Roger Daltrey's biggest problem as a solo artist has been his inability to relate his own records to those he makes with the Who. His first two albums were self-conscious attempts to break down his Who identity for a solo persona. The result, especially on Ride a Rock Horse, was that Daltrey sounded uncomfortable, a stranger at his own session.

One of the Boys is a dramatic reversal. Perhaps because it's been so long between Who albums, Daltrey comes on with all the assurance and some of the fire that he can summon up as part of the Who. Even though he still seems to be groping for an identity in his choice of material, there's no question that he's becoming more comfortable with his own records.

The first two tracks—Phillip Goodhand-Tait's lachrymose Hollywood ballad "Parade" and Colin Blunstone's equally precious "Single Man's Dilemma"—give no indication of what's to come. Andy Pratt's "Avenging Annie" suddenly presents Daltrey's greatest solo moment, and the formula is vintage Who. Layers of acoustic and electric guitar rhythms and Rod Argent's tremendous Nicky Hopkins-like piano explode into John Entwistle's powerful rolling bass attack. Alvin Lee's lead guitar punctuates smoothly. Entwistle even delivers one of his deadpan bass vocal one-liners (another is on the title track).

The rest of the songs are good: McCartney's cleverly written "Giddy," a couple of nice ballads cowritten by Daltrey ("The Prisoner" evokes "Behind Blue Eyes") and a majestic rendition of Murray Head's "Say It Ain't So, Joe." The playing has spectacular flashes, especially Entwistle on Goodhand-Tait's "Leon," Rod Argent throughout and the guitar contributions from Jimmy McCullouch, Eric Clapton, Mick Ronson and Andy Fairweather-Low.

Most importantly, Daltrey is once again singing with the conviction he seemed to have lost around the time of the Tommy movie. A revitalized Who can't be far behind. (RS 245)

JOHN SWENSON