Three of the world’s foremost English wierdos, two of them members of the Who, one a former Beatle, have new records out. Solo efforts having nothing to do with their respective groups, each record is a little crazy, a lot of fun and almost a sure hit from the word go.

“Mad Dog” by John Entwistle; “Two Sides of the Moon” by Keith Moon; and “Rock ’n’ Roll” by John Lennon are the records in question. Lennon, as everyone in the world must surely know, is a retired Beatle. Probably the most outspoken, most visible and most bizarre of the foursome. Entwistle is the bass player for the Who. Moon is the group’s drummer.

LET’S GO TO Lennon first, since he’s easily the most recognizable. His “Rock ’N’ Roll” (Apple) is a ’70s look at 15 first generation rock classics. Produced by Phil Spector, the man who well nigh revolutionized recordings in those early days with his “wall of sound,” it’s a fond, unpretentious backward glance which glows with wide open enthusiasm from start to finish.

Lennon, who has a tendency to preach in his music, approaches “Rock ’N’ Roll” straight on, paying somewhat of a tribute on one hand, having a rollicking good time on the other. Early rock and roll apparently his first love. He hasn’t sounded this good in years.

Part of the quality lies in the production—Spector has no equal in this type of work—and another part in the sidemen—Steve Cropper, Jose Feliciano, Leon Russell, Nino Tempo, Charlie Watts, Dr. John—and the last part in Lennon himself. Both his voice and approach are perfect for the good old timey stance adopted.

Special favorites include: “Be-Bop-A-Lulu,” “Stand By Me,” “Ain’t That a Shame,” “Do You Want To Dance,” “Sweet Little Sixteen,” “Peggy Sue,” “Bony Moronie” and “Just Because.”

Prima stuff, and not just a cheap nostalgia shot. “Rock ’N’ Roll” is a solid must for 98% of mankind.

* * *

JOHN ENTWISTLE isn’t always so visible as Lennon. But he’s no less noteworthy. Entwistle, you’ll recall, is the one at Who concerts who always stands off to the side looking semi sane while the rest of the band runs amuck. He’s probably the craziest of the lot and definitely one of the most talented.

This is demonstrated by “Mad Dog” (MCA), an album he cut with his own eight piece back up band called Ox. There are nine songs, all Entwistle originals, all good, tight little numbers in the Who tradition: English influenced, hard, basic rock and roll. Like Lennon’s album, there are no pretensions, no games, no sidestepping. It’s all just straight out rock and roll.

The chief joy here, after Entwistle’s sound musicianship and the tight unit into which he has whipped his band, is his approach to the music. While not as witty as his earlier “Rigor Mortis Sets In,” “Mad Dog” does indeed have its moments: subtle parodies; lines which can go three or four ways; splashes of irony which add a touch of bitter humor.

His vocals aren’t the strongest ever—pretty common, actually—but his music is great stuff. Completely original, well executed, nicely presented. But a little crazy.

* * *

KEITH MOON is even crazier, although in different ways. “Both Sides of the Moon” (MCA) is an all out monument to madness. To say the least.

His approach to the music— all written by other people — is more theatrical. Huge production numbers — many of them, like Entwistle’s parody stuff — and gently ribbing arrangements make up the bulk of it. His voice is extremely flexible, able to take on a number of qualities common to other singers, greatly aiding the theatrical nature of the enterprise.

Some of the players include Moon on drums and vocals; Ringo Starr, drums and vocals; Joe Walsh, guitars; Flo and Eddie; members of Fanny; Jesse Ed Davis; Danny Kootch; John Sebastian; Rick Nelson; Harry Nilsson and a dozen or so more. Best cuts include Brian Wilson’s “Don’t Worry Baby,” Nilsson’s “Together,” Lennon and McCartney’s “In My Life” and Pete Townsend’s “The Kids Are Alright.”

The motif generally employed here is gentle rock and roll done for fun. It’s quite a ways removed from the Who music he generally makes, emphasizing more the drama of the music than the power. Still, a fine album. Perhaps not as rewarding as “Rock ’N’ Roll” or “Mad Dog,” but definitely a fun way to spend an hour or so.