Yet Another Review

Hey folks,

Here is the LI Newsday's review of the Tues. Quad show.   (It's pretty much
verbatim, with obligatory spelling and song title corrections.)  Enjoy!

                                      Time Travelers
                   The Who turns back the clock at the Garden

By Stephen Williams 
Staff Writer

Throughout the past quarter-century, Peter Townshend's concept of
"Quadrophenia" has evolved from a half-brilliant rock testament on two
records to a complex but classic set piece for four perfectionist musicians
to a theatrical ensemble work with brass section, layered synthesizers and
mini-choir.  One can only guess The Who's next stop.  Vegas?
Not likely, although there were plenty of worries that the band-not formally
The Who this go-round, but I can't think of a better name-might be lost
completely if this ambitious project were just another concert in a summer of
Styx, Kansas and REO Speedwagon concerts.
After watching video highlights of the full-blown "Quadrophenia" debut last
month in London's Hyde Park, I wasn't sure what to expect on Tuesday: With
the exception of Gary Glitter's cameo and Zak Starkey's roiling, inspired
drumming, the "actors" were uninvolved, the audience unreceptive, Townshend
himself trepidant.
Forget London.
The Who at the Garden this week has come full circle-well, the band may never
come full circle-and suddenly it's 1975 again, with the late keith Moon on
the drum kit, Roger Daltrey thirtysomething and belting with clear
concentration, John Entwistle's fingers flying, and Townshend possessed.
Measured by the first "Quadrophenia" tour in 1973 -a disaster in which
Daltrey tried to explain the mods-vs.-rockers theme to American audiences and
Townshend violently stormed off the stage one night because the backing
synthesizer tapes failed to cue- this opening night in the States was pumped
with passion, videos tha enriched rather than sabotaged the show, and was
notable for generating rock's circle of life as invented by The Who three
decades ago: that giant invisible spinning hoop that transfers energy between
band and audience.
Townshend, except when a spotlight hit his face directly and made it a ghost
mask, had the kinks worked out by the second song, and delivered sturdy
accoustic support(his brother Simon was super on electric guitar) and
occaisionally closed his eyes and gave that little shake of the head that
indicated he was in whirling-dirvish mode.
Entwistle, of course, was The Ox, the anchor on bass,  Daltrey looked half
his age- his left eye, hit by a mike in London rehearsals, was patchles and
apparently okay- and the quartet of back-up singers (not to mention the five
horns and Rabbit Bundrick's keyboards) meant he could pace his singing.
 Billy Idol got a big hand for Bell Boy's bit part and Gary Glitter, as hero
Jimmy's rock-star idol of "The Punk meets the Godfather," was.  .  .
 endearing.
The surprise was Starkey, the son of Ringo Starr, who won't need that
explainer after his name after Tuesday night.  With a round face and soft
bangs that made look almost like Moon, Starkey was unshakable on the
often-complicated rhythm charts and added Moon-like flourishes without
Moon-like frenzy.  Sign this guy.
Townshend's intent that the project represent the "quadrophonic" nature of
The Who never came clear; the idea was that Moon was the insane one,
Entwistle the romantic, Daltrey the bad guy, Pete the good.  Despite that
undeveloped metaphor, and the foreignness of "Quadrophenia's" British
social-angst allegoriesto some audiences (actor Phil Daniel's between-songs
commentary was more distracting than illuminating), the song cycle soars on
the undiminished strengths of Townshend's melodies, melodies that are every
bit as rock-hard as his "Tommy" score is exquisite and explosive.   "I'm
One," "Is It in My Head?"
"Drowned," and "5:15" lacked the radio play appeal of a "Pinball Wizard."
 Yet in retrospect the album, recently remastered for compact disc, remains
fresher and just as appealing. 
Since "Quadrophenia" serves up no encores, standards like "Behind Blue Eyes"
and "Won't Get Fooled Again" - the latter remarkably overhauled into an
acoustic ballad - set up an exuberant "Magic Bus" and a rippling version of
the oldie "Naked Eye."
"New York," Townshend said at the end, "you're the greatest city in the
world."  This was New York, and this was The Who, and another cycle was
coming complete. 


Pam