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DISCID=65090f09
DTITLE=Pete Townshend / White City
DYEAR=1985
DGENRE=Rock
TTITLE0=Give Blood
TTITLE1=Brilliant Blues
TTITLE2=Face The Face
TTITLE3=Hiding Out
TTITLE4=Secondhand Love
TTITLE5=Crashing By Design
TTITLE6=I Am Secure
TTITLE7=White City Fighting
TTITLE8=Come To Mama
EXTD=Originally Released November 1985\nRemastered + Expanded CD Editi
EXTD=on Released February 13, 2006\n\nAMG EXPERT REVIEW: After the exp
EXTD=erimental All the Best Cowboys Have Chinese Eyes, Pete Townshend 
EXTD=returned to a more traditional form of concept album with White C
EXTD=ity: A Novel. Built around a loose narrative concerning urban des
EXTD=pair, the album doesn't work very well conceptually, yet a handfu
EXTD=l of the individual songs are among his finest solo work, includi
EXTD=ng the punchy "Face the Face" and the anthemic "Give Blood."  -- 
EXTD=Stephen Thomas Erlewine\n\n\nAMAZON.COM CUSTOMER REVIEW\nPete's s
EXTD=lide begins here, January 23, 2006 \nBy  ElvisCostellosWeiner "Ch
EXTD=ekhov Is The Greatest" (Michigan)\n\nAfter two great albums, Pete
EXTD= loses himself a bit here. The cliche goes "before he mastered th
EXTD=e synths, here the synths master him" but it's very true; he ofte
EXTD=n seems completely tied to his synths. And where as on All Cowboy
EXTD=s this was thrilling, as Pete pulled tones and sounds out of them
EXTD= that were unexpected, here he just seems to play on the preset t
EXTD=ones. The songs lack energy sometimes, sometimes are very cheesy,
EXTD= and are not among his best. \n\nBut hey, it still has great stuf
EXTD=f. Some of this material is among his best ever, melody, lyrics, 
EXTD=and arrangement wise. There's just something lethargic about the 
EXTD=album that is hard to get over. A very dead sounding album; maybe
EXTD= pete was a heroin addict now? \n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=A Fine Soundtrack to An Interesting Story, March 23, 2005 \nBy  t
EXTD=gfabthunderbird (York, PA United States)\nThis album came to my c
EXTD=ollege radio station in 85, and it got significant airplay, all t
EXTD=he tracks by the time we got done with it. \n\nIt was not until s
EXTD=ometime later that I got hold of the video, and it's now in my co
EXTD=llection. \n\n"White City" is a section of London that apparently
EXTD= was some sort of experiemental, post-war community. Townshend ex
EXTD=plains this in length in the commentary following the video versi
EXTD=on. \n\nThe story of two people living in a section of London fal
EXTD=len on hard times is a good one, gritty and believable. Musically
EXTD=, the album stands alone, but there is little to explain its sign
EXTD=ificance unless you see the video. \n\nOn their own, the songs ar
EXTD=e strong, with a propulsive "Give Blood" kicking off. "Face the F
EXTD=ace" still gets some airplay now and then, a thumping track. A R&
EXTD=Bish "Hiding Out" and a bluesy "Secondhand Love" are all good stu
EXTD=ff. \n\nThe contributions from the likes of David Gilmour, the Ki
EXTD=ck Horns and others make "White City" a good solo outing for Town
EXTD=shend, but again the movie rounds out the whole story. \n\n\nAMAZ
EXTD=ON.COM CUSTOMER REVIEW\nHis last Top 40 album, August 2, 2004 \nB
EXTD=y  Anyechka (Rensselaer, NY United States)\nThis album came out i
EXTD=n November of 1985 (a month before my sixth birthday), and was th
EXTD=e last Top 40 album Pete put out, as well as the last Top 40 albu
EXTD=m by any of the remaining three former members of The Who. The th
EXTD=ird track, "Face the Face," was also the last hit single by any o
EXTD=f them; it reached #26 in America, the same position the album re
EXTD=ached on both the American and British charts. (There's also a fi
EXTD=lm of this album, with some songs that weren't included on the al
EXTD=bum, but I haven't seen the film yet; the main character is named
EXTD= James, a grown-up version of Jimmy from 'Quadrophenia.') Though 
EXTD=it's billed as a novel, which might seem pretentious to some peop
EXTD=le, and has a very Eighties (i.e., overproduced) sound to it, it'
EXTD=s very tight and consistent. It's also a concept album, about a m
EXTD=iddle-aged man having some difficulties in life coming home to th
EXTD=e place he grew up and feeling disillusioned by what has happened
EXTD= to the place in spite of good childhood memories, and concept al
EXTD=bums just aren't considered hip anymore. \n\nMy faves on here are
EXTD= "Face the Face" (so loud, thumping, and energetic, particularly 
EXTD=the long and tense build-up in the beginning), "Give Blood" (whic
EXTD=h also has an amazing musical build-up before the lyrics begin), 
EXTD="Brilliant Blues" (the only song on here where he uses his tradem
EXTD=ark high notes; it shows he takes care of his voice instead of co
EXTD=nstantly showing off with a tenor/low-range falsetto just because
EXTD= he can), "Crashing by Design," "White City Fighting" (co-written
EXTD= with David Gilmour), and the closing track, "Come to Mama" (whic
EXTD=h has a beautiful sweeping flourish of instrumentation as it wind
EXTD=s down towards the end). This is an album that shows how to celeb
EXTD=rate middle age and turning forty musically properly. Instead of 
EXTD=still singing about the same old things or writing about lusting 
EXTD=after hot women, he's writing and reflecting on getting older, be
EXTD=coming disillusioned with the place he came from, not being so yo
EXTD=ung anymore, and dealing with romantic rejections. Too bad more a
EXTD=rtists can't write mature albums like this when they get older in
EXTD=stead of living in the past and still writing the kind of songs t
EXTD=hey did when they were in their twenties. \n\n\n\nAMAZON.COM CUST
EXTD=OMER REVIEW\nMisunderstood", May 15, 2001 \nBy  K. Manzel (Falls 
EXTD=Church, VA United States)\n\nI'm confused by people who say this 
EXTD=album is not as good as "Rough Mix" or "Empty Glass," especially 
EXTD="Who Came First." This is an artist at his sober, clarified, focu
EXTD=sed best. When you listen to this aurally intoxicating album, you
EXTD= are hearing an artist who's created an album with every note, ev
EXTD=ery effect, every intonation exactly as he intended it to sound. 
EXTD=\nI listened to "White City" once or twice about ten years ago, a
EXTD=nd just again picked it up a month ago. I think I was too young t
EXTD=o appreciate its layered complexity. I can't stop playing it, and
EXTD= I have--and enjoy--all the albums mentioned above. "Crashing by 
EXTD=Design" is such a singular lyrical and musical gem that it takes 
EXTD=probably 10 listens before even catching all the meaning, let alo
EXTD=ne the multiple dimensions of space he explores with the sound. \n
EXTD=\nWhat a pity, Townshend was so crushed by the critical and publi
EXTD=c disappointment in this album that he never plays even a single 
EXTD=cut from it live. That may be the most telling aspect of the pass
EXTD=ion he poured into "White City." Please give it a listen. \n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nOverlooked and Underappreciated, Febru
EXTD=ary 21, 2007 \nBy  Kurt Harding "bon vivant" (Boerne TX)\nMany lo
EXTD=ng-time fans of The Who missed out on the underpromoted solo effo
EXTD=rts by various members of the band. Of all those works that I hav
EXTD=e heard, only Pete Townshend's have any real merit. I was pretty 
EXTD=stoked when I read in the English music press that some of Pete's
EXTD= early work would be remastered and re-released. But it was obvio
EXTD=us from the article that the writer didn't think much of White Ci
EXTD=ty. \nI disagree. White City is nearly a masterpiece, and is one 
EXTD=of the most overlooked and underappreciated of all Townshend's wo
EXTD=rks. I liked it when it was originally released and I like it jus
EXTD=t as much in the remastered edition. While Roger Daltrey was the 
EXTD=Who's powerhouse vocalist, it was always Townshend to whom the ba
EXTD=nd turned when the vocals required a touch of nuance and emotion.
EXTD= And on White City, there is a lot of both. \nWhite City itself i
EXTD=s apparently one of the housing "estates" that are the legacy of 
EXTD=the postwar socialist policies of the British government. Our equ
EXTD=ivalent in the US is "the projects". And both seem equally mind-n
EXTD=umbing and violent places in which to live. This "estate" seems t
EXTD=o be the subject of about half the CD. Songs like Hiding Out, I A
EXTD=m Secure, and White City Fighting paint quite a picture. \nLyrica
EXTD=lly, White City is flawless. Musically, I have my favorites. Thos
EXTD=e are the hard-driving Give Blood, the jaunty Brilliant Blues, th
EXTD=e pounding Face the Face, the angry Secondhand Love, and the soot
EXTD=hing I Am Secure. If you are an old Who fan and never got around 
EXTD=to hearing any of Townshend's solo work, well you ought to hear t
EXTD=his. And by the way, I had none of the defects on my CD mentioned
EXTD= by another reviewer. Maybe his was from a bad batch. \n\n\nHalf.
EXTD=com Details \nProducer: Chris Thomas \n\nAlbum Notes\nPersonnel: 
EXTD=Pete Townshend, Steve Barnacle, Mark Brzezicki, John "Rabbit" Bun
EXTD=drick, Tony Butler, Peter Hope-Evans, Dave Gilmour, Simon Clark, 
EXTD=Roddy Lorimer, Dave Sanders, Tim Sanders, Peter Thoms, Chucho Mer
EXTD=chan, Pino Palladino, Simon Phillips, Clem Burke, Phil Chen, Ewan
EXTD= Stewart, Jackie Challenger, Mae McKenna, Lorenza Johnson, Emma T
EXTD=ownshend.\n\nRecorded at Eel Pie Studio, Twickenham; Eel Pie Stud
EXTD=io, Soho, London; A.I.R. Studios, London.\n\nWHITE CITY, which Pe
EXTD=te Townshend called a novel, recalls the depth of TOMMY. There ar
EXTD=e many memorable tracks on this collection, including "Hiding Out
EXTD=," whose deceptive sweetness belies the detached destruction of "
EXTD=Crashing by Design." The bracing "Face the Face" is as musically 
EXTD=gripping as any of Townshend's solo work, as is the rumbling "Giv
EXTD=e Blood." Pink Floyd guitarist David Gilmour lends on a hand on t
EXTD=he former and Big Country drummer Mark Brzezicki puts his wallopi
EXTD=ng stamp on various cuts as well.\n\n\nROLLING STONE REVIEW\nAcco
EXTD=rding to legend, Roger Daltrey once predicted that Pete Townshend
EXTD= would be a great songwriter only as long as the guitarist had he
EXTD=llhounds on his trail. At age forty, Townshend has left behind hi
EXTD=s two biggest traumas -- drugs and the Who -- and has begun two n
EXTD=ew careers, literary editor and family man. In "Brilliant Blues,"
EXTD= Pete dismisses the anguish that has plagued his personal life an
EXTD=d muddled his recent work and declares: "The brilliant blues/Will
EXTD= never flow this way again." In short, Daltrey's prediction has c
EXTD=ome true. Yet White City is a clear, organic parable of hope triu
EXTD=mphing over despair, making this Townshend's best work since Empt
EXTD=y Glass.\n\nIn "I Am Secure" and "Hiding Out," Townshend contrast
EXTD=s his penthouse privileges with the grim streets below; "I am sec
EXTD=ure in this world of apartheid," he admits. The doom of these two
EXTD= songs ("And out in the one-way streets/Is a swelling maze, witho
EXTD=ut a door") is challenged in "Crashing by Design," where Pete arg
EXTD=ues against the notion of fatalism and for personal responsibilit
EXTD=y. That spirit, in turn, carries over to "Face the Face," with it
EXTD=s urging to pursue idealism despite "the ghosts of failures spray
EXTD=-canned up on the wall." On the radio, the song seems little more
EXTD= than an annoyance (Tylenol must have sponsored the drum mix), ye
EXTD=t its value lies in its thematic significance. The title places t
EXTD=he song in the context of Who history, from "I'm the Face" (their
EXTD= first single as the High Numbers) to Face Dances (their disastro
EXTD=us first post-Moon LP), and the lyrics combine the familiar theme
EXTD=s of personal honesty (see "Behind Blue Eyes" and "Eminence Front
EXTD=") and public motion ("Let's See Action"). "Keep on cooking/Keep 
EXTD=on looking/Gotta stay on this case," Pete enthuses.\n\nThe swing 
EXTD=backing is appropriate, too, because Townshend's plan for facing 
EXTD=the face involves a lot of traditional morality -- he praises fid
EXTD=elity (the raging "Secondhand Love," where he sings as well as Da
EXTD=ltrey ever has), denounces insular pride ("Come to Mama") and moc
EXTD=ks the modern notion of heroism ("Give Blood"). And, despite an i
EXTD=mpressive set of backing musicians, Townshend's arrangements favo
EXTD=r the essentials -- only Peter Hope-Evans' smokestack harp on "Fa
EXTD=ce the Face," Pino Palladino's bass, and Townshend's own acoustic
EXTD= fury on "Come to Mama" emerge from the communal chordal strength
EXTD=.\n\nIn "White City Fighting," Pete remembers his violent past, s
EXTD=ounding just a bit wistful for his days as a rough boy. Yet he se
EXTD=ems to have finally found comfort in maturity, and that feeling w
EXTD=arms and informs White City. The values embraced by the album mak
EXTD=e it Town-shend's most relevant work in years -- as he concludes 
EXTD=on "Brilliant Blues," "And now is the time to say ... it's time."
EXTD= (RS 465 -- Jan 16, 1986)  -- ROB TANNENBAUM
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