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"THE REAL ME" (Pete Townshend, 1973.)

I went back to the doctor,
To get another shrink.
I have to tell him about my weekend,
But he never betrays what he thinks.

Can you see the real me, doctor?

I went back to my mother,
I said, "I'm crazy Ma, help me!"
She said,"I know how it feels son,
'Cos it runs in the family."

Can you see the real me, Mother?

The cracks between the paving stones,
Look like rivers of flowing veins.
Strange people who know me,
Peeping from behind every window pane.
The girl I used to love,
Lives in this yellow house.
Yesterday she passed me by,
She doesn't want to know me now.

Can you see the real me, can you?

I went to the Holy Man,
Full of lies and hate,
I seemed to scare him a little,
So he showed me to the golden gate.

Can you see the real me, preacher?
Can you see the real me, doctor?
Can you see the real me, Mother?
Can you see the real me, me-me-me-me-me-me-me.......?
THE WHO: "Quadrophenia" DOUBLE LP SET  VERY FIRST UK PRESSING, 17th NOVEMBER 1973.

TEXTURED, MATT BLACK TRACK LABEL WITH SILVER PRINTING: TRACK DELUXE 2657  013  
First pressings had a combined Catalogue & Set Number, printed on the labels and the cover.


AS THE FIRST PRESSINGS, THE LABELS HAVE 'Stereo' PRINTED IN LARGE SILVER LETTERING ON THE RIGHT
SIDE OF THE CENTRE HOLES OF ALL FOUR SIDES.  THAT WAS  NOT THE LATER FORMAT, THE RE-ISSUES HAD
'STEREO' SYMBOLISED ONLY NOT PRINTED IN FULL, THE LETTER (S) WAS SET INSIDE A CIRCLE.


MAITRIX FOR ALL FOUR SIDES:

RECORD 1, SIDE 1:  2406110   A  //  4      1   4  
  RECORD 1, SIDE 2:  2406110   B //  4      1   2  
  RECORD 2, SIDE 3:  2406111   A  //  4      TML 1  1
  RECORD 2, SIDE 4:  2406111   B //  3      1   2  
 
The above shows a very first pressing made prior to the 17th November,1973 release, three of four sides have '4', three digit
rises. Side 4 has two increments to  '3.'  The starting point for very first made records was '1' on all four sides,  putting
this into perspective for a major new Who album, "Quadrophenia" was fully expected to become a huge selling album.....and it did.
  The double album reached No.2 in the UK charts and that peak position that only just missed No.1, required a mountain of records
and multiple associated printed items.  Then the album remained in the charts for 13 consecutive weeks, taking the manufacturing
taking through the busy Christmas period of sustained sales, not leaving the charts until the last week of April, 1974.  No way
could that many records conclude with all four sides indexed with '1,' this pair of records were made before the 17th November,
1973 initial release.  I never rely on one item to make sweeping statements about vinyl manufacturing, I will give many other key
  printed item features exclusive to the first pressings or originals.

Two unplayed records simply have to be in the Polydor inner sleeves they were placed inside at their pressing plant, I have never
seen date coded inner's for "Quadrophenia," but I have irrefutable proof even the pair of inner sleeves were printed back to back,
by 1974 the design was changed and there is no question the pair were made in late 1973.  This is the first time I have ever seen a
numerical incremental like a maitrix, details can wait until I reach them, for those who are keenly observational, I compiled
the picture with the proof in close up, individually underneath the full scale picture.

All four sides have the various versions of  the 'TML' mastering logo of 'The Mastering Lab' in Hollywood, California and Side 3
has that logo between the actual final digit and the unfathomable jumble of machine stamped items.  Regarding the 'wandering'
digits spread around all Polydor run-out grooves, as far as I'm concerned all the following digits appear to have no logical
sequences.  I only include them when in reasonably close proximity to the only meaningful indexing, directly after the prefix.
One of the common versions are seen on the records as 'TML M' with 'M' representing 'Master', double LP's have the various
  end letters,'The Mastering Lab' is regularly found on EMI records, for example, 1979 first pressings of Pink Floyd's, "The Wall".

VERY RARELY SEEN AND EXCLUSIVE TO THE EARLIEST UK PRESSINGS, ALSO IN THE RUN-OUT GROOVES ON SIDE 2,
IS THE ORIGINAL USA CORRESPONDING SIDE 2  MASTERING, HAND SCRIBED;
 

LATE 1973 TRACK / POLYDOR INNER SLEEVES, UNSPLIT AND WITH ONLY LIGHT NATURAL AGEING AND A MINOR RECORD
IMPRESSION, BOTH ARE NEAR MINT CONDITION.
'Ageing' is not quite accurate here because one sleeve had pure white paper, which is still pure white, the other inner sleeve was
made from an off white flecked paper, please see my pictures because that was the reality of the paper itself and there is no
ageing on the labels, cover or large book.   As mentioned above, this pair were not printed with the date of manufacturing,but just
being Mint records guarantees they are the sleeves the records were placed inside at Polydor's pressing plant.  'Natural Ageing'
is also not accurate because the glue sticking the plastic lining to matt paper, soaked into the absorbent matt, still a natural  
element and very much part of their authenticity and originality.
 
The very rare indexing that established they were printed 'back to back', remaining exactly how they were placed inside the cover
43 years ago. That concerns the final number on the front bottom right corner, please see my compiled picture with the close up
views, positioned underneath the individual matching full scale inner sleeve;

INNER SLEEVE No.1:  346
INNER SLEEVE No.2:  347

Some would say, "So what?" but for that to happen in the first place is unlikely to say the least, but to still together all those
years later, is quite amazing.  Then, so are both "Quadrophenia" records in unplayed Mint condition, plus a Near Mint cover with
an attached book with the pages unturned and like brand new!


  1973, FIRST ISSUE GATEFOLD COVER WITH A WIDE SPINE AND A SOFT OUTSIDE, IN ABSOLUTELY SUPERB
  CONDITION AND NOT SUFFERING FROM THE COMMON SEVERE WEAR, CREASES OR ANY FORM OF RING WEAR.
THE ENTIRE FRONT AND BACK PANEL ARE UNFADED AND THERE SIMPLY HAS TO BE SOME IMPACT FROM SUCH
A HUGE BOOK FIXED ONTO THE BACK INSIDE PANEL, NOT FORGETTING TWO HEAVYWEIGHT FIRST PRESSING
RECORDS IN A SOFT MATT GATEFOLD COVER.  THE SPINE HAS 100% PERFECT LETTERING ON THE LP TITLES AND
THE TRACK CATALOGUE NUMBER.  I NEED A MOMENT TO DESCRIBE A FEW COMMON TRAITS AND HOW THE COVER
DESIGN LED TO THE LARGE BOOK NORMALLY BECOMING SO BADLY DAMAGED.

I am a Who fan of long standing, but I am also able to step back and offer constructive and critical observations about how
  "Quadrophenia" was made and designed, especially after the problems with the double album"Tommy" fold-out cover design.
  As I commented while describing a Mint "Quadrophenia" album last year, a personal opinion is, "Quadrophenia" was the Who's
  final masterpiece.  "Odds & Sods" was incredible, but all the tracks were previously recorded and although they continued to
  make great records, the real inspiration and genius is found between 1965 - 1973, the views of an old, original Mod who regards
  "Quadrophenia" arriving at their peak of true greatness.  I always present the weakness and strength of individual cover designs
  and tell the plain truth, regardless of much I revere an album, unlike most ebay regular record sellers, I bought albums like this
  when first issued and their individual susceptibility to withstand wear, even when lovingly handled and carefully stored.
 
  The most common problem was not only to the outside of the matt, soft textured gatefold cover, holding the two heavy records
and the largest book ever fixed inside a gatefold cover.  A huge 22 page book, those pages were only slightly smaller than the
cover, measuring 11.75" x 11.75" square, the outside back page only, was stuck onto the inside right hand panel.  Just the far
  left side edge of the back page was stuck alongside the internal hinging rib of the spine, which became a major stress position,
  the most vulnerable out of the the whole of the inside, due to the gatefold cover being opened and closed in exactly the same
position.  In other words, the whole weight of that huge book with thick paper pages now combined with the record in the right
side's storage compartment, the opening and subsequent dropping down or lowering of that right side, instantly transferred all
the stress onto the staples holding the soft paper of the pages together.  Staples that punctured such a thickness also 'pulled'
  on the paper and separated the two layers it was made of, that happened to the outside pages or cover, creating a weakness,
  even before an inadequate method was used to fix a huge book to the inside of the left hand panel.  The method of stapling right
through the outside of the spine to hold large pages, had been successfully established in 1967, "Magical Mystery Tour" was
  so successful and completely reliable for the the UK EP gatefold cover, even beaten up original covers still have all the pages.
 
  or even less.  Once again it was stuck to double thick paper and separation was always a possibility the very first time someone
  opened the cover, a few of the early covers with staple separation were seen during the factory assembly, they were re-secured
  with clear glue directly underneath.... but that required a very caring worker!  I must stress for anyone who did not  experience
  buying "Quadrophenia" brand new in 1973, I do not want this to sound in any way negative, just realistic and truthful, it was a
  fantastic cover and with four sides to listen to, you had the full album's lyrics to read and the cinemagraphic story line to follow
in superbly sequenced photo's, all taken to accurately re-create the Mod era of 1964 - 1966 in the UK.   Like 95% of every 1973
UK first pressing vinyl, like this came in, the covers were made in Holland because the few UK covers mistakenly used the proof
  pages of the lyrics, they had something not intended for anyone to see, so the Dutch made covers were brought in.  That was a
  rather very long and involved story and I have enough to document here as it is, I will detail that......but only when and if I find
  one in this outstanding condition, that might never happen because the last one I sold was around 26 years ago!  Like this pair
  of genuine first pressing records demonstrate yet again, that very first records  inside 1973 current Track inner sleeves, were
positively placed inside the Dutch printed covers, along with that tiny batch of mistakenly printed UK covers.  

For the few rare still attached books on genuine first issue covers, a common fallacy today is believing the paper immediately
around the staples have incurred wear there over the decades, but it happened back in 1973 when the staples were first inserted.
The thickness of the book and the textured paper of the pages themselves, were completely unsuited to being stapled together in
the first place, now I can move onto events that followed the assembling of the book and the subsequent fixing inside the gatefold.
With average use of the records and even with the most caring storage, the large pages tore through the staples like they were
  perforated, today virtually all the first issues and the re-issues, are left with only the outside page stuck down by that strip of
  of double sided tape, very often that is ripped away as well.  The loose book minus the outside front pages or cover, hopefully
  will still be together, but now in great danger of every turn of the pages, they will one by one tear away from the centre points
  where the staples are embedded.  You could argue the design was totally at fault, but not all the first issue books tore lose and
  the covers wore so poorly, attached books are as rare as undamaged covers.  This was lovingly stored and the records were not
removed  to play, I doubt if half of this intensive examination of the design has been acknowledged, I wrote a similar piece for
  for the last copy I sold in 2015. "Quadrophenia really is an extremely difficult first edition package to get close to presenting
  the original condition first seen in 1973, the vast majority  not totally wrecked today are much, much later 70's re-issues and
if you look at the labels, they will have, "Made In Holland," with Dutch inner sleeves.
 
  Another stress point was where the front closed against the book, there was a large dip where the book began on the right side
  of the internal spine, creating pressure against the left side of the spine.  Why the meeting edges with the spine are normally
  so badly worn, these wide spine covers coped much better, provided there was not heavy use of the records.  This only has the
  lightest possibly rubbing on that vulnerable front edge's meeting point with the spine, which in turn prevented the lettering on
  the spine from being worn.  This spine still has the original square or book shape, a few ripples and minor rubbing to the ends
  is exceptionally minimal, so is the back not having any form of ring wear or rubbing on the entire panel.  The front is the same
  without any rubbing and luckily enough, there was not a record shop sticker because even if removed in 1973, the cover's top
  surface was unable to resist having that torn away in an attempt was made to remove it. There ends any negative comments,
  this book is 100% perfectly secure without any loose pages, in fact no creases or signs of ever being turned, they still have a
  starchy stiffness, this book is still exactly how it was first made in 1973 and first bought, so any stapling effects on the paper
  described above is unconnected to wear, use or general ageing.  All the pages are in Mint condition, by definition of being how
  this was first bought in November,1973.  I have always refused to present The Who's original vinyl and covers badly damaged,
  right from the earliest part of the 60's decade, admittedly more difficult as time marches on,1973 is also rapidly receding further
  and further away.  I am unable to produce true Mint for "Quadrophenia" but I can occasionally offer a really beautiful first issue
  that was lovingly stored for the last 43 years.
 
  UN PLAYED RECORDS MEANT A N UNHANDLED COVER AND BOOK, THEN A PLASTIC OUTER SLEEVE FROM NEW
  DID THE REST, PLEASE SEE MY PICTURES FOR HOW REMARKABLE ALL THE ITEMS ARE.  THE WIDE SPINE GATEFOLD
  COVER IS EXCEPTIONAL, SO IS THE  STILL ATTACHED 22 PAGE BOOK WITH PERFECTLY SECURE STAPLES AND A
  ROCK SOLID TAPED PORTION OF THE BACK ON THE INSIDE OF THE COVER, AS EXPLAINED, PRECISELY HOW IT WAS
  FIRST MADE.  THE FIRST ISSUE GATEFOLD COVER IS NEAR MINT CONDITION.


  THE FULL SIZE, 22 PAGE BOOK IS IN UNUSED, MINT CONDITION.
The bottom of the outside cover was stuck in right on the bottom edges, once again a plastic outer sleeve protected the paper
  and fractional standing pressure cannot be included in the grading for a common factory finish.  The pictures of the pages has
  to be compiled into 3 sets of two selected, you can see how perfect, uncreased and unaged the unturned pages are.
 

  BOTH RECORDS HAVE A  BEAUTIFUL DEEPLY GLOSSY APPEARANCE OF TRUE MINT VINYL, THERE ARE NO SPINDLE
  TRACES ON THE THICKLY TEXTURED MATT PAPER.  I STRESSED THE LABELS HAVING THAT BECAUSE ALTHOUGH
  THIS IS NOT THE VERY FIRST RECORDS MADE, A SHEEN WOULD SOON BE INTRODUCED AND THAT WOULD NEXT
  BECOME POSITIVELY SHINY.  I COULD NOT FIND ANY FACTORY HANDLING TRACES, THE RECORDS WERE HANDLED
  AND ANYTHING HAS TO BE NEAR INVISIBLE TO INVISIBLE.   I WILL TAKE ONE OF MY UNDETECTABLE PLAYS AND
  FULLY EXPECT TO HEAR ALL FOUR SIDES WITH ABSOLUTELY STUNNING SOUND QUALITY.
  BOTH RECORDS ARE IN UNPLAYED  MINT CONDITION .
  "I Am The Sea"
  "The Real Me"
  "Quadrophenia"
  "Cut My Hair"
  "The Punk And The Godfather"
 
  SIDE 2
  "I'm One"
  "The Dirty Jobs"
  "Helpless Dancer"
  "Is It In My Head?"
  "I've Had Enough"
 
  SIDE 3
  "5:15"
  "Sea And Sand"
  "Drowned"
  "Bell Boy"
 
  SIDE 4
  "Doctor Jimmy"
  "The Rock"
  "Love, Reign O'er Me"
 
  Pete Townshend - vocals, guitars, synthesizers, piano, banjo, sound effects, pre-production & special effects.
Roger Daltrey - lead vocals
  John Entwistle - vocals, bass guitar & horns,
  Keith Moon - drums, percussion & lead vocals on "Bell Boy"

Chris Stainton - piano on "Dirty Jobs", "Helpless Dancer", "5:15" & "Drowned"
John Curle - Radio Newsreader's voice
 
  All Songs Written By Pete Townshend.
  Recorded Between May 1972 And June 1973, At Olympic Studios & 'The Kitchen,' Battersea, London.
  Produced By The Who, Kit Lambert & Glyn Johns.

I have been reading about a remake of the  "Quadrophenia" film is underway, great idea because every successive generation can
relate to Pete Townhend's accurately portrayed story, of teenage rebellion turning into a lifestyle of drugs, sex and rock & roll!
As you might have gathered from that 'extended version' of the cover's design description,I know from first hand experience how
the covers of albums like "Quadrophenia" wore and stood up to even the most caring handling and storage, that all began with the
   initial design and materials used.  Covers were not factory packed with protection and during distribution and consequent record
  shop shelf storage etc. the edges and corners were scuffed and scraped before you bought them, it was frustrating for fans but it
   was more important to get the latest records home and listened to!  Right from their debut 1965 "I Can't Explain" single, in that
  same year the debut 1965 "My Generation," LP, I bought them all when they were first released, so I have always been a record
  collector and a music enthusiast, but The Who were always one of my most revered bands.  Whenever I listen to a freshly bought
"Quadrophenia" like this, I still find it hard to take in how Pete Townshend's songwriting produced this masterpiece of a double
album, so far back in time now, yet the original 60's Mod era that inspired it all began before that debut "My Generation" album.
In fact, I watched a wonderful BBC documentary about the recording of "Quadrophenia" and the cover/ book's artwork, Pete was
involved with all aspects of the TV programe, as honest as ever he said; "Quadrophenia" was the last truly great Who album."
Today "Quadrophenia" stretches back an astonishing thirty nine years, the very reason I find it very difficult believe how the
entire four sides of "Quadrophenia" were written and based entirely on, looking back over The Who's formative Mod era and the
  evocative songs and lyrics perfectly re-created that.  A story about a teenage boy out-growing his family home and within music
  of the period, he finds the inspiration to create a new lifestyle, one alien to the previous generation.  Nothing has changed in
  all those years since the mid-1960's, the Mod ethos arose again and again, Pete's story was timeless and so was the music the
formidable original line-up of the Who created between May 1972 and June 1973.  The album's gatefold cover and the fantastic
book are integral to that music and the atmospherics of that part of the 60's they so accurately portray. Discounting the bootleg
appearance of the 'home made' appearance of "Live At Leeds", Who LP covers had a history of being 'Pop Art' and highly colourful,
but for the first time in eight years of releasing albums, here was a cover devoid of any colour, black or grey and white artwork
inside and outside, were very much part of the authenticity of the whole concept, TV's in Britain were watched only in black and
white. The 60's initial Mod era was in fact just as colourful as the psychedelic years that it seamlessly merged into, a personal
  experience so many others my age will never forget.  Anyone currently a teenager, or just remembers their own teenager years,
   from any decade around the world, can identify with the story line running through this whole album, nothing has changed, the
  lyrics I just typed for "The Real Me" were just as true for teenager's inability to relate to, or to be understood by authoritative
  figures like doctors, preachers and.... parents.
 
   The "Quadrophenia" film was made in 1979, yet another generation picked up on that same ethos that began in late 1964 - 1965,
and the Mod revival swept the UK, Pete's 1973 masterpiece contained the very substance that made us all what we are today, or
  maybe still striving to arrive at.  Pete Townshend wrote every song and all of them are so graphically real, as a Mod myself in a
  really exciting mid-1960's period, I consider I was fortunate to witness at first hand the Who's astounding meteoric rise from an
early obscurity, to worldwide fame.  "Quadrophenia" accurately brings to life a very short but amazing time when fashion, music
and art combined to shape the rest of the decade, raw aggression was expressed in r&b / blues music, and not just simply echoing
the American blues or soul greats.  Bands like the Who and the Small Faces were expressing the frustrations of teenagers growing
up in a time without a World War or automatic conscription into armed forces, for the first time in the 20th century.  Something
had to give because authoritarianism had not broken the spirit of youthful energy, the 60's decade had a profound effect, bringing
youth culture into direct conflict with the establishment, the rejection of conventionality has become a blueprint ever since.
 
  Just seeing this album brought back some very happy memories, it also means as an original Who fan I would never even consider
selling this incredible album with the usual worn out battered cover with the book ripped out and missing pages, or even worse,
both records played to death and full of deep damaging scratches. Trying to find such a vulnerable, soft and unlaminated gatefold
cover and book, with both records in top condition, has been an on going struggle for as long as I can remember, right from when
first starting trading at record fairs. I brought the same extremely high, hard to maintain standards to ebay, when it's possible
to, this is the perfect representation of the standard I aim at, the gatefold cover and the 22 page book are in truly outstanding
condition.  "Quadrophenia" is very much an audio experience second to none, the album can be fully enjoyed in staggering audio
  perfection, these genuine UK first pressings contain a senses tingling stereo mix, a sound unique to the pre-release pressings.
    During the 1970's The Who were such an amazing live band, I naturally carried on watching their concerts and can honestly say I
  never saw one substandard performance from 1965 onward.  Well, there was an incident on the "Quadrophenia" American when
Keith Moon was so out it, he collapsed during a song, recovered to return and play like nothing happened.  Only to pass out later
in the same concert, this time the drugs could not be shrugged off.  Pete asked if anyone in the audience could drum, someone
came forward and joined the band on stage, the Who continued the set with him replacing Keith.  Then there was the Who's drinks
spiked with acid and they still managed to complete a whole concert, but generally they were one of the most consistent live bands
of all time and they never 'went through the motions.'  On the contrary, as their music developed from their mid-1960's very raw
  aggression, more sophisticated songs were added into their sets and they always had that extraordinary electrifying dynamism.
    For both the music and visual stage presence, in 1973 The Who were  at their very peak and they were untouchable as a live band,
  for me Keith Moon was the greatest drummer of all time, on stage matching Pete for a spectacular sight and sound.  As a studio band
  they were also untouchable, with the genius of Pete Townshend's songwriting genius allied to complete command of making records,
  recording an album such as "Quadrophenia" in 1973, was really about the only time in their career when the timing was perfect.

These originally bought 1973 originals/ first issues, were by Who fans who played the records to death on the week of purchase,
then for the next three decades that followed that. There were so many re-pressings in the later 1970's, but only this first made
batch has all four labels as a matt black colour.  Even the second pressing had shiny labels and onto cigarette paper thin vinyl,
if compared to the 1973 first pressing vinyl, like this fantastic pair have.   From Track's late 1960's standard deep grooves, the
sound packs an almighty punch but not just for the volume, this first stereo mix is absolute dynamite!  The very sound intended
by Pete Townshend and Glyn Johns who produced two of the tracks, "Love Reign O'er Me" & "Is It In My Head", the rest of the
album's track production is credited  to the Who & their managers, Lambert and Stamp. "Quadrophenia" was Pete Townshend's
brainchild, his final say in the resulting very first made mixes, would have been the final one!   All of the following re-issues had
that sound watered  down and lacking the staggering impact I have just been hearing and came to know and expect in 1973.
  The two records are precisely the way the great "Quadrophenia" should only ever be heard!  The finished article is a stunning
recording, essentially only heard from original pressings for the intended the stereo mix and the simply sensational sound.

I dislike rushing through sound descriptions, for a double album I can't possibly cover every track as fully as I would like to,
  plus I'm not going to play them over and over due to only having those remarkable two plays.  Like my other "Quadrophenia"
  descriptions, I will just see how it goes, hardly a little known album and so it's not necessary to include every track anyway.
    The first play in 43 years might find pressing related low level static, I have to use common sense and not waste time over next  
to nothing, the mastering logo on the records guarantee magnificent sound quality.   I have ever reason not to write a sound  
description, but this is the Who at their peak of artistic creativity and I am not missing out on writing about the greatness of
  "Quadrophenia!"
 

  Side 1 has near silent to silent run-in grooves,  totally clear for the extremely loud sounds of the sea crashing onto a beach as
the rain falls, the realism of the sounds is so life like, you can taste the salt and feel the sand under your feet.  Even nature
sounds were given a masterful stereo mix, "The Sea" has sections of the album's themes drifting, as if on those waves of the
  sea, Roger Daltrey sings like he was way off in the distance,"Is it me, for a moment?," and strains of "Bell Boy" come drifting
  between the speakers as if suspended in mid-air. The waves of the sea crash and crunch, the atmospherics start intensifying
  and now Roger sings, "Can you see the real me? Can You??" and suddenly Townshend's guitar explodes from the left speaker
  with a mind blowing power and full on impact.  I am always prepared for that sensational moment, but Mint vinyl delivers that
   fantastic moment with such a dramatic and sensational force, that can only be described as being the first of many devastating
  moments on "Quadrophenia." 'Devastating' is indeed the perfect way to describe how the guitar explodes, now John Entwhistle's
  colossal bass is panned from the right channel, Keith Moon's forceful drums really erupt with a crisp cutting edge, joining the
  guitar in the left channel, Roger Daltrey's vocal sits dead centre as "The Real Me" fills my room with the most stunning power
   and absolutely pristine audio clarity!  I have just attempted to capture the massive impact cut into the grooves of the UK Polydor
  first pressings, but the sheer dynamics and impact cannot be conveyed by words alone. Not just the record, the Who were on fire,
  really tearing into the opening performance.  Even with my volume way up, there's absolutely no sound irritants throughout the
  whole of an amazing opening section to the album, the sound quality enhances the mind blowing stereo mix here, the effect is
  simply awesome!  Trying to find that level of audio perfection from any decade's vinyl will prove to  be like looking for a needle
   in a haystack, because most people jiggled their stylus around to find the point when the Who kicked in with such a thunderous
   entrance.  In effect you are hearing the actual sound quality the record left Polydor's pressing plant with, 43 years ago, that
cannot be found in stamped digits, only in your ears. I could not tolerate hearing that fantastic sequence and when Pete's guitar
first, explodes ruined by crackles and clicks, people still skip their needles through "The Sea" and hunt around clumsily for the
  magical moment when the awesome guitar riff pins you to the floor.  Similar to an electrifying scream heard on the "Who's Next"
  last track, "Won't Get Fooled Again,"  Sure, a wonderful rush of adrenalin here, but why not wait and enjoy the build up, not add
  crackles and clicks into the record?  Fair enough, so did I in1973 but it was my record, this is 2012, who needs to hear someone
else's noise additions and distorted sound, it's still possible to hear "The Sea" in it's originally intended extremely loud and so
   powerful mastering, but also to experience it all from this record's sensational, pin point audio sharpness.  The bottom end and
  in particular John Entwhistle's bass guitar, was mastered extremely loudly on first pressing, the reason I concentrated so much
  on that massive volume leap precisely when the Who kicked in.  I might be incapable of not extensively covering a Who track but
  I feel it's better to use full experience and knowledge of "Quadrophenia" as a UK first pressing, concentrating where it matters
  the most.  Then everything else just falls into place from an audio perspective, but I will have avoided the most vulnerable parts
  of this double album.  Having heard all four sides at full blast, I can conclude an incredible sounding and a magnificent pressing,
  that first Who part has always been one of my favourite moments on this album. Then into the main "Quadrophenia" theme, during
  this wonderful instrumental section, the music drops down to leave just a single piano, in the completely wide open exposure to
  the excessive noise vinyl potentially can have, this is ultra clean and perfectly clear.  The 1973 made records were not pressed
   with in-built crackles, it was after all 1973, the year of the world's worst oil shortage and that affected some record's quality,
  not this album!   Finishing with realistic sounds of the sea returning as the outro, all becomes very quiet before an ultra clean
  intro to "Cut My Hair," playing with just staggering audio definition!  Pete sings the lead vocals here, I must not neglect the
  plot, concerning still living at home with parents and conflicting with a teenage Mod's need to rebel against idealistic domestic
  setting's. Events now quickly take over when this young Mod's parents discover some 'blues' (amphetamines or 'speed') hidden in
  his bedroom, becoming the time to leave home before he's kicked out by irate parents.  This is the genius of Townshend's writing
  but as absorbing as they are, lyrics alone do not make a great song, the music itself is stunning, how could it not be with Keith
  Moon's drumming on fire like this?  A very shrill sound from a kettle's whistle as it boils, is once again in sound so real, you
  feel like turning it off, you hear the news being read on from a 1965 radio, reporting how youths in rival gangs were fighting
   at seaside resorts, all heard in in startling audio clarity.  This is much more than a just another record to have playing in the
  background, more like an enthralling audio listening experience and up there with any Pink Floyd album.  Like so many of their
  albums after 1970, the tracks linked together by the sound effects, but in a split second of silence, there is no needle sound,
  then Pete's guitar pumps out the 'riff of the album'!   Amazing dynamics when Keith's drums come crashing in with a real venom,
  John Entwhistle's bass is at a really astronomical volume level and now The Who as a band, are collectively in full flight for the
  album's most volatile rock track, "The Punk And The Godfather".  I had better move along, the song also has some great subtle
  moments with Pete Townshend taking the highest vocal parts, the opening side of the album has just flown past, I've been totally
  absorbed in the astonishing sound properties, this is actually like hearing some segments as if for the first time, perfect vinyl
   for "Quadrophenia" is awesome!  An over used and abused word, but if ever it applies to a record, a Mint "Quadrophenia" demands
  just about every superlative word ever spoken.... or written by a rather old Who Fan who experienced and loved the 60's Mod era!


  "I'm One" opens Side Two, without virtually any surface sound during the run-in grooves, natural static only, but more pertinent,
  the same applies to a very quiet intro of a gently played singular acoustic guitar.  The equally quietly sung vocal intro is also
  outstandingly clean and in crystal clear, razor sharp sound quality, this really was the most immaculate pressing!  After Pete
   sings the first verse, a staggering dynamic riff is played on both an acoustic and an electric guitar, a biting dramatic tension
  begins to mount.  Singing this with genuine heartfelt emotions, giving an extra edge to delivering such remarkable lyrics, I do
  feel this is by far the greatest Pete Townshend vocal ever and behind his intensive performance, Keith Moon is pounding away
  his drums, more like hammering them into the ground with a ferocity both rhythmic and emphatic!  My lifelong love of the Who
  started with watching the astounding sight and sound of them blitzing a shocked but fully appreciative young Mod audience, as if
  they were possessed, then smashing the hell out of the stage with their instruments, that was a natural release of pent up energy.
     I then looked to their first Brunswick singles and debut album to hear that sound and found it, right  there on the records! Ever
  since I expected to hear the amazing drumming first experienced watching Keith Moon on stage, the sound from Keith's drums on
  this particular "Quadrophenia" first pressing, is absolute perfection, thunderously loud and 'right in your face,' just how they
  should be heard!   "Dirty Jobs" has faint echoes of "Tommy" in the instrumental backing, with this 1973 first stereo panning full
  of the most unbelievable sound movement effects, you may as well be hearing a record from the late 60's.  There's a relentless
  rhythm that never lets up for the whole of the scintilating track, Roger Daltrey is in fantastic vocal form on the whole album,
  here he's really fired up for "Dirty Jobs," it starts off almost casually but soon getting more and more aggression in his voice
  as this song builds and builds.  Of all the Who's albums, "Quadrophenia" had a subject matter closest to their hearts, the 1965
  era became the very foundation they built all their later recording' on, pure raw energy!  Fading out and still no surface sound,
  now moving straight into a brass intro to "Helpless Dancer", this amazing first UK stereo mix features alternate lines of Roger
  Daltrey's vocal alternating between the individual speakers. The stereo effect is as if two people are having a conversation each
  side of you! I often write how the actual sound from a record is something I instantly recognise as only being on first pressings,
  that came from playing first issues for what is 43 years, the intricate details just given are distinctively unique, I always provide
  record's maitrix numbers and all the other conceivable details to identify UK  first pressings from, but my ears are all that are
  needed.  I keep mentioning UK first pressings for a very good reason, during our long years trading at record fairs, my Who LP
  section offered me an opportunity to add in as many overseas pressings as possible.  So I got to play and hear European, USA,
  Canadian, Japanese, Australian etc. etc. originals, all worthy enough, but to my ears there was not the same cutting edge or the
  acute sharpness I knew so well, without that impact nothing came remotely close to UK Track first pressing of "Quadrophenia."
   Playing this today has more than confirmed the album should be held up as an example to how perfection from analogue mastering
  onto top quality vinyl, was possible. Then you did have Pete Townshend keeping a rather careful eye and ear on the finished item!
   I would really love to stay with every second of this magnificent double, it's just not possible to describe it all, as I said before,
  having listened to every track, the immaculate sound quality is consistent over every second of all the four sides.  I think I will
  carry on with the second record for just a bit longer and see how it goes.
 

  Having just taken one record off and replaced it with the second, I must comment on just how substantial they are for 1973, the
  60's had been and gone, a Middle East war affected oil and in turn a shortage of vinyl, most major record companies kept to their
  audio standards, if no longer using 60's dinner plate thick vinyl.  Polyor produced really remarkable records in the most difficult
  year known.   The first track on the first side of the second record, begins from more of those problem free run-in grooves, not
  even any static, and so ultra cleanly into the sounds of a train door being slammed shut, Pete Townshend sings this very quietly,
  "Why should I care?" Followed directly by a startling explosion of tremendous power, the Who threw everything they had into the
  intro, erupting as one to create a stunning impact to "5:15," needless to say heard in crystal clear sound quality. John's brass
  was really effectively used in the original stereo mix and Roger Daltrey's vocals have such a dynamic and a storming presence.
  One of the most underestimated Who singles ever released in my opinion, there are plenty of 'lost treasures' on this album as
  well,what a great line line here,"I'm out of my brain, on a train"!  They don't write lyrics like that any more, the overwhelming
  music is as forceful as anything The Who ever recorded, for all of this unbelievable power and wall shaking volume, "5:15" is
  being enjoyed without a hint of distortion, only found on worn out records. Instantly perfect for a first ever play, the sound is
  fantastically sharp edged, I have turned my volume up even higher for an amazing track from a first pressing, just mind blowing
  audio and Pete's guitar feedback is a nod towards 1965.  The first gap on the third side is close enough to silence, I do include
  natural static but it's absurd to, then seagulls and the sounds of the sea shore introduce "Sea And Sand", once again Keith Moon
  performs some really explosive drum rolls as the track moves from being fairly subdued into a flat out dynamite of a chorus, sung
  partly by Pete. Unbelievable sound quality again, maintaining that amazing standard of audio set on on the first record.  A truly
  magical moment comes at the very end as Roger improvises singing, "I'm The Face," when the rest of the Who go into a stunning
  ad-libbed instrumental piece.  Such magical moments are often edited out afterwards and discarded but a special, almost 'live'
  feel to this great track spontaneously produced a fantastic extended ending, leaving that on the record was a brilliant decision
  because a band like the Who were past masters of improvisations. Total silence before "Drowned" begins should not be taken for
  granted, few originals do not have irritating, excessively loud crackles & clicks here.   All you hear on this amazing record are
  footsteps on the beach, fading as they move away, a supremely clean intro with a strong driving rhythm becoming a more melodic
  chorus, a tinkling piano with Pete's spluttering lead guitar works superbly here. Of course all the instruments and Roger's lead
  vocals have senses orientated stereo panning effects, moving from the left speaker to the right!  They really do rock out on the
  long instrumental break with a reprise of the riff from "5:15," making a welcome return before Roger sings the last verse loosely
  and very effectively.  An incredible jam like finish contains just about everything that made the Who such a great band, then the
  fade-out segues into the sound of the seaside and gulls, a very special moment follows, after Roger's opening verse, Moony's very
  own vocal spot on"Bell Boy," he makes a fine job of them as well!  The sound is sheer perfection, I am having to move along now to
  give a taste of the fourth side, three out of four was more than I had anticipated, with none of the usual horrendous wear on the
  the cover and book to describe, I can push on with some more music.
 
  The run-in grooves here are also near silent, Polydor 1973 original pressings were indeed immaculate considering the oil crisis.
  The fourth and the last side opens to the sounds of the wind and sea as a violent storm breaks, with the run-in grooves yet again
  being perfectly silent, that means there is no surface sound/static even on such an exposed opening for this final side.  Now you
  hear Keith Moon's drums racing across from one speaker across to the other, these really were the most amazing stereo panning
  panning effects ever to be crafted onto a Who recording.  So many of the 1970's albums tended to ignore the incredible stereo of
  a sensory nature mastered during the late 1960's, when the pyschedelic era demanded mind affecting sounds, but not the Who!
  Pete Townshend had originally planned a quadrophonic mix for the album, but at the mixing stage, it was standard stereo but the
Who followed Pink Floyd's lead and experimented with quadrophonic sound at their concerts, but it was immediately abandoned.
Another silent gap and as I said, Mint original "Quadrophenia" records are really rare, a joy to see and hear such pristine sound.
The brilliant "Doctor Jimmy" features Roger Daltrey's vocals being really emphatically and forcefully rammed home, he switches
  to a softer singing tone for the album's classic line,"Is it me....for a moment ?" The equivilent of ,"See me, feel me, touch me"
  of "Tommy," fame , I can't help the comparisons because those two Who albums represented Pete  Townshend's writing genius and
  the Who's stunning performances in a studio, better than any other Who albums.  Don't get me wrong I love them all, every B-side,
  EP track etc. but the double albums went way beyond just putting a set of songs together, they brought out the very best from all
  four musicians.  The production here is in the most stunning sound quality, every part of the track is in mega sharp audio, and that
  is the best way to sum up both awesome playing records.  Here I am out of anymore descriptive terms and such prolonged typing
  has left me well and truly drained, fortified only by the Who's inspiring music, but I will reluctantly have to tear myself away to
  leave this incredible music.   I have covered far more than I hoped to, fully establishing  an ultimate playing first / original
  UK pressing of the magnificent WHO masterpiece,"Quadrophenia."
{Roy}
      R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.

ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.

UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.


We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
  increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


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I don't charge my buyers extra!