Before 17,000 screaming fans in the sold out Civic Arena The Who, one of the greatest British rock and roll bands, made their first stop of eleven in the second leg of their American tour, and their first stop in Pittsburgh in over ten years. It was not a question of whether The Who was good, it was an unquestionable confirmation of their excellence.

After many statements to the press following their last major tour in 1976 that they would tour no more, and the death of Keith Moon in September of 1978, it looked like that was all for The Who, a recognized touring band formed in 1963. But, as demonstrated Sunday, "The Kids Are Alright."

The concert started with "Substitute" and "I Can't Explain," both singles released in 1965 which helped place The Who in London as mods in time or rockers, the new wavers of the 1960's. Accompanying the songs was "Baba O'Riley," telling of the "Teenage Wasteland" from the classic album "Who's Next."

The Who's new logo. (photo by David Cooper)

Townsend's crashing guitar was synchronized with flashing banks of green, pink, and blue lights flooding the stage on which Daltrey paced in never ending circles. Townshend also danced a jig during the pulsating lights of the interlude.

Selections From Quadrophenia

The Who reflected something from every stage of their history. "Quadrophenia," a rock opera about a mod with a split personality in the London scene of the early 1960's brought us the song "5:15," with heavy guitar-drum interplay. It was only one of several displays by Kenny Jones, proving he is a fine drummer, but he lacks the madman personality essential to Moon's fierce style.

Also from "Quadrophenia" came "I Am the Sea" and "Drowned," as well as a ten minute commercial before the show featuring film clips of the mods on their scooters being chased by the rockers on their motorcycles, along with songs from the new soundtrack.

One of the best received songs of the two hour and twenty minute set was the "Tommy" medley. Townshend's solo chords breaking into "Pinball Wizard" brought the crowd to their feet all the way through "See Me, Feel Me."

A spectacular light show during "Listening to You" flooded the entire Civic Arena as Townshend created a fusion with the audience when they shouted "We're not going to take it" with the band.

Their spectacular performance of "Tommy" at the Met in 1970, which made them the only rock band ever to perform there, has made it difficult for The Who to get away from constantly playing these same songs. This was a factor which almost caused them to permanently discontinue concert touring in 1976.

Entwistle Takes Spotlight

"The Ox … John Entwistle on bass" is how the taciturn bassist was introduced by Daltrey. Entwistle is the only band member besides the mastermind Townshend to write songs for The Who. "This is a song about Boris and bugs, called 'Boris the Spider'" was the Ox's introduction to an old song with a heavy bass line and eerie bass lead vocals by Entwistle himself.

During "My Wife," another song by Entwistle, he became too engrossed in jamming and forgot his vocal leads. Daltrey and Townshend laughed at him, and Townshend joked with the crowd, "Don't mind John, sometimes he forgets how to sing."

The band was open and joked several times with the audience. Townshend's remark "The Steeler's did it again" received a cheer, followed by Daltrey's teasing "We're in Cincinnati tomorrow night," which received a hearty boo from the crowd. This was before the tragedy that was to happen the next night of their tour, where eleven people were suffocated in the crush for first-come first-served seats.

Firecracker Interruptions

There was a serious side to the concert in Pittsburgh also. During the classic "Behind Blue Eyes," several firecrackers went off, and at the end of the song Townshend asked for total attention.

"I don't care whether it be blue eyes, green, or red, you're lucky to have them. I'd catch anyone throwing firecrackers and make sure he can't throw any more." This statement abruptly halted the firecrackers for the rest of the show.

Kenny Jones, former drummer for Small Faces (who also included Rod Stewart and Ronnie Wood) is not a newcomer to The Who's music; he played on seven of the hardest rocking songs in the movie version of "Tommy," including "The Acid Queen" and "Eyesight to the Blind." James is not the only new addition to the band.

Also added was John "Rabbit" Bundrick, also ex-Small Faces, and a very fine keyboardist. This is a bold change for the long time guitar-oriented band. Also performing was a new three piece horn section, of which Townshend joked about: "Makes no difference, we're still wonderful. See if you can tell any difference."

Their new additions were not spotlighted. Bundrick was hidden behind a huge bank of keyboards, and the horn section was located on the raised platforms overlooking the amp stacks near the back of the stage.

Despite these changes, The Who is still basically the same, and their fiery stage presence confirmed this. Townshend was continually prancing and dancing around the stage, powercording with his arm swinging like a windmill.

Daltrey, his vocals still strong after sixteen years and his hair cut short for his lead part in the movie McVicar, swung his mike around by the cord in huge circles throughout the entire performance. John Entwistle standing almost like a statue, laying a solid series of bass lines in connection with Jones fine drumming, made up the solid backbone of the rhythm section.

The Who Revival

The Who is currently amidst a very productive revival period, which started just before Moon's death with the release of "Who Are You." There are also several movies in the works, two with double soundtracks. "The Kids Are Alright," a movie which captures their careers, their conflicts, and their triumphs was released this past June in connection with a double album. Both movie and soundtrack received the highest critical acclaims.

The "Quadrophenia" project, released at the beginning of this month closely parallels the "Tommy" movie, with the exception that the members of The Who do not appear individually in the movie, but act as executive producers.

Also in The Who's timetable is the release of Townshend's solo album around Christmas time, followed by The Who due back in the studio in early February to record an album to be released in late spring.

It was during the numbers from "Who Are You" that The Who performed with the most vigor. During "Sister Disco" revolving spotlights descended over Daltrey, Townshend, and Kenny Jones amidst whirling synthesizer fills. "The Music Must Change," with Townshend's strong lead vocals and a hot keyboard-guitar battle displaying some of the fastest licks of the night, with the horn section blaring away in support.

Show Went Smoothly

"Who Are You" started on a totally darkened stage and erupted into a mammoth finish. Despite terrible feedback in Daltrey's vocals which forced him to lay down his mike and use Townshend's, sharing the mike with Townshend for harmonies, the show went on smoothly.

Rounding out the rest of the show were several Who classics. "Long Live Rock" (the single from "The Kids Are Alright" movie soundtrack) rocked headlong into a classic song The Who almost never fails to perform: "My Generation," with Daltrey's stuttering and stammering over Entwistle's powerful bass lines. Townshend's brash power chords introduced the song "I Can See For Miles."

The evenings only total instrumental was "Sparks," from the "Tommy" album, one of the songs that marked The Who as a concert band internationally at Woodstock. Daltrey grabbed two tambourines and he and Townshend stood side by side, both making furious arm swings in unison.

Four huge flashpots and billowing smoke introduced "Won't Get Fooled Again," during which Daltrey belted out a scream reminiscent of his early days. His vocal blast of the line "Meet the new boss, same as the old boss" confirmed to the audience The Who are still the top of the heap of rock and roll bands.

The Who's music reflects the youthful rebellion, frustration, and independence characterized by the '60's. It was Townshend's crashing guitar rifts that became the band's trademark, and earned Townshend the title "The Godfather of Punk."

During the encore, "Magic Bus," the band totally let loose. Daltrey played some fine blues harmonica meshed between Townshend's crashing guitar licks and fast fingered flying on the fret board.

Has time changed The Who? There is no more guitar smashing, and the sound system has been cut back to a reasonable size. The band members are no longer kids, but one thing remains: they're still young at heart. It's the energy and violence transmitted creatively into their music which makes it appealing to the youth of any generation.

The Who: First time in a decade and first stop on their new tour in Pittsburgh's Civic Arena on Sunday, Dec. 20 (photo by David Cooper) (photo by Ed King)