With "The Seeker" Pete Townshend and the Who take that proverbial one step backwards.

A subdued (for the Who) rock and roller that gives the impression of having slightly more muscle than it shows, "The Seeker" addresses itself to the futility of seeking The Answer (which, we are informed, neither Bobby Dylan, the Beatles, or even Timothy Leary has to bestow). Built around a rather familiar rock riff and employing a typically obvious change to hook in its chorus, it's highlighted instrumentally by sympathetic interplay between Townshend's guitar and Entwistle's bass, bombastic (and unusually well-recorded) Moon drumming, and a Chuckleberry-ish break by Townshend, who elsewhere amuses himself by brushing up on his "Sally Simpson" piano licks.

Well-performed and clever as it is, though, it's a trifle mundane compared to most everything from Tommy or the group's live act. Distinguished by neither the pulverizing fury of "I Can See For Miles" nor the perverse wit of "Pictures Of Lily" and "I'm A Boy," it is reminiscent of "Call Me Lightning," "Magic Bus," and other disappointing singles Townshend slipped us in between strokes of genius.

What's most disturbing about this single is its tone: After the success of Tommy, Townshend seemingly feels called upon to re-define his context, to reassure us that he's not off building a soapbox. Very somber, this. They should have given us Entwistle's exhilarating "Heaven and Hell" instead.

On the back is Daltrey's "Here For More," his second released attempt at songwriting. Unlike his earlier "See My Way," this one is even a little hummable, comprised of a catchy melody and nice bluegrassy guitar from Pete. Country-flavored in the typically charming English way, it demonstrates that Daltrey may yet surpass Ringo Starr.

Bring on the live album, he said for the millionth time.

“Is It True”

As the British Invasion reached its peak in 1964, Brenda Lee went from Nashville to London to record one of her hardest-rocking hits, her perky vocal backed by a stuttering, squalling guitar. That guitar was played by session musician Jimmy Page, yet to skyrocket to fame with first the Yardbirds and then Led Zeppelin. "She said to me, 'I've come here to make a record with the British sound,'" remembered producer Mickie Most. "She felt she wouldn't get the same sound in Nashville because they're only just catching up on the British beat group sound of about six months ago."