October 22, 2020

1980-04-30 – The Des Moines Register

1980 04 30 The_Des_Moines_Register_Wed__Apr_30__1980_

The Who -—
A rock ’n’ roll
miracle in Amos

By JIM KELLEY
emmmwmar

AMES,1A.-TheWhoshotup
Iowa with e vein full of rock 'n' roll
-— the hard stuff ~ at Hilton
Coliseum here Tueeday night.

An estimated 14,000 enthusiastic
fans revelled in it and stayed on their
feet tortheentirello-minute show.

The crack British rock quartet
delivered some monatroua full bore
rock. and made a iew miatakee. There
were several miecnea. moatly

involving the amp loath; the beat

ewe REVIEW
toremomentnowandthenJathe

sound system. nicely hm overhead
to avoid blocking the view. whiatled
jarring feedback on and of! {or much
of the night.

Nobody cared. it was the good stuff
they had come for. and it was there in
spades.

Powerhoue Roch

No hand can really rock out a The
Who can. Some fans would ergue, in
iect. that this group invented power-
house rock 'n' roll back in 1965. It
certainly played as if it had.

Singer Roget Deitrey'a voice rent
the hall and charted its atmosphere.
Guitarist Pete Townahend'a licks.
runa and windmill power chorda
iound the primal rock consciouaneaa
in the many (em and drew them
together in a joyous expression of raw
ieeling.

Baum John Entwhiatle poured the
rock aolid foundation it all needed. a:
well as pulled ofl‘aevenl stunning
base leads. Drummer Kenny Jones.
replacing the late Keith Moon.
smashed along behind and beneath it
all providing —forthemoetpnrt —
an adequate ateadineaa, though
without any n! Moon's oid flashineea.

A trio 0! hreaa wind playera and a
keyboardist - none of them identi-
fied by name — rounded out the
group.

There was a particular irony here
Tuesday. Deltrey and Townlhend. the
band’s “iront” men. looked aa it they
could have rolled in from anywhere
to phywithaahowataomeheck
streethar.Eechhadahorthairand
wore a jacket and blue jean. giving
them the look of today's New Weve
rockers.

Lou Me

The irony is that's how they looked
15 yeanagowhentheykichedotithe
musical atyle that nowadaya is con-
sidered [rah and modern.

The Who did one of its more
piercing numhen early in the aet. e
piece letely rediacovered by acme
iowa radio stations: “Babe O'Reilly.”
Deltrey chilled the crowd when he
declared: “Out here in the fields. I’ve
found something real. I get my back
into my living." Towmhend stepped
to the micronhone end inatrncted
listeners: “Don't cry. don't clone you:
eyes. It's only teen-age wasteland."
The sentiment hit its mark; the ex-
huberant crowd roared acknowledge-
ment with one voice.

Townehend'e singing sounded
strained for a moment. but he quickly
recovered and it never happened

again.
Entwhistie'a baaa was nearly
perfect —— aolid without any

muddineaa or roar - as he under-
pinned “Behind Blue Eyes." It in
another of Townehend’e many pithy.
insightful and crisp comments on
society. Daltrey sang: “No one knows
what it's like to be the bad man. the
and man. behind blue eyea.... My
dreams. they aren’t an empty as my
conscience seems to he."

The piece simply cooked.

The home figured nicely into “Who
Are You." a seemingly appropriate
question for an aging rock star to be
asking. An Entwhiatle. Townehend
and the keyboardist layered their
harmonica — “Who are you? Who,
who? Who. who?" - over Deltrey's
lead vocals. the bra; punched it: own
voicing of that same phrase, filling
the arena with the question.

To bring it home firmer. Deltrey.
looking tanned and much more like a
beach hum than I rock star — ran in
place ea it he were pursued or
pursc‘ng. The feeling of relentles-
nese iatriy dripped from both the tune
and its central query.