They’re not exactly The Who, but it’s semantics. The real Who included John Entwhistle and Keith Moon, each of whom are long deceased.

But The Who as they stand are originators Pete Townshend and Roger Daltrey. And their self-titled album sold the most copies this past week, 90 thousand. It’s their first number 1 in over thirty years. The number two album, also without streaming figures, was the very hot, very now Camilla Cabello, whose “Romance” did about 45,000 CDs and downloads.

Of course when you add in streaming, The Who came in second to someone called Roddy Ricch. But Roddy’s sales are almost purely from streaming. His 100,000 total had just 3,000 paid downloads and CDs. No one wanted to own a copy of Roddy’s album. Everyone wanted The Who.

It’s kind of amazing. But well played. The real last Who album was in 1981, it was called “Face Dances” and had the real hit, “You Better You Bet.” There was one the following year called “It’s Hard.” The single was “Athena,” so maybe that counts. But the next one was the forgettable “Endless Wire” in 2006. And then nothing til now.

So it’s been 13 years since any Who album. According to Billboard, the real last number 1 was “Who’s Next” in 1971, which, of course, is their quintessential album with “Won’t Get Fooled Again,” “Baba O’Riley,” “Behind Blue Eyes,” and so on.

The Who have had many final tours over the last 40 years. Many of them spawned live recordings, although their most famous concert album, “Live at Leeds,” was recorded in 1970.

Interesting note: thought it may seem old to you, Pete’s and Roger’s age are on the younger edge of their generation. Pete is 74, Roger is 75. They’re younger than all the Beatles, Stones, etc. They’re also in good shape. Daltrey always boasted about taking care of himself. So they’re not wrapping it up any time soon, knock wood.

The new “Who” album has some great backing musicians with Ringo’s son Zak Starkey on drums, and famed producer Lenny Waronker’s son Joey also on drums. But most of it is made by Townshend and Daltrey singing, playing and writing 97% of it. How cool is that?

The album is distinctively robust. Many of the sounds are recycled little bits and pieces from classic Who. But a lot of it is fresh and contemporary, with more topical lyrics than usual. The first time I played it I had a funny feeling, like zombies had returned to lay down tracks. But that’s because we haven’t heard this sound with new material in at least 13 if not more years. The more I played it the more I liked it. And it will be fun to hear in concert.

So god bless The Who. As long as we’re all still here, let’s enjoy them!

Harry Styles is a nice kid, a cute kid, with acting chops, a mandate to be a pop star. I don’t think he cares about the latter. He didn’t seem to care in One Direction, where Niall Horan was clearly the musician. Harry was the Cute One, waiting to figure out what to do with his life.

It takes a village to make an album for him. So on his second solo effort, “Fine Line,” Harry and his pit crew have studied the best of the early 70s and sung it back to his teen — mostly girl– fans. It’s not a bad idea. The only people who might object are the ones whose ideas were “borrowed.” On this record that would be Stephen Stills, Paul McCartney, Crowded House, and a few others.

The fact that Harry is an amiable presence, a guest at his own tribute, makes “Fine Line” pass without any trouble. He’s already released three singles, the best of which– “Lights Up” — did the worst. “Watermelon Sugar” is catchy and short and totally meaningless. “Adore You” sounds like Crowded House, and things could be worse.

There’s a six minute track that’s like a Paul McCartney fest called “She.” I could only listen to the first couple of minutes because Paul would have cut it there and added two more two minute chapters to make one of his famous triptychs. he lets the band perform a very 70s-esque instrumental, too.

The new song I kind of liked best was “Treat People with Kindness.” This is written by Ilsey Juber, daughter of former Wings player Laurence Juber. It’s very mid 70s Paul, and not unwelcome. (Harry so reveres solo McCartney that he named the album and its title song for a recent Paul single.)

Stephen Stills: Harry and pals studied “Love the One You’re With” and “Suite: Judy Blue Eyes.” They came up with a backing vocal on “Golden” and a whole song– “Canyon Moon”– that’s a tribute to CSN circa 1969.

Styles’ crew consists of Jeff Bhasker, Thomas Tull, and Tyler Johnson. They are his group, his producers, his writers, his tailors. He’s their voice. There’s nothing wrong with that. They’re like his own Wrecking Crew. He’s lucky to have them. I’m not unhappy they exist. Harry Styles is never going to be Elvis Costello. He has no ideas of his own. But he’s clever at arranging himself around these ideas. And it works.

This isn’t a put down. You root for him. At a time when there are few male solo acts, Styles’ career is important. Girls are going to scream. He’s not offensively ignorant like Justin Bieber, which also helps. He’s clever and charming. And that goes a long way.

PS The last song on the album is the title track. It was left off the digital press stream, so I’m just listening to it now. It’s over 6 minutes long. It’s got that faux McCartney-Crowded House sound. Harry’s team definitely went for a sound on this album that was dreamy and richly layered orchestrally, lots of bass and falsetto. Acoustic guitar floats over the top. The feel is Beatles as you wanted them to be. What’s interesting is that the lyrics to all of these songs are sexless. They want to be thought of as ‘general entertainment.’ Everyone’s included, no one gets hurt.