PETE TOWNSHEND

"ALL THE BEST COWBOYS HAVE CHINESE EYES" Atco

One of the most literate and passionate of rock ’n’ rollers, Pete Townshend seldom fails to send provocative messages to the rest of the world with each new album.

His curiously titled new LP, All the Best Cowboys Have Chinese Eyes, is no exception.

From the chic existentialism of The Who’s early youth anthems, to Townshend’s more spiritual, introspective musical experiments, the songwriter/guitarist has established himself as one of the most important artists of the genre — a true star.

This star status is exactly what he denounces on much of his more current work, especially on this elaborately produced new record. Townshend sums up his thesis this way:

“All stars, great and small, shine under God. It was only impudence and frivolity that conspired to make any one of them try to get higher. A smile is still merely a smile. Anyone for snooker?”…

“Stop Hurting People,” the album’s opener, would be a beautiful poem on its own, an urgent plea to everyone to drop their “poses” and live as one. Townshend makes the message palatable by framing his spoken-word vocals in trumpeting synthesizers, sailing over a danceable beat.

The epic rock ’n’ roll of “Stardom in Action” (which contains more of his self-confessions) will reaffirm his ability to kick out the jams.

“Slit Skirts” is another jumper with its sweeping piano and guitar and thundering drums, but it also contains the lyrical observations of a man facing middle age when he’s still a kid at heart.

On the gentler side, the cosmic oneness theme is beautifully enhanced by the matching of lush orchestration with Townshend’s delicately pastoral electric guitar work and Peter Hope-Evans dreamy harmonica on “The Sea Refuses No River.” Tender intimacy is beautifully conveyed through Townshend’s sensitive tenor on an otherwise rocking “Face Dances Part Two.”

There are delicious experiments in meter and melody structure on “Exquisitely Bored” — which builds from brooding mid-tempo guitars and bass to rollicking multi-tracked guitars and harmony — and “Communication,” with an urgency of stampeding drums and fast-spitting vocals.

With this offering, Pete has more than made up for The Who disappointing 1981 offering, Face Dances.

— Gene Triplett