John Entwistle dishe draws, writes, survive

It’s not five minutes into the conversation before John Entwistle fires off his first salvo.

Asked what advantages there are to touring with his own band as opposed to hitting the road with one of the legendary outfits in rock ’n’ roll history, Entwistle doesn’t offer any happy-Jack politicism.

“I get a lot more time playing my own songs than I do with those two other giant egos,” Entwistle said. “I’m allowed to do what I want to do.”

Arguably the most influential electric bass player who ever thumbed his tight strings, Entwistle doesn’t speak of Pete Townshend and Roger Daltrey with any vigorous rancor. His tone when speaking of The Who and its members is more sardonic bemusement. Entwistle has always been The Who who kept things in perspective.

But The Who is gone as a working entity, perhaps forever, and Entwistle is doing his own thing. He brings his four-piece band to the Belly Up Tavern in Solana Beach on Thursday, with a multi-

When you make something sacred, it gets boring fast.

JOHN ENTWISTLE When: 9 p.m. Thursday Where: Belly Up Tavern, 143 S. Cedros, Solana Beach Tickets: $12 Information: 481-9022

era set list and a renewed energy for experiment.

Speaking by telephone from a hotel near Houston, Entwistle says his solo tour includes material he wrote for The Who, songs from his solid solo career and a few surprise covers. Entwistle’s band features longtime touring partner, producer and drummer Steve Luongo, guitarist Godfrey Townsend and keyboard player Alan St. John.

“We had a bit of trouble with the snow on the East Coast and weren’t able to rehearse,” Entwistle said. “But we’ve been working some songs out on the bus and getting better as we go along.”

Who freaks and more astute rock ’n’ roll followers have long realized what an impressive songwriter Entwistle has been since the British Invasion heyday. His Who songs include “Boris the Spider,” “Whiskey Man,” “My Wife,” “Postcard,” “Success Story,” “Trick of the Light,” “The Quiet One” and “You,” while his five solo albums are rich with both bass-heavy tapestry and passionate, purposeful lyricism.

“It’s nice to go back to some of the older work, though after a while it becomes more difficult to remember,” Entwistle said. “There are so many contrasting styles, and that’s why we don’t mind some improvisation in this band, even if the song is supposedly sacred. When you make something sacred, it gets boring fast.”

Entwistle has managed to stay

away from boredom with a busy recent schedule. He spent the summer touring with Ringo Starr and His Traveling All-Starr Band, and continues to work on his art. Entwistle’s pen-and-ink drawings of famous rock stars have earned praise from critics, and again show off his tendency to glance askew at superstar providence.

“We had our first show in Cleveland a couple of weeks ago, and we’re moving around the country now,” he said. “Most people are easy to draw because I can change their faces to suit my needs. People like Elton John and Rod Stewart are different. They are kind of stuck with the faces they have.”

Entwistle is also putting together two separate trilogies of an autobiography covering his own upbringing and three-decade experiences with The Who, a tell-all with some promised bite.

“I started the book five years ago after the last Who tour,” he said.

“I spent five months putting the facts together. I’ve read all the other books, and most of them are fiction. For one thing, I don’t remember Pete having as big a role as everybody says he did. I don’t remember him doing half the things people say he’s done.”

Ouch. But Entwistle also insists his books won’t be pal-bashers or even ex-pal bashers.

“These books are mostly for my own well-being,” he said. “I’m releasing all my Who demons.”

Entwistle is vaguely more tolerant when discussing the revived “Tommy” phenomenon of the past few years, when a new musical production of The Who rock opera debuted at the La Jolla Playhouse — with Entwistle in attendance on opening night — then moved to Broadway, where it won a Tony Award for best musical.

“It’s all nice for Pete, and he’s done a good job reinventing that piece over the years,” he said. “But it seemed to me kind of a watered-down Broadway version, with all sorts of deep, serious meaning that wasn’t necessarily a part of the original vision. But it will do, I suppose.”

Still, Entwistle insists he isn’t looking down from some perfected, treble-free ivory tower. The guru of bass admits he’s still trying to figure out the complexity of his instrument.

“I’m still learning, and still trying to improve my playing,” he said.

“I go to shows where some unknown bass player is working and sometimes I’m amazed by what I hear. I get jealous because I know I can’t repeat it. I’m still trying to generate a little magic with my music.”