"ALL THE BEST COWBOYS HAVE CHINESE EYES," Pete Townshend (Atco) — Too many unconvincing songs have been written about the travails of rock stardom: no privacy, always on the run, too much boredom, too much booze, too many drugs. But who can feel sorry for someone who put half a dozen guitar chords together with a lucky break and ended up rich and famous?

At least one artist, though, has managed to address the subject with conviction. Pete Townshend's days of young rage with the Who are long past, and on "All the Best Cowboys Have Chinese Eyes" he looks at fame, aging, betrayal and salvation — matters that were dealt with much less effectively on the last Who album, 1981's "Face Dances."

"Chinese Eyes" may end up as one of the overlooked gems of this year. It doesn't have the musical bite of Mr. Townshend's last solo record, "Empty Glass," which included the hit "Let My Love Open the Door" and several other rockers.

And many fans may be reluctant to delve into the lyrics if they read a recent Rolling Stone interview with Mr. Townshend. In the article he seemed too smug as he told about drying out after a (What else, jet-setters?) near fatal struggle with alcoholism and co-

SOUNDTRACKS

caine. People might expect "Chinese Eyes" to be filled with similar self-righteousness or, worse, self-pity.

Instead, these songs focus on more mature struggles — at once personal and universal — and Mr. Townshend's eye for detail and way with words usually are brilliant. His singing ranges from an occasional growl to a high, ringing tenor and always is assured and attractive.

Mr. Townshend's arrangements change tempo and tone with chameleonlike ease and regularity. He's still a fine guitar player, but the heart of the music here is his synthesizer work, which has become more sophisticated with each album.

"Stop Hurting People," which opens the album, goes from majestic passages to others that are bubbly and then soothing. The lyrics mix touches of humor with bursts of passion and at times are almost biblical in tone. Fans who believe that one good "Turn, Turn, Turn" deserves another may want to compare this with 1 Corinthians 13.

Love conquers poses. Love smashes stances. Love crushes angles into black.

"The Sea Refuses No River" follows with more epic lyrics, and the alternately stormy and placid music

'All the Best Cowboys' . . . struggles are universal

crashes and ebbs appropriately. Bits of chimes and wistful harmonica add to the sound.

"Interlude" is a few sad, beautiful seconds of delicate piano and synthesized horns.

Sometimes, walking in the streets of this city I see all the faces of the winners and the losers Why, can't I see a change — Before I say goodbye?

The four lines of lyrics for "Interlude" search out one of life's two most elusive elements, change, and the next song, "Face Dances Part Two,"

revels in the other, love. The synthesizer plays a sprightly march, and the layers of vocals are woven together flawlessly.

I can't be distracted By the stuttering of the kids I just sit enraptured By your fluttering eyelids . . . Face dances tonight Fate chances moonlight I can only stare

Similarly, the lyrics of "North Country Girl" are lovingly detailed, and "Uniforms," which examines people who "feel so warm when they conform," uses the same bouncing music.

"Stardom in Acton" is an unflattering, matter-of-fact look at the climb to the top. The music is rock solid, with urgent vocals and guitar work.

The album's closing cut, "Slit Skirts," is Mr. Townshend at his best. The brooding vocals seek survival and salvation in romance, and it's clear that Mr. Townshend is sincere when he sings that he "can't pretend that growing old never hurts."

The Rolling Stones have been praised for aging gracefully, and Paul McCartney drew rave reviews earlier this year when he finally got off his duff and made a solid album. Here's hoping that people similarly appreciate the depth Mr. Townshend shows on "Chinese Eyes."