PASSAIC – Peter Townshend apparently has an overwhelming desire to satisfy both his musical creativity and the desires of the fans of his band, the Who.

Only a year ago, he wanted out of touring the concert beat.

His family life was strained, his hearing was shot and he was well aware that the tempestuous life of rocking ’n’ rolling had contributed greatly to the death of Keith Moon, his friend and fellow group member.

So what was the guitarist, songwriter and mastermind behind one of rock’s supreme and legendary bands doing on the stage of the Capitol Theater here Tuesday night?

It probably has to do with the first words out of singer Roger Daltrey’s mouth: “Don’t you think we look good together?”

The song was “Substitute.” And to be trite, there is no substitute for the veteran British rock band. Townshend, Daltrey, bass player John Entwistle and drummer Kenny Jones (Moon’s replacement) looked and sounded mighty impressive together, especially after a three-year absence from the road.

The show, the second of two nights at the Capitol and the ninth on this national tour, aptly demonstrated why the Who are perhaps the best live act in the history of rock ’n’ roll. This most likely was far from their best performance, but it nevertheless topped the raw power and excitement of almost any other rock band on the circuit today. Added to the fact that the three original Who members gave a performance that was as fresh as the first snow, despite their fifteen years in the business, they proved there is still much life in this band.

For more than two hours and through 23 songs, the joy of rock was the main theme. The enthusiastic audience filling every corner of the old 3,400-capacity theater, stayed on its collective feet for nearly every minute. Who wants to sit when powerful music keeps churning from the first note to the last?

Those notes helped explain why the Who are considered, along with the Beatles and the Rolling Stones, about the most influential and talented rock bands ever.

Old songs such as “I Can’t Explain,” “Substitute,” “Magic Bus” and the anthem-like “My Generation” (with lyrics like “Hope I die before I get old”) still had enough energy and emotion to convey the feelings of youthful anguish the Who epitomized. Those feelings continued though the band’s later eras, which were well represented at the Capitol with selections from “Quadrophenia,” the group’s second rock opera, plus more recent songs such as “Won’t Get Fooled Again,” “Baba O’Reilly” and “Trick of the Light.”

Tuesday’s show also touched upon two other areas of importance to the band. Recognizing that their first acceptance as international superstars did not arrive until 1969, they played several selections from “Tommy,” their acclaimed first rock opera from that year.

They also recognized that as late ’70s survivors from the first wave of British rock bands, along with the Stones and the Kinks, they have come full circle as still-powerful rockers who serve as role models for various current-day new wave bands such as the Jam and the Clash. This was demonstrated by songs that celebrated their rare art, including “Sister Disco” (“Goodbye, sister disco”), “The Music Must Change” “Long Live Rock” and, of course, “Who Are You.”

There were some other bright moments. Without any new songs, the Who chose to reinterpret some old ones. They also ad libbed well, with Townshend playing some slinky r&b (“My Generation Blues” and a medley of “Summertime Blues,” “Roadrunner” and Free’s “All Right Now” during an emotional encore.)

The joy of seeing the Who in such an intimate locale as the Capitol was coupled with the joy of seeing three veterans of the rock wars seemingly enjoying themselves. Townshend, whose hearing may be totally obliterated by now as a result of the intense volume of the shows, did his patented windmills and leaps while he smiled and pranced throughout the evening. The power chords he hit on his guitar, plus the stinging lead he supplied, once again showed his mastery.

Daltrey, whose once-long and curly locks are now short and straight, sung strongly while spinning his microphone cord without missing a beat. Entwistle remained steadfast, providing a solid bass beat along with Jones’ competent drumming. While no one can replace the memory of Moon, the strongest and most innovative drummer rock music ever saw, Jones’ more subtle style is still laudable.

Keyboard session player John Bundrick was in the background, but a horn ensemble, playing on several songs, added more spark.

So the Who, who begin a five-night stand at Madison Square Garden in New York this week, have enjoyed a marvelous revival in the past few months. An acclaimed film documentary about the band, called “The Kids are Alright,” its successful soundtrack album, the imminent release of a film based on its “Quadrophenia” album and now a long-awaited tour propel this band into its third decade.

Then it’s not so surprising to see Townshend back there on the stage, playing his heart out. After all, he once said, “Rock music is important to people because in this crazy world it allows you to face up to problems, but at the same time, to sort of dance all over ’em.”