THE WHO

(Continued from Page 3) almost chanting disco textures.

Only "The Quiet One" represented The Who's previous album, "Face Dances." Talented but unassuming bassist John Entwistle handled lead vocal chores on this mostly autobiographical tale.

Surprising were the two numbers from the "Odds and Sods" collection. "Long Live Rock" is a basic bump de bump rock tribute, but "Naked Eye," remains one of the finest Who staples. Its melody and high vocal charm puts it in the class of "Who's Next," the band's greatest record.

I t was during songs from "Who's Next" that (Continued on Page 12)

THE WHO (Continued from Page 4) band and audience fully erupted.

For once The Who did not have to use tapes to provide the backdrop for "Won't Get Fooled Again" and "Baba O'Riley." Instead, keyboardist Tim Gorman provided the rich orchestration for some of the best Who numbers.

Having earlier strapped on a guitar to strum some rare backup, Daltrey blew a harp to cover the violin parts on "Baba O'Riley," then sang sweetly during the beautiful ballad, "Behind Blue Eyes."

The anthem "Won't Get Fooled Again" typified the powerful night. Full of false endings, a huge explosion and Townshend's vintage guitar demolition, the song concluded with a maniac Townshend bouncing above the stage like a rocket, refusing to let go.

For encores, The Who provided a frolicking version of "Young Man's Blues," then capped the night with a frenzy "Twist and Shout" — Entwistle moving stage front to sing lead, while ripping off unbelievable bass lines.

Then came the final bows and the full lights. The group mugged for a few minutes, Townshend muttering cute nothings in his smart British accent, not at all anxious to say goodbye.