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He did not say that he was elated by his friends' deaths; he said that strictly as a performer he was later surprised to find their absence liberating

This is not just something that Who devotees have no right to criticize; it is not even a particularly astonishing or cruel utterance. The Who’s case for being the greatest rock band in history, and it has one, depends on the band having been a four-piece act in which all four pieces had the absolute maximum of performing ability and musical personality. To find any equivalent — maybe Zeppelin comes close — you would probably have to quit rock and go rummaging through the jazz section.

But I’ll tell you right now, there ain’t no Moon over there. I mean, good Lord: OF COURSE Keith Moon and John Entwistle were a difficult rhythm section for a guitarist to play in front of. Have you listened to those records? Professionals have talked about how watching Moon play up close was an exercise in constant suspense — you would see him take off at the start of the bar and go roaming around the drum kit and wonder how he could possibly make it back in time. He usually did make it — when he wasn’t so zonked he was falling off his stool, which is also a thing that happened sometimes.

This intricate, frantic quality is what made Moon the most inimitable of the great rock drummers — someone whose style you could recognize in a matter of seconds if he were playing on biscuit tins — but the difficulty of playing in front of a notional “timekeeper” so adventurous, and particularly doing it in concert, ought to be self-evident.

The standard advice for a rock guitarist in this predicament would be to make sure he had a very steady, unadventurous bass player to anchor the group. And the bassists for many excellent groups do, in fact, secretly stick to four or five notes they’re real comfortable with. But Entwistle offered Moon-like challenges as part of a rhythm section, albeit without inducing the same terror. At any moment his left hand might start leaping like a salmon on the fretboard, and if he played half notes in one bar, this was no guarantee he wouldn’t be doing startling, blinding sixteenths in the next.