It was not quite the Who of old. The times have changed, and so has the music. The trademark maniacal assault on the drums disappeared with the death of Keith Moon late last year. Concerts no longer conclude with the ritualistic destruction of the band's instruments.

And so, perhaps, there was a degree of disappointment among those who jammed the Spectrum for the Who's two-night engagement, which ended last night at the Spectrum. Especially for the younger fans — and they were in the majority on opening night — who took the British supergroup into their hearts as a result of such documentaries as the recent Who film "The Kids Are Alright."

There was no mayhem Monday night at the Spectrum. And the absence of mayhem off stage was viewed with relief by those who stood guard against a repeat of the tragedy a week earlier in Cincinnati, where 11 people died in a stampede for seats.

But for those who came to experience the pure power of what may be the best rock band of them all, there was no cause for chagrin. The Who made it clear that it remains a band to be reckoned with — particularly in live performances.

There is Pete Townshend, the mastermind who put it all together back in 1964. Up front, little has changed. His slashing, windmill guitar chording and periodic leaps remain a vital part of the visuals.

Lead singer Roger Daltry has lost none of the old vigor and skill. With his head tilted back and his hand mike held high, he pranced and danced throughout the group's two-hour and 15-minute performance.

And bassist John Entwhistle was as seemingly uninterested in the proceedings as ever, restricting his role as always to delivering the sharp bass lines.

Kenney Jones is the newcomer, having joined the Who on drums after the death of Moon. While he lacks the dynamics of Moon's flamboyant style, Jones compensates with his own steady approach. A comparison with Moon is in order only on those numbers that relied strongly on Moon's dazzling stick speed.

A new dimension to the Who's music has been provided by the addition of John (Rabbit) Bundrick on keyboards. And a three-piece horn section was called on to augment several of the band's songs.

To be sure, the group has matured, and musical concepts have been expanded. But the power of the Who's music has not suffered. The vintage teen anthems and the newer songs were delivered with a message for the upstart "new wave" set that has indignantly denounced the "tired old men" of rock music's establishment.

What the Who is proving on this tour is that power pop can be punched out with an abundance of class.

The spirit of the 1960s — and maybe just a bit of the dream of that decade — was brought back to life with "My Generation," "Long Live Rock" and a medley from "Tommy," the Who's landmark rock opera.