The Hillbenders: Tommy: A Bluegrass Opry

The Hillbenders
Tommy: A Bluegrass Opry
(Compass)
Rating: 3.5 out of 5 stars

The concept of bluegrass bands covering rock classics is nothing new. Heck, Hayseed Dixie crafted a moderately successful, nearly decade long career on it and the “Pickin’ On..” series runs the music of everyone from Jimi Hendrix and Pink Floyd to Gov’t Mule and the Black Keys through the hillbilly grinder. But this reinvention of the Who’s Tommy is one of the most ambitious since it rearranges the entire album (minus one key track), in order, for a back country banjo, guitar, dobro, mandolin and bass setup.

It helps that the Hillbenders are an established, unusually talented group that, unlike Hayseed Dixie, isn’t approaching this project with a sly wink and elbow prod. Rather, the quintet plays it straight, clearly taking pains to work out arrangements and vocals to best reflect the serious, somewhat murky intent of the expansive, unique rock opera epic and avoid the novelty status that is all but built into the concept.

As you might expect, some songs work better than others. Breaking down “The Acid Queen” to a bunch of hoedown solos doesn’t exactly reflect the wilder intent of the tune and the relatively cheery “Go to the Mirror” loses some of the song’s drama and intensity. But key tracks like “Sensation,” “I’m Free,” and especially “Pinball Wizard” work perfectly well and even thrive in these zippy, stripped down, backwoods renditions. Regrettably the group decided not to attempt the Who’s 10 minute tour-de-force instrumental “Underture,” although that might have made for a particularly rousing experience and spotlighted the band’s chops.

Especially impressive is the Hillbenders’ vocals (not credited by song) which capture the nuances that made those of Roger Daltrey and Pete Townshend so dynamic on the 1969 double vinyl release.

Fans of Tommy who also lean to bluegrass are obviously the primary audience for this project. But even those new to the Who’s classic will appreciate this romp. It should send them back to the original that still holds up well enough to be able to withstand this rather radical re-interpretation; one that succeeds due to the Hillbenders’ musicality and intentions that are as valid as those of Pete Townshend’s initial opus.