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By James D. Carney

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He also recognized that the Summer of Love was no more the dawning– of–the–age–of–Aquarius than the trad jazz fad had been. Come 1968, and rock ‘n’ roll revival was in the air, and, after The Move had invested their ‘Fire Brigade’ with an antique Duane Eddy twang, The Who 45 KEITH MOON were being accused of regression as well as bandwagon–jumping for re–inserting into the stage repertoire ‘Shakin’ All Over’, ‘Summertime Blues’, ‘Fortune Teller’ and further showstoppers that had got both The Detours and Clyde Burns and the Beachcombers through rough nights in suburban dance halls only five years earlier.

Like street lamps or milk bottles, they’ll simply be there. Just as all a typical visitor to the Louvre wants to see is the Mona Lisa, sparing only perfunctory glances at what might be essentially finer paintings along the corridors leading to it, the present–day Who performing a new Townshend composition in concert is regarded as a self–indulgence, an obligatory lull requiring a more subdued reaction than that for when ‘My Generation’ or ‘Substitute’ makes everything all right again – though nobody could pretend that that’s what it must have been like at the Marquee, circa 1965.

These included chartbusters in his own right – beginning with 1973’s ‘Giving It All Away’ – starring roles in large budget movies and, an accolade to his increased versatility as a singer, a try at light opera: not bad going for a Mod from Shepherd’s Bush. As far as Average Joe was concerned, Daltrey was, no matter what truly went on in the confines of recording studio and dressing room, The Who’s still, small voice of reason, talking calm sense when Townshend and, especially, Moon were running around like headless chickens.

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