It may be unseemly to convert on the basis of one little old rock ’n’ roll show.

Nevertheless, I think I’m going to join the Grey Panthers, if they’re still around and taking whippersnappers in.

Because after witnessing the phenomenal power those ex-Mods and current rock mercenaries, The Who, exhibited in their show at The Astrodome Saturday night, I figure there must be something to Seniors Power after all.

Oh yeah — they needed to take a break halfway through the 120-minute-plus megashow, to rest their tired feet, fingers and vocal cords. They are on the far side of 40, after all; and dear old Pete Townshend twisted an ankle during a particularly exuberant windmill.

But what an output the geezers managed on either side of that intermission! You can question the motives of Townshend, Roger Daltrey, John Entwistle and their accomplices all you like, but the inalterable fact is this: These old duffers still kick butt unlike anyone else ever did, or will do.

Townshend’s tastes in arrangements for this edition of The Who (15 bloody pieces’ worth) run the flabby and overblown — brass sections for “I Can See For Miles” ?!?!? — and Rog’s vocals don’t curdle the bowels as once they did.

Quibbles, though, mere quibbles. Inundated by press criticism and stung by pockets of fan indifference, these blokes came out onto the road and actually improved on their definitive, nostalgic performances during 1982’s alleged farewell tour.

This time, they brought even more help with them than in 1982. Five horn players, three background vocalists, a second guitarist (Steve Bolton), a new drummer (the incomparable Simon Phillips), a percussionist (Judi Linscott), a keyboardist (the trusty Rabbit Bundrick) — they make a huge noise, even in the monstrous cavern of The Astrodome.

It’s not always a focused, purposeful sound. “Miles,” “Can You See The Real Me,” “Substitute” and “Baba O’Riley” all suffered some from sheer textural overkill.

Oh, but boys and girls! When it all worked — when Pete remembered how much he loves to play live, when John unlimbered his thunderous fingers, and Roger just leaned back and hollered — it was one of those few rock moments that make you forget mortgages, pain or indigestion.

Hard work was also the underlying strength of the opening sets of both The Fabulous Thunderbirds and Stevie Ray Vaughan and Double Trouble (in order of appearance).

The Fab T-Birds have always

Please see THE WHO, 7C

Roger Daltrey and his colleagues Pete Townshend and John Entwistle

Post photo by Craig Hartley

showed that age hasn’t tamed their sound any.