Townshend's romanticism will keep Who fans happy
Special Writer
Peter Townshend seems perpetually out of step with the rest of the world. He is an incurable romantic and thoughtful spokesman for one of rock's premier bands, The Who.
Whenever Townshend releases a solo album, it's big news for Who fanatics, and only true disciples attach as much importance to Townshend's solo work as to his recordings as a member of The Who.
Townshend opens up his soul for display and although The Who is greater than the sum of its parts, on his own Townshend is quite satisfactory.
His new album, "Empty Glass" (Atco SD 32-100; $8.98), is his first non-group project since the 1977 collaboration with Small Faces bassist/guitarist Ronnie Lane, "Rough Mix." In fact, this album is better than the last studio album by The Who, "Who Are You," which was marred by cumbersome arrangements and murky production.
The production here is by Chris Thomas (he's worked with Badfinger and Paul McCartney) and it's assertive without being overbearing — the mark of a consummate producer.
Townshend handles all guitars and synthesizers with able assistance from John "Rabbit" Bundrick (a Texan who is touring with The Who) on piano and organ, bassist Tony Butler (he plays in a group with Townshend's younger brother Simon) and drummer Simon Phillips. Kenny Jones of The Who plays drums on the opening cut, "Rough Boys," a song Townshend dedicates to his children and the seminal punk rock band, the Sex Pistols. If The Who's "Who Are You" was a slap at that group, then Townshend has mellowed a bit since the breakup of the Sex Pistols.
Peter seems to be reaching for acceptance from the younger generation and finding the lines of communication closing in his face: "Rough boys, don't walk away . . . " Townshend plays some of his signature "power-chording" guitar which builds to a symphonic climax. "I Am An Animal" is another of Townshend's soul-searching compositions. The piano work by Bundrick is vibrant — adding color to the sound throughout the album.
"And I Moved" is a strange one. Some outstanding piano adds a backdrop to the story of a confrontation: "And he laid me back like an empty dress/ And I moved, but a minute after he was weeping." Townshend's lyrics are never predictable.
"Let My Love Open The Door" is a paean to
EMPTY GLASS (Atco SD 32-100; $8.98)
love, similar to "My Baby Gives It Away" on the "Rough Mix" album. On "Jools and Jim," Townshend attacks the stuffy rock press and his poison pen strikes again: "They have a standard of perfection there/ That you and I can never share." The song is brash but, as always, melodic.
Side two of "Empty Glass" is just as pointed. "Keep On Working" is a little ditty about (you guessed it) work. Townshend's songs have the capacity to draw on the simplest of sources to make a complex point. "Cat's In The Cupboard" is in the style of Townshend's best rockers — pressure cookers that explode with a burst of guitar or organ. Tempo changes — another Townshend trait — keep the sound from stagnating. Peter Hope-Evans, who played on "Rough Mix," is featured on harmonica.
"Empty Glass" and "Gonna Get You" are prime material for The Who. The chorus on "Empty Glass" is tailor-made for Roger Daltrey's expressive voice, but Townshend's poignant delivery makes up for any shortcomings he may have in vocal talent. Townshend's soprano is spine-tingling. "Gonna Get You" is from the mold of The Who's "Won't Get Fooled Again." Guitar riffs bounce off Bundrick's piano and Butler's choppy bass guitar.
Pete Townshend is one of rock's most important artists and "Empty Glass" is challenging and enjoyable music. It's more than enough to keep the fans happy — until the next album from The Who.
