This 1972 album gets off to a cracking start with a superb song which fans of The Who will know well - Pure and Easy (from jamboree bag lp Odds And Sods). While I really like The 'Oo's dynamic version I prefer this because it sounds more personal, more precise, more...at peace with itself. Yes. For this is indeed a great album and something of a personal and spiritual odyssey for Townshend. The Who's main composer is in reflective mood here, heavily influenced by the spiritual leader Meher Baba. If you are expecting trademark power chords you've come to the wrong album, this is a quiet set of songs compared to his band at their exuberant best. It is something of a tour de force as Townshend sings and plays all the instruments, recording his songs in his home studio. No surprise then that acoustic guitar is very much in evidence and some songs have an almost folky/country feel - one thing that is unmistakeable is the catchy tunes and singalong hooks that Pete seems to produce with ease. If you want an insight into the creative processes and intuitive craft of a classic songwriter this intimate album is probably a good place to start. Townsend's voice gives more sensitive treatment of his own lyrics compared to Daltrey's mighty lungs, imagine Robert Wyatt's version of Shipbuilding compared to Elvis Costello's. It would seem churlish to go through the album track by track, this is one collection which is meant to be heard as a whole and very much proves that the sum is greater etc. Special mentions though for the beautiful Evolution and Heartache, the addictive Sheraton Gibson and a song which again would be recorded by The Who, Let's See Action. The bonus tracks on this deluxe edition are all worthwhile although none are essential. The instrumental His Hands starts like the quiet beginning of Pinball Wizard but you'll wait in vain for those power chords. Another version of a Who song "The Seeker" seems appropriate in some ways but is also ill at ease in the company of the other songs. The Who version you will remember is a classic song of despair and fruitless searching. Somehow, in context, the lyrics "I won't get to get what I'm after till the day I die" take on a different meaning. Among the other songs, Mary Jane is perhaps not just about a girl (!)and is a wry song (of the same ilk as Pictures Of Lily, Dogs or Tattoo but not as good) and Begin The Beguine is not a cover you would expect from this guitarist. Sleeping Dog is a touching love song to Baba, while The Love Man could conceivably have made a good Who album track, I Always Say is a McCartneyish blues number and the piano is very much to the fore in instrumental Lantern Cabin.
