. THE WHO
With Pete Townshend's windmill guitar By the time they made it really big
ﬁgures. Roger Daltrey’s mike-tossing Stateside, they’d toned it down con-
routines. John Entwistle’s free bass- siderabty. Townshend had written the "
Ilnes and a drummer (the late Keith rock opera “Tommy" and—with the
Moon) who redeﬁned traditional no- exception of the rock-solld "Who’s
tions of rock timekeeping, the Who in- Next" LP—the weight of the themes
troduced a hyper-kinetlc. smash ’em assayed too often capsized the mate-
up stage act that was rivaled only by rial's once-powerful pop elements.
James Brown's R&B passion plays.
Toss in a bleeding handful of brilliant, The Who soldiered on. made a lot of
alone-in-a-crowd Townshend composi- money. documented everything on
tions(“My Generation," “The Kids Are ﬁlm. and were last sighted on the
Alright," “I Can See for Miles") and road, ptaying "Tommy" and all ye otde
you'll begin to understand Just how far favorites as If punk—whlch their early
ahead of their contemporaries these records were a major Inﬂuence upon—
London mods really were. never happened. [3