1975-12-01 – The Danville Register
The Who World's Oldest Rock Band Still On Top
Staff Writer
It's hard to believe, but there were people at this weekend's Who concert at the Greensboro, N.C., Coliseum who were simply too young to remember when some of the songs were first recorded.
Teenagers of 13, 14, 15 years showed up to see the world's oldest rock'n'roll band—and got a lesson in what rock really is.
Pete Townshend may moan a bit now and again about he got old before he died, but his performance showed that he hasn't forgotten a thing and may have learned a few new tricks.
The Who's maximum r&b, if anything, has peaked higher than ever.
The band appears to have recovered sufficiently from Quadrophenia, its second Epic album, and has reverted to its rock roots.
"I Can't Explain," "Substitute," "Boris the Spider," and "Magic Bus" have at least as much appeal now as they did in the mid 1960's.
Of course, the group probably can't even begin to play most of the newest album, "By Numbers," in concert.
After a two-year hiatus, the Who had been given up for dead by plenty of loyal fans.
Because of their prolonged "vacation" from one another, their repertoire this time out includes only two new songs—"Squeeze Box," a positively lewd effort in the same obvious and engaging manner of early Chuck Berry hits, and "Dreaming from the Waist," an effort by Townshend to prove to one and sundry that he really knows what it's like to be old, feeble and impotent.
Don't believe that for a minute.
It would be difficult to conceive of a more virile, commanding set of performers.
Roger Daltrey, resplendent in his fringe vest and amazing mane, provided a gutsier performance than nearly any other rock vocalist could attempt.
His mike-whirling antics and herky-jerky motions were captivating. As usual, his vocal delivery was overwhelming.
Keith Moon provided his usual incredible performance on drums and gave the band a slightly insane aspect.
The man has got to be crazy. Nobody else would or could run through as many drumsticks in a concert. His antics sent sticks flying, and he simply kept on pounding away with a viciousness which couldn't be feigned.
John Entwistle, described by Daltrey as the best bass player in the business, probably could claim the distinction solely on his ripping lead play on "My Generation."
Entwistle has been quoted as being upset that people credit some of his leads to Townshend.
Sorry, John, but nobody else plays a bass that way, so you'll just have to keep showing up for the concerts so people can watch and find out for themselves.
Which leaves Peter Townshend.
One rock critic said that if God himself were in Daltrey's place, you'd still watch Townshend.
Well, a little hyperbole never hurt anybody.
Let's put this in perspective. The Archangel Michael might be noticed, but Mick Jagger wouldn't stand a chance with Townshend going through his gyrations.
As it is, Daltrey has to give up an unfair share of attention.
Nevertheless, as Townshend dances around, walks up and down in his clearly defined space, paces about like a caged animal and finally bursts into a pin-wheeling, leaping, gymnastic exhibition, there is no question that this man is what the Who is all about.
Although a viewer simply KNOWS that Townshend will be going into his famed convolutions, the maestro manages nonetheless to make every move a surprise, a treat.
Cases in point:
"Magic Bus": What does Townshend do to top smashing his guitar years ago to punctuate the song and to better the extended medley on "Live At Leeds?"
Nothing. The band simply played one of its lightest numbers of the night with Townshend going through fully five consecutive leaps to add emphasis to his astounding lead work.
"My Generation": There was no way that Townshend could take over the song with sound. He'd written it so Entwistle took much of the lead work. But the "old" man used the song to show off his mastery of the Chuck Berry duck walk. He's mastered it and improved on it.
"Won't Get Fooled Again": The lights go out, the band plays an eerie little break beep, beep, beep, and everybody is anticipating a gigantic leap by Townshend.
Fooled again. Townshend and Entwistle come down with a crashing chord, and the band come on simultaneously to show Townshend flying across stage-sliding on his knees.
He jumped up, still flailing away at the guitar and danced back to the right side of the stage, without missing a lick.
If there ever was anything to detract from Townshend, it was a lighting cue at the end of "See Me, Feel Me."
"Right behind you . . . ," Daltrey sang. And behind him came this huge light which could have been the sun for a few seconds. The audience was almost instantly blinded by the silhouetted figure of Daltrey.
Then the light started picking out the faces of people in the audience and the house lights came on.
Nobody had left the stage. There was hardly a break in the music. But that number had been so climactic—especially to some of the people who probably had never heard the first "Tommy" album, that the audience was afraid the band might exit immediately.
Were they ever wrong.
"Summertime Blues," "My Generation," "Join Together With the Band," "Roadrunner" and "Won't Get Fooled Again" followed in rapid succession.
If there was a doubter in the audience—someone so jaded with rock and roll that he thought he couldn't be won over—he learned differently.
The Who got even stronger in those closing numbers, and proved that they're still the band they were years ago
And more.
MAGIC BUS. Pete Townshend's classic rocker gave him an opportunity for some mid-air contortions, while Roger Daltrey plays harmonica. Keith Moon hammers the drums. The Who appeared this weekend in Greensboro, N.C.'s Coliseum. (Photo by Mike McGowan)
