“See me, feel me, touch me, heal me”
Pete Townshend
I suppose it is symptomatic of encroaching old-age that I am unable now to recall exactly why I found myself sitting at my computer last week, searching the InterWebNet for recorded versions of The Who’s “See Me, Feel Me“. I know that this was not what I started out looking for (though of course I can’t remember what that was either!) – neither can I now call to mind the supervenient sequence that ultimately led me to Acton’s finest.
It is a sorry business – this aging!
Though I had, naturally, been well aware of The Who throughout the late 60s I did not truly become a fan until 1971 – when I heard for the first time the mighty sound that is “Won’t Get Fooled Again“. The effect that this had on me was not dissimilar to that which I experienced on hearing – for the first time – “A Day in the Life“, “Eleanor Rigby” or “Lucy in the Sky with Diamonds“. I had no idea that music could be like this. In the case of “Won’t Get Fooled Again” I was astonished that a ‘pop’ song could not only have something reasonable to say, but that it could do so with such power, such brio, such… passion! “Won’t Get Fooled Again” is one of those rare tracks that sounds exactly as fresh, meaningful and powerful today as it did when heard first.
“See Me, Feel Me” is – of course – a couple of years older, originating as it does in The Who’s ground-breaking rock opera – “Tommy” (the first of a mercifully modest canon!). Through the decades since the album was released in 1969 I have endured a number of different stage productions, as well as gazing slack-jawed at Ken Russell’s flamboyantly eccentric movie version. I have to say that I find the piece as a whole to be somewhat… patchy! There are – of course – familiar highlights such as “Pinball Wizard” and the finale – “Listening to You” – which apparently later found its true niche in The Who’s live set as an act of communion between band and audience.
The opera’s one moment of genius, however, is its penultimate fragment – the aforementioned “See Me, Feel Me” – a fleetingly transcendent distillation of pure longing, which hangs upon the sudden breathless air a still small voice in the eye of the hurricane. This palimpsest crystallises somewhat unexpectedly out of the preceding number – “We’re Not Gonna Take It” – and once it’s brief existence is done bunny-hops through a crunching gear-change into “Listening to You“.
The lyric comprises but one repeated line:
“See me, feel me, touch me, heal me”
There is no more because at this point there is nothing more to be said.
Harmonically, “See Me, Feel Me” is also stripped back as far as is feasible – comprising what is essentially a repeated three chord pattern…
|Ebmaj7 |Fsus4 F|Fsus4 F|G
…which forms (apparently!) an Aeolian progression. The suspensions that initially render the phrase tonally ambiguous resolve at the end of each line in a manner that contrives to be at once final and infinite. This is one of those rare musical phrases that is so complete in and of itself that no development is possible. I imagine that Pete Townshend must have tried pretty hard to come up with a way of so doing before giving up and accepting this gift from the gods for what it was – a perfect representation of imperfection! Trapped within itself like a bug in amber this tiny fragment manages thus to express eternal longing. We might wish that it went on for ever. It cannot do so.
You may not be familiar with this orchestral version – featuring Townshend himself on vocals rather than the familiar tones of Roger Daltrey.
See Me, Feel Me: See Me, Feel Me
There are some pieces of music – just as there are some poems, some prose passages – that are so immaculate that one wonders how the author – having achieved this proximity to perfection – could face writing again, for fear of never being able to top – or even match – what had already been accomplished.
Wouldn’t it be nice to be in that position!
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