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Leaving that aside, the song - performed on the original cast recording by Lee Remick - is a bittersweet oasis in a show stuffed with ideas and set pieces and pastiche numbers and the sorts of Big Ideas that Sondheim would soon learn to convey more adroitly. There is a frequently cited notion (one that Sondheim just as frequently refuted) that the show’s title song represents the purest, most unadulterated look into his own emotionally stunted psyche. Here is what Sondheim had to say about it. ‘Company’: The revival of his 1970 musical features a gender swap.‘West Side Story’: Does the musical, which features some of the artist’s best-known lyrics, deserve a new hearing?.His Legacy: As a mentor, a letter writer and an audience regular, Sondheim nurtured generations of theater makers.Final Interview: Days before he died, he sat down with The Times for his final major interview.
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It may have slipped between the cracks a bit in contrast to other classics by The Who, but you’ll never hear a tougher ode to desperation in your life.The revered and influential composer-lyricist died Nov. If you haven’t checked out “The Seeker” in a while, be prepared to be impressed all over again by its power and profundity. Yet the façade cracks a bit when Daltrey sings, “I’m a seeker/I’m a really desperate man.” When the narrator tries to make a connection, his efforts are thwarted by the fact that those he meets seem to be having the same problems: “I’m looking for me/You’re looking for you/We’re looking in at each other/And we don’t know what to do.” As a result, the narrator takes out his frustration on all those around him, trying to feel something by inflicting pain on others. The narrator’s admission that Bob Dylan, The Beatles, and Timothy Leary have all failed to help him seems to be a sly admission that nobody has all the answers, not even profound songwriters like Townshend. When he sings, “I won’t get to get what I’m after ‘til the day I die,” there’s not an ounce of hesitation or fear as he barrels toward that certain fate. on two feet as he bellows above the relentless rhythm section of John Entwistle and Keth Moon. Roger Daltrey sounds like the toughest S.O.B. The Seeker (Edit) Lyrics: I looked under chairs / I looked under tables / I'm tryin to find the key / To fifty million fables / They call me the seeker / I been searchin low and high / I won't get. One of the ingenious things about the song is how Townshend married those downbeat themes to a typically bruising Who rock arrangement. It just kind of covers a whole area where the guy’s being fantastically tough and ruthlessly nasty and he’s being incredibly selfish and he’s hurting people, wrecking people’s homes, abusing his heroes, he’s accusing everyone of doing nothing for him and yet at the same time he’s making a fairly valid statement, he’s getting nowhere, he’s doing nothing and the only thing he really can’t be sure of is his death, and that at least dead, he’s going to get what he wants. At the time of the song’s release, he talked about it with Rolling Stone: “Quite loosely, “The Seeker” was just a thing about what I call Divine Desperation, or just Desperation. If you read between the lines of “The Seeker,” you can hear Townshend trying to square that success with his constant restlessness. As a matter of fact, it was the first thing that Pete Townshend wrote for the band following Tommy, a project which gained him endless accolades as one of the preeminent rock songwriters. “The Seeker” feels like one of those songs, in part because it was a non-album single recorded and released in 1970 between the twin triumphs of Tommy and Who’s Next. When you’ve got a catalog as vast and impressive as that of The Who, some noteworthy songs can get lost in the shuffle.