Atco Records must have been happy with Pete’s sales, because soon enough fans’ cups ran over with Another Scoop, an equally satisfying sequel to his first collection of demos. While it still reached back to his earliest home recordings, this one leaned more on the mid-‘80s synth experiments and orchestral sessions from the ‘70s, along with the familiar Who sketches. None of the instrumental tracks really stand out; we’re here for Pete’s vulnerable voice, which rings like a bell on every track where he sings.
The familiar songs of course provide an alternate view, running the gamut from “La-La-La-Lies”, “The Kids Are Alright”, and “Call Me Lightning” to “Happy Jack”, “Pictures Of Lily”, and “Substitute”, “Christmas”, “Pinball Wizard”, and “Long Live Rock” to “You Better You Bet” and “Don’t Let Go The Coat”. Some of these are sequenced back to back in odd juxtapositions. As with the first volume, his liner notes give some background to each track, with even more detailed into about recording location, instruments used, even tape format and speed.
Many of the “new” songs deserve better exposure. “Girl In A Suitcase” is a mildly sarcastic turn from 1975. Two orchestral experiments provide quite the juxtaposition: “Brooklyn Kids” is heartbreaking, while “Football Fugue” is pompous but fun. “Holly Like Ivy” shows how much equipment he was able to bring on the Who’s Farewell Tour, though it’s nearly impossible to discern the lyrics. The transition from “Begin The Beguine”—recorded for a Meher Baba tribute album—into “Vicious Interlude”—wherein the artist at work has to scold a naughty child—makes the whole album. But the given excerpts from the aborted Siege project (the robotic “Cat Snatch” instrumental and the less repetitive but still frustrating “Ask Yourself”) show that the Who as well as the fans were probably better off without that final album.
Once again the second half is a little more challenging. Two more orchestral-based pieces dominate: “Praying The Game” is something of a musical companion to “Street In The City”, whereas “The Ferryman”—the music for which was heard briefly in the White City film—explores more of his spiritual readings. There are some nice acoustic numbers, such as a take on Charles Brown’s “Driftin’ Blues”, as well as the gorgeous “Never Ask Me”, a big ballad that would have made listeners retch had it appeared on Who Are You as intended. The set ends with “The Shout”, one of Pete’s most personal numbers and one that, despite its importance to its author, would never find a home. It is lovely, though.
While not as consistent as the first, Another Scoop is still essential listening. Considering that Pete must have hundreds of hours of similar tapes in his vault, it gave us diehards hope that more would follow. Moreover, at this point in his career, it seemed as if we were getting spoiled with all the riches, and that he was doing just fine without having to write for The Who. We had no way of knowing it wouldn’t last.
Pete Townshend Another Scoop (1987)—3½
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