shows how to celebrate middle age and turning forty musically properly. Instead of still singing about the same old things or writing about lusting after hot women, he's writing and reflecting on getting older, becoming disillusioned with the place he came from, not being so young anymore, and dealing with romantic rejections. Too bad more artists can't write mature albums like this when they get older instead of living in the past and still writing the kind of songs they did when they were in their twenties.

This album came to my college radio station in 85, and it got significant airplay, all the tracks by the time we got done with it.

It was not until sometime later that I got hold of the video, and it's now in my collection.

"White City" is a section of London that apparently was some sort of experiemental, post-war community. Townshend explains this in length in the commentary following the video version.

The story of two people living in a section of London fallen on hard times is a good one, gritty and believable. Musically, the album stands alone, but there is little to explain its significance unless you see the video.

On their own, the songs are strong, with a propulsive "Give Blood" kicking off. "Face the Face" still gets some airplay now and then, a thumping track. A R&Bish "Hiding Out" and a bluesy "Secondhand Love" are all good stuff.

The contributions from the likes of David Gilmour, the Kick Horns and others make "White City" a good solo outing for Townshend, but again the movie rounds out the whole story.

I was a senior in high school when this came out in 1985. It's definitely not for the pop music crowd, especially those who still celebrate the 1980's and what that decade had to "offer" musically. As drummer I thought the playing of Simon Phillips on this album was impeccable. "Give Blood" was released as a single and I remember hearing it on the radio and being amazed that kind of drumming was on a single and getting airplay. Buy it if you like good music and great musicianship.

As far as I'm concerned, "White City" is far and away the best solo album ever recorded by Pete Townshend. The mesmerizing and down-in-the-mouth "Give Blood" opens the album with a vengeance. Despite the despair of the lyrics, Townshend ratchets things up to a major chord at the last minute--and it makes perfect sense.

"Brilliant Blues" has a catchy, up-up-up sound reminiscent of a relentlessly cheerful toothpaste commercial jingle, but the lyrics give this away as the work of a thinking man:

"You and me are going to finally sail away,
We'll get far away
from the blues and the mist and the rain . . ."

Townshend somehow manages to make the color blue both inviting and menacing, both the color of joyous laughter and the color of depression. "Brilliant Blues" is brilliant indeed.

On "Face the Face," Townshend pulls the same sort of trick--inviting us to look in the mirror, at ourselves, at our governments, at everything. From the doomy synthesizer and catlike piano that open this song to the sound of footsteps speeding up to drumbeats to the whippeting of a policeman's nightstick. Suddenly, it sounds like someone running. But are they running away, or running to something? Townshend is such a master that he can pose this question without a single lyric--you get it all just from the music. Listen here, too, for the quick snippet of Pete's daughter Emma when she states authoritatively, "Watch the flicks" towards the end. Townshend's sarcastic comment on our video-ridden lives couldn't be more effectively placed.

"Secondhand Love" is a moody and menacing warning to a woman--Townshend sings (and you can almost hear him jutting his chin out):

"He's been leaving his scent on you,
I can sense it from a mile
All my money is spent on you,
But you're still selling your smile."

The rest of the songs are equally fine and equally compelling. For a lesser artist, this would be something on which to rest one's laurels. For genius Pete Townshend, this 1985 effort is just one album in a long line of brilliant music. More power to him, and may the songs keep coming.

Very simple not a weak song on the album. The 80's were a vapid silly time for rnr but this album somehow transcends time. Great lyrics and fantastic musicianship. Buy This Now!

Each song on this recording seems as though it may have been written from someone who only had a day left to live. The urgency, the quality, and of course the clarity of PT is all here in one recording. No filler.

PT did not have too much filler on the recordings that he issued... either with the WHO or Solo, but this one does not have a weak song on it. In fact, every song is very strong. Rarely do you have a recording that hits you so hard or so hard with a common theme of urgency.

Of course, the urgency is there, but it is not really easy to explain what the urgency is about. It could be just being a human being was urgency enough for PT when he was writing this epic.

There are a lot of different things that make this recording special.. the band on this recording is very good. In fact, David Gilmour plays guitar (of Pink Floyd fame) and DG adds to what is already a hefty talent of PT.. but the rest of the band is fantastic. You can go on youtube and find concert videos of the tour with this band, and the band was just fantastic.

I really recommend this recording, but not because it is PT. In fact, based on the volumes of material I have of PT (Who etc) this one stands out from the rest as not necessarily better, but different. A different feel to it, that escapes genre and taste really. It is just good. Pete never really made another album with this particular 'feel' to it.. but that is okay, we have this one.

Buy it, and if you don't like it, give it to a friend. That is how I got it. A pal walked up to me and said 'I don't really like this CD, you can have it' .. Thanks Bob.

Mondo

Peter Townshend will long be remembered as the guitarist for The Who, but his lyrical ability is what sets him apart from most others of his generation and beyond. With White City, poignant memories and harsh realities blend together and Townshend sings with emotion, strength, and sorrow. My favourite track is Hiding Out, but it's all killer, no filler here. Give Blood is the radio track, and it's great guitarwork (provided by Dave Gilmour of Pink Floyd) is memorable. In short, do yourself a favour and listen to inspired melodies and well-crafted words from a true master.

I am really not a fan of The Who or of Pete Townshend. I have great respect for what they have contributed, but musically it's not my cup of tea.

That being said, I have always really liked White City for its songs, excellent production quality, and especially the great musicianship. Simon Phillips drives each song with the expertise he developed working as a session drummer for many notable artists. The production quality holds up very, very well - even nineteen years after its release. Few albums in 1985 were recorded to sound so lively and natural - unfortunately. Fans of fretless bass will be richly rewarded for listening carefully to the great Pino Palladino's mastery of that craft. David Gilmour contributes some writing and playing, as Pete had for Gilmour's About Face release.

This is a very listenable record overall, with great continuity, and the first track alone is worth the price. Another favorite track is the richly layered White City Fighting. Secondhand Love is an early combination of live drums and sequenced electronics that is inarguably ahead of its time.

I just revisited this CD for the first time in years, and I was reminded just how great a collection of songs this is.