Sold Date: July 23, 2016
Start Date: July 16, 2016
Final Price: £460.80 (GBP)
Bid Count: 22
Seller Feedback: 4234
Buyer Feedback: 50

If you're troubled and you can't relax,
Close your eyes and think of this.
If the rumours floating in your head, all turn to facts,
Close your eyes and think of this.

Armenia, city in the sky,
Armenia, city in the sky.

If you ever want to lose some time,
Just take off, there's no risk.
If you ever want to disappear,
Just take off, and think of this.

Armenia, city in the sky,
Armenia, city in the sky.

The sky is glass, the sea is brown,
And everyone is upside-down.

Armenia, city in the sky,
Armenia, city in the sky."
THE WHO: "The Who Sell Out" LP.  UK FIRST PRESSING IN MONO, RELEASED 15th DECEMBER,1967.
This first pressing did not have a Limited Edition poster, they were so limited only 500 were made for the lesser Stereo versions
and 500 for the more plentiful Mono albums.  Just 1,000 made created a major rarity, the covers with posters had small black and
white stickers stating a poster was inside, most went up on walls or just lost over the years.......be very cautious about fakes,
they were circulating as early as the 1980's!   Original 60's paper was textured and very thick, sad to say, counterfeit posters
and the easily copied small stickers, now exist in far, far larger numbers than the 1,000 only 1967 originals.

One first edition item was always there on the authentic first pressings in Mono & Stereo , in response to how "Sgt. Pepper" ended
with a looped tape in the final groove of Side 2, the Who placed one at the end of the album.  If your stylus does not have auto
return, you can hear this ever playing strange 78 RPM gramophone type piece of music, the final groove holds the stylus and it
was a surprise ending that Pink Floyd would also add to end grooves.  The album ended how it began with an advert, rumoured to
  be an instrumental take of an advert for 'Track Records', supposedly they recorded a vocal version but that was strictly a rumour
and if nothing else, the bizarre ending clearly identify the 1967 first pressings.  For the cover, just look at the unbelievably thin
  spine, so thin the black printed titles did not fit, almost half is visible from the back view, I will once again discuss Polydor
  related covers in the 60's, they were so ridiculously small, the record only just fitted inside. On the subject of the ending of
  records, the Who had actually left something in the final grooves of a single in the prvious year, 1966, not quite a tape loop,
  but only the first pressings of "Happy Jack" have Pete shouting "I saw yah!"  Keith had sneaked back into the studio to annoy
  Pete who was working at the console, he saw Keith creeping behind speakers, the tape was running and it was recorded, so he
  tacked it onto the end of "Happy Jack."


BLACK & SILVER THICKLY TEXTURED TRACK LABEL:  612 002  
Like Polydor their parent company, there was a digit difference for the catalogue / maitrix prefix number for Mono & Stereo first
  pressings.  Being the Mono dominated 1960's decade, numerical priority placed the '612 002' Mono number first or as the lowest.
  The Stereo digit increase was placed on the suffix digits as,'613 002', in terms of rarity the Stereo first pressing were made in
  very small amounts, with the Mono versions making up the vast majority.  The reality of a 1967 psychedelic masterpiece in Mono,
  is virtually every existing first pressing has severely damaged sound, but this hardly played Mono first pressing in absolutely
  stunning, completely unmarked, Mint condition.  I have old two Mint Stereo first pressings, but only one Mono "Who Sell Out" on
  ebay.....that was in 2004!  That is how rare a Mono first pressing is with perfect sound, without a solitary scratch, scuff or mark
  on the entire record, which I can only consider as a Mint record.   Only three / four ultra careful plays on a dinner plate thick
  1967 record in this condition, is above and beyond considering whether to add 'Near' or 'Minus,' 12 years waiting for such a rare
  first pressing is reason enough.   Like all Mono & Stereo covers, initial handling and nearly 50 years of standing in storage has
  had an adverse affect on the corners, standing edges, the wafer thin spine and of course the laminate on both sides of the cover.
  On the plus side, virtually all the many, many white sections are virtually unaged and so close to the original pure white, that
  is more than compensation for the inevitable standing in storage traits, associated with first edition "The Who Sell Out" Stereo
  and Mono covers.  I have got carried away when the subject here is the labels, 60's Polydor labels never had 'Mono' or 'Stereo'
  printed on the labels, for Mono, the letter 'M' was set inside a triangle, for Stereo, 'ST' was inside a circle interconnected to
  another circle on the right with the revolutions per minute, '33.'
 

  MAITRIX: 612 002   A  ▽ 2  - 1 1   /  612 002   B  ▽ 1  -  1  1  1
The starting point for the colossal volume of Mono records made, was 'A ▽ 1'  /  'B  ▽ 1,' Side 1 has only risen one digit to '2'
  and Side 2 is still on the starting point. So positively a first pressing made before the release date, available to buy in a UK
  record shop, 15th December, 1967, when I bought my original Mono "Sell out"!
 

ORIGINAL 1967 TRACK INNER SLEEVE, 1967 WAS VERY EARLY FOR TRACK RECORDS AND THERE WERE SEVERAL
  DESIGNS FOR THE ALBUMS AND SINGLES.   THEY WERE ALL WHITE AND GENERALLY WITH POLY-LINING, A DIE-CUT
  CENTRE COMPLETES THE FEATURES, EXCEPT ONE.   ALL POLYDOR RELATED COVERS WERE MADE SO CLOSE TO THE
  SIZE OF THE RECORDS, A TIGHT FITTING CIRCUMFERENCE REQUIRED EQUALLY SLIM AND COMPACT INNER SLEEVES
  TO FIT INSIDE.
   Barely used, there are no splits, ageing is too moderate to take seriously for the age, with a e record impression from the
  heavyweight vinyl and a few related creases. The ultra compact cover did not help matters, a typical Polydor 'EJDay' printed cover
  only just a fraction bigger than the record, but at least it was fully laminated.
  THE INNER SLEEVE IS IN NEAR MINT CONDITION.


  FIRST ISSUE 'E J Day' PRINTED, FULLY LAMINATED, DEDICATED 1967 MONO 'Track' COVER, WITH;
THE TEXT,"Patent Pending" ON THE BACK BOTTOM EDGE & "612 002  MONO"
The back has 'Mono' printed to the right of the Track logo, even with a very rare record inside, all the Mono and Stereo first
  edition covers had an impact from the heavyweight record, most are in a terrible state today!    Considering the age and rarity,
  still a really beautiful, extremely strong and sound cover.  The white background is close to the original 1967 pure white, any
  ageing is at an absolute minimum, the only positions really affected are tiny, the edges where the laminate was finished and even
  that was the adhesive glue.  A positive but reasonable record impression, with related laminate edge lines and as ever, the
  design with tapering, pointed spine ends and a ridged spine, that normally created small areas adjacent to the spine's meeting
position with the front and back, did not have the lamination smoothed into the recess created by the shape. This spine is
almost perfect for not having that effect, it really involves the bottom tapered end of the spine being very tightly wrapped over,
slightly flatenning the ridge itself, which actually worked better than having the usual unsmoothed laminate.   Once again, there
are some laminate crinkles but certainly well below the average associated with this cover.  A common enough event, I write that
for just about every 60's and early 70's partially and fully laminated covers with this shape, as mentioned the wafer thin spine
has the titles unable to contain the black printing.  I managed to take pictures of both the album title and managed to fit in as
  much of the lettering and digits possible.   A few ripples in the spine and the usual rubbing to the pointed ending's / left side
  corners that come with this 1960's design, once again, the same comments consistently made for top condition records.
   By 'top condition' I am distancing that term from sellers who mislead buyers in headings, when in reality, they are selling
'Very Good' / 'Good' grading's, if even that!  'Top condition / top quality' means a minimum of Near Mint for records, obviously
 I have to accept  storage traits for covers like this, now 49 year of age and that near half a century standing in storage, has
to be declared, but also understood to be inevitable even for covers with hardly used records like this.
   
  The front and back thick laminated coating, is as deeply glossy as it was in December,1967, it's great to see the white sections
around the artwork on both sides, so close to the original white colour, just the mildest possible ageing.  The colours tones on
the brilliant artwork are unfaded and vivd, the usual and much discussed impression from the exceptionally heavyweight record's
circular shape, and around that some related laminate edge lines/wrinkles were unavoidable. There, but not enough not to detract
from a great looking cover. I always find it absurd to write the blatantly obvious when this has a stunning, completely unmarked,
gleaming like new, 1967 very first pressing of a psychedelic masterpiece of a concept album, in the UK Mono mix. The right side
  corners are square shaped, with light rubbing to the laminate on the bottom stand corner,  the bottom edges have a few tiny
  rubbed laminate from standing as well.  The opening sides are in near perfect condition, the spine has been described, the black
  titles look superb against the white of the spine,

The back has mono printed near the Track logo, plus the text "Patent Pending," only on the very first issues, once the LP title
was granted a patent, it was removed from all following made.  Considering that vintage age,a perfectly strong, sound and highly
presentable cover, my grading will reflect all detailed here. I must stress this is way, way, above the average condition and I
doubt very much there is another to better it even for the Mono covers that exist in vastly more numbers.
THE COVER IS SEVERELY BUT CORRECTLY GRADED, IN EXCELLENT CONDITION.


THE IMMACULATE LABELS ARE BEST SEEN IN MY PICTURES, FAINT SPINDLE TRACES SHOW ONLY THREE / FOUR
  PLAYS. HANDLED WITH THE GREATEST CARE, THERE ARE NO SCRATCHES, MARKS OR SCUFFS ON THE DEEPLY
  GLOSSY, AS NEW, VINYL, WITH SUCH PRISTINE SOUND, I FEEL IT CORRECT  TO GRADE IT WITH COMMON SENSE,
  THE RECORD IS IN MINT CONDITION.
SIDE 1
"Armenia City In The Sky" (Speedy Keen)
"Heinz Baked Beans" (John Entwistle)
"Mary Anne With The Shaky Hand" (Pete Townshend)
"Odorono" (Pete Townshend )
"Tattoo" (Pete Townshend)
"Our Love Was, Is" (Pete Townshend )
"I Can See for Miles" (Pete Townshend)

SIDE 2
"Can't Reach You" (Pete Townshend)
"Medac" (John Entwistle)
"Relax"  (Pete Townshend)
"Silas Stingy" (John Entwistle)
"Sunrise" (Pete Townshend)
"Rael (1 and 2)"  (Pete Townshend)


Roger Daltrey - lead & backing vocals & percussion
Pete Townshend - guitars, backing & lead vocals, keyboards, penny whistle & banjo, sonovox on "Armenia in the City"
John Entwistle - bass, backing & lead vocals, horns & sound effects
Keith Moon - drums, percussion, sound effects, backing vocals, lead vocals on "Jaguar" & "Girl's Eyes"


Al Kooper - keyboards


None of the radio jingles and adverts bridging the tracks, or products being 'advertised' on the record and cover, were listed on
the cover or labels.  Even though none of the jingles were titled or copyrighted, lawsuits were issued, I will detail that below.

Recorded Between May - November,1967, At:
IBC Studios, Pye Studios, De Lane Lea Studios, CBS Studios & Kingsway Studios, London.
Talentmasters Studios, New York & Gold Star Studios, Los Angeles, California.
Executive Production By Chris Stamp.
Produced By Kit Lambert.
I will start with the problems the Who created for the Chris Stamp & Kit Lambert management, that demonstrates how unique and
  innovative "The Who Sell Out" really was.   This was still only their third album and the first on the Track label, but it was a
psychedelic conceptual album that was telling a story, but mocking the whole advertising world and sponsors.  Without asking any
kind of permission legally or out of courtesy, they used actual radio jingles currently being aired, to link the tracks together.
The direct use of products in music and verse was extended to the album artwork, 'mocking' was the correct term, four panels
on the front and back featured Pete and Roger, Keith and John per side.  The front has Pete on the left holding a giant size
'Odorono'  deodorant stick under his left arm, to his right in the second panel, Roger Daltrey is sitting in a bath filled with
Heinz baked beans, once again the familiar blue tin can is huge.  This was taking Andy Warhole's art into another dimension,
surreal but with a comical overtone, in the very heart of psychedelia, turn the cover over, Keith Moon is dealing with Acne from
fan exaggerated oversize tube of 'Medac' to heal his 'teenage' skin. To his right, John Entwistle is grinning in a leopard-skin
caveman cloth, a blonde girl is draped around him wearing a similar fur bikini, bizarrely John is holding a teddy bear.  He was
mimicking an advert for a body building course with the then strongman, Charles Atlas.   Advertising text was not getting away
without mockery and under all four colour picture panel,s are connected black and white fake commercials. So how did the radio
jingle producers and mocked product manufacturers react to being on a psychedelic Who album?  They issued lawsuits and the naive
Chris Stamp & Kit Lambert management duo who had only recently founded Track Records, had to pay off  'Odorono', in fairness,
Heinz, Charles Atlas and Medac saw the sense in free advertising on a Who album.  The American firm in Texas who made the jingles
for the pirate ship moored off the coast of England, who broadcasted as "Radio London', tried but failed to extract any money.
While discussing the cover artwork, the uniqueness and surreal nature appeared to affect sales, a slow selling Who abum that did
not chart until January,1968 and even then failed to breach the Top 10 in Britain, peaking at No.13 made it the worst selling Who
album between 1965 and 1975, it was not until the 1975 film soundtrack of "Tommy" that "Sell Out" lost it's stigma of the lowest
UK chart position in ten years.   Even in America on Billboard, No.48 reflected how the Who had alienated those into psychedelia,
when not only was "Sell Out" the Who's one and only psychedelic concept album, it was also the most stunning album for the songs,
performances and the incredible production.   Was that comment just an old Who fan's verdict at the time?   Not all all, No.13 was
not exactly a commercial failure, every copy bought was so loved and heavily played, you rarely see a first pressing in playable
condition anymore and a cover so wrecked, all three seams are no longer together.   Not just today, I struggled to produce copies
in the late 1980's record fairs, for ebay, the last mono copy was sold in 2004, yes, I am very fussy about every record I offer
is that 49 year old "The Who Sell Out," nothing ever recorded since, contains the sensational music and concept I am proud to
present this psychedelic / rock masterpiece in the wonderful Mono format.


The Who's 60's singles, EP's and LP's are among the world's greatest records of all time,in a four year period on three different
  labels, they released five LP's, four were unique studio albums. I had better say way I just declined to include a Who album that
  did have worse sales than "Sell Out," the 1968 "Direct Hits" was a compilation of singles.  That became the only Who LP to fail
  to enter the UK charts and quite honestly, it was short on tracks and every Who fan had the singles in original mono and there
  was no point at all to buy a so called 'stereo' version of "Direct Hits," because none of the tracks had been given a Stereo mix!
  Even today it still has to be approached warily, because only the mono version has any relevance, check the back cover very
  carefully and find the almost hidden, tiny printed disclaimer on the back cover.  Deliberately placed there in 1968 and easily
  missed, mono only tracks had been electronically faked into a pathetic 'stereo' echo mess, neither mono or Stereo, as pointless
  in 1968 as it is in 2016.  Track would soon be releasing budget label albums and this had all the hallmarks of non involvement of
  the Who, but Stereo versions of the Who's 60's recordings is a very important subject, after all, their previous pair of 1965 and
  1966 albums were mono only affairs.  So out of those four (five) 1960's albums only two true Stereo Who LP's were ever issued,
  "Sell Out" and "Tommy", surprisingly "Sell Out" was the only album that not to make a Top 5 chart position.  As I said, it never
  even broke into the Top 10 by only reaching No.13, not exactly a disaster but it does affect finding genuine top condition first
  pressings all these years later.  Although by the charting date, a whole month had passed, unheard of for a Who new studio LP,
  not a greatest hits compilation this time, it wasn't until early in the New Year of 1968, the 13th January, all the first pressings
  therefore had to be made in late 1967.   If you are going to include a poster, surely every first pressing should have had one, the
  poster of a butterfly was painted and paid for anyway, the butterfly was intended for the cover artwork before an incredible idea
  to mock media advertising and even the jingles played before the adverts were broadcast on commercial radio!   Stamp and Lambert
  were learning as they proceeded and even "Axis Bold As Love" in the same year only had Limited lyric inserts, it was early days
  and it was only a few months ago that "Sgt. Pepper" introduced album inserts.  "Sell Out" became the first Who album ever issued
  in both Mono and Stereo, being late 1967 - early 1968, mono was still very much the dominant format.  1960's records that took
  the heaviest and uncaring playing and of all time, the subsequent wear was not exclusive to Mono records either but so few people
  had a stereo system then, today, both formats in playable condition are now equally extremely rare.

 
  "Who Sell Out" was heavily immersed into the psychedelic explosion of 1967, including that previously heard of, innovative use of
  of current radio jingles and adverts to introduce and link most of the tracks together.  A brilliant and unique idea.... but as a
  record seller I look at the actual reasons for such damage found on Mono and Stereo "Who Sell Out" records and  the very concept
  itself was an actual 'direct hit!' The excessive wear always reminds of 1963 Beatles albums, but there were no fanatical screaming
  young girls leaving the records on 'repeat play' for whole days, if not weeks and months.  In 1967  the damage was was caused by
  people clumsily trying to locate only the individual song's beginnings and heavy handling of a 1960's stylus being dragged through
  and dropped on the record's grooves, was the cause of horrific damage to the music signals in those abused grooves.  The majority
  of all the Who's mono records took a real battering!  I'm not complaining, records were bought to play...and to play!  I did the
  same thing myself, every one of my 60's Who singles, EP's and albums had to be replaced with really hard to find perfect playing
  matching originals.  Replacing those and most of my other worn out originals started me on the road to becoming a record seller,
  so I was naturally carrying on looking for the same records, only on a weekly basis, not easy!  I still have trouble believing an
  album like"Sell Out" can possibly be almost fourty nine year old record now.
 
  Pete Townshend had made such amazingly rapid progress with his songwriting for "Sell Out", his ability to write around a theme
  had begun on the Who's 1966, previous album,"A Quick One While He's Away".  Just one year later, the early hints of psychedelia
  on the intervening singles, one Reaction label EP & "A Quick One", were taken to the very limit, plus the whole band's collective
  musical ability in a recording studio, had now grown to remarkable proportions.  Of course that was more than somewhat fueled
   by the chemical substances of the era itself!  The Who may been strongly influenced by an explosion of psychedelia in 1967 but
  they still had their own very distinctive sound.  The radio jingles and adverts idea and the execution of it,  turned out to be a
  stroke of  pure genius, working perfectly as a backdrop to one of the most amazing set of songs ever found on any of the Who's
  albums.  On the question of mono or stereo as the preferable way to hear the LP, I love both!  Two very different ways to hear
  such a precious original record is a real bonus, not merely a format choice. There can be no doubting the mono mix has tremendous
  impact after just hearing this sensational condition record. The Who and 'impact'were inseparable and mono 1967 psychedelic sound
  has to be regarded as the most powerful and senses affecting record ever made.  Just "I Can See For Miles" alone is completely
  overwhelming in the original UK Mono mix!


The Track labels are the 1967 matt black, both are in pristine condition and have those amazingly low spindle alignment traces,
This is a massively thick, deep grooved and heavyweight record as 60's vinyl ever became, and I am delighted to say, in stunning
  condition, with the gleaming glossy sheen of mint vinyl. Those few plays were taken with the utmost care and there are none of the
  usual heavy marks and scratches associated with "Sell Out."  he  sound quality has a razor sharp edge and the music signals at the
bottom of the very deep grooves are at their original 1967 strength and that is incredible!  A really beautiful looking record, most
importantly the music is in staggering sound quality, an absolute minimum of the any natural static, not even worthy of mentioning.
 

Side 1 has absolutely minimal natural static in near silent run-in grooves, so minimal I declare the first 'intro,' then fade-out
  into silence before the actual first intro, all run as silk as silk and  I will amend that to 'silent run-in grooves.   Which for
  the 1967 Mono first pressing, is incredible and why I insist on a straight Mint grading. The first of the radio jingles currently
played on 'Wonderful Radio London', a short one counting down the days of the week from Monday, in an electronically studio
affected voice, there are no crackles or clicks, just the vaguest static I regard as a part of this 1967 record.  Pirate radio ships
  were broadcasting off the coast of Britain, they introduced these fun jingles here and as mentioned before, they were created by
a specialist company in the USA.  Conventions were being broken, our too few boring official radio stations still acted like it
was still 1957 not 1967, then the BBC finally woke up, most of their DJ's belonged back in 1957 and when the pirate ships were
finally 'sunk' by the government, the BBC recruited the best of their DJ's like Kenny Everett,who made his own jingles. I can see
this will take quite a great deal of discipline to control the volume of text I could potentially write for an an album I regard
as up there with the greatest of all time.  So far I have only described a short jingle!  I will continue though, the BBC banned
almost as many records as they actually played in this mind expanding era, the Who were mocking commercialism but not those
illegally...playing records on air! They were acknowledging the services pirate radio provided, suddenly backwards guitars erupt
in astounding volume as the album now explodes in psychedelic splendour, with the extremely powerful sounding opening track,
  "Armenia City In The Sky".  An amazing song, but one not written by Pete or John, by John "Speedy" Keen, a friend of the band who
would soon be signed to Track Records  as a member of Thunderclap Newman, and returning the favour, "Something in The Air" was
produced by Pete Townshend, who also played the bass credited as 'Bijou Drains.' The fantastic song has some of the album's and
the Who's greatest psychedelic effects. The audio clarity is sheer perfection, a chance for me take in the staggering 1967 Mono
  mix.  As soon as those days of the week were counted down on the first jingle, a psychedelic backwards guitar intro slices into
  you with a delightful sensory effect.  Now the staggering power of Mono unleashed  Keith's incredible drums and John's thunderous
   bass impact with astonishing clarity.  Roger Daltrey's double tracked lead vocals are as clear as if he was singing in my room, the
   the mono version is an incredible listening experience, the only way I know to express that is a 'soundscape.'  In particular, Pete's
  guitar impacts far more prominently in the 1967 mono mix, creating a very 'live' sound you most certainly experience rather than
  just listen to.  From a Mint first pressing, that experience is unbelievable!   As the song develops and intensifies, the music
  weaves with amazingly fluid movements, the volume levels are colossal and I am finding it difficult to describe how overwhelming
  "Sold Out" from a Mint Mono 1967 first pressing, the glorious sounds just engulf your senses.  Psychedelic 1967 records this
  complex may give the impression of isolated sounds, but the overall effect is simply stunning, the sounds were not placed there
  cosmetically, but deliberately used to create the most wonderful impact on the listener.   The very reason 160's psychedelic
  records are still the most unique and superior to all that followed, Pete Townshend's guitar playing was just incredible, very
  close to Track's other genius, Jimi Hendrix.  Plus Polydor pressed Jimi's and the Who's records when such heavy demands were
  made on vinyl, there is no way I can carry on with volume of text when so far I have only described one track, I could actually
  end this here and now because the entire album is as exciting to hear and has the same perfect sound reproduction.  I want to
  cover every track, so I think a more disciplined approach to the descriptive text is now necessary.  Ending in silent linking
  grooves, running straight into a Who recorded advert for Heinz Baked Beans, then a short"More music, more music" jingle, all in
  the same crafted stereo mix of course.  Heard without any surface sound or audible static, including a superbly clean sounding
  link to the acoustic guitar intro to a brilliant "Mary Anne With The Shaky Hand". The mono mix here is astonishing, the sheer clarity
  of overpowering psychedelic effects is remarkable, this is The Sound of "Sell Out" all all right!  Keith's percussion is razor sharp,
  the sublime acoustic guitars rhythm double up with the percussion, meanwhile superb vocal harmonies and the unconventional
  percussion are heard in absolutely audio perfection, when I say 'perfect,' I do mean perfect!  My volume is set as loudly as I've
  ever played any record with, emphatically no distortion, even at that wall shaking volume.  It's been twelve years since I have
  been able to find a Mono "Sell Out", I insist on this record's incredible condition with the awesome sound quality I am currently
  being blown away by, why I am making the most of this stunning record!   Keith Moon's drums now begin a "Let it rock " jingle,
  then the funny "Oderono," Pete sings about the problems of a star struck young lady with severe perspiration problems, swiftly
  followed by a "Radio London" jingle.  The "Oderono" intro has twin guitars, next the"Radio London" jingle begins and ends, the
  very quiet intro to the delightful "Tatoo" has background or foreground sound, all you hear is that fantastic bridge into "Tatoo"
  without any sensation of vinyl's potential presence in the form of noise irritants.  This track has the most amazing stereo
  effects, when the acoustic guitar plays it's coming staight at you, I cannot explain that, it just does! The backing harmonised
  vocals are glorious and heard as crystal clear as I have ever encountered, as mentioned I go back to buying a mono version at
  Christmas in 1967.  The superb "Our Love" begins straight after a short Radio London jingle, Roger Daltrey's great vocals sound
  immaculate, as Keith Moon's snare drums impact with perfect sharpness. The beautiful "Our Love" has more of that audio perfection
Keith's drums join John Entwistle's French Horn backing Roger's emotional vocal, "Our Love" is still underrated, after he sings,
"Our love was shining, like a summer morning," near the end, you hear a magnificent Pete Townshend guitar, different to the Stereo
mix, unique to the Mono version. This track has everything that found the Who perfectly in tune and 'at home' with psychedelia,
pure melody like this was at the the very root of music of the mind, next, one of my favourite moments on "Sell Out", that comes
directly after a short advert for "Rotasound Strings."  In case this is an unknown album, when I say 'advert for guitar strings,'
like every pseudo advert, every second was written, spoken, sung and performed by the whole band.  Without any surface sound or
  static, the volume seemingly increases to unbelievably loud, in reality nothing has changed, but the intro featured such a super
charged potent guitar riff, booming bass and explosive drums, you are literally flattened by surely the Who's definitive, heavy
psychedelic recording. "I Can See For Miles" explodes from the speakers in the most incredibly dramatic fashion!  One of, if not
the Who's finest intro's, it never fails to deliver it's impact.  A track that is stunning in the 45 RPM Mono mix, but the 1967
Mono 33 album mix also packs a mighty powerful punch all of it's own.  Almost  towering the track above you, and it descends
into both ears with a force exclusive to original vinyl.  Right from that devastating intro in mind blowing power, the incredible
impact really has to be heard in maximum effect from a Mint record to appreciate the purity of the sound in a cauldron of exotic,
electrifying instruments and voices, in perfect unison.   Keith Moon was on fire!  His drumming is astonishing, when he hits his
snares the sound is true life, with a cutting edge only unworn vinyl can reproduce.  Pete's sensational power chords and guitar
throughout the track has the same fantastic audio clarity, Roger's vocals sound just as amazing, so often "I Can See For Miles"
distorts terribly but this record has absolutely perfect sound quality. I remember an interview recorded in 1967, when Roger was
asked if "I Can See For Miles" was about taking hallucinogenic drugs, Roger just grinned and replied;
 
"No, it's about a man with perfect eyesight."

The amazing sounds generated by the Who are here in fantastic audio sharpness and a Mono mix that has to be named as a,
'work of art.' What an album, a whole side left yet!!


I did get a bit carried away with that first side, I better tighten up describing the second half, not easy for such sensational
music in such perfect sound quality.  Side 2's run-in grooves are also near silent, then a guitar only intro for short advert for
  Charles Atlas with a spoken funny promise of being 'turned into a man', in audio clarity and then a more serious song and an
  early Pete Townshend yearning for spiritual awakening.  No Indian sitars etc. like "Sgt. Pepper" though, the Who play the lovely
gentle melody....like the Who. The magnificent "I Can't Reach You" is in a superb mono mix with crafted studio effects here, the
  rhythmic Keith Moon drums are embellished with a tambourine.  Perfect sharpness from Pete's lead vocal and the vocal harmonies
are in astonishing audio clarity, John's bass really underpins the melody.  Often two sides of a record have varying sound quality,
due to two different mothers creating a record's sides, this record provides stunning audio clarity on both sides, the first two
tracks are wide open to annoying needle noise, but you can relax and enjoy this "Sell Out."  I cannot avoid personal opinions
  and if anything, the very subtle piano is submerged on the mono album, but you still hear the notes ringing out loud and clear.
The finest detail can be heard, I do enjoy making comparisons to the Stereo and Mono original mixes because there was only
the one 1967 version, regardless of the format, I cannot spend as much time as I did on  the first side's opening track, I must
move along.  The "Medac" avert follows from silent linking grooves, maybe the funniest of   them all, dealing with 'Henry's' Acne
problems and at this point I think Pete and the band felt that was the point to end jingles and adverts.  Perhaps concentration
on the remaining tracks was needed, because this concept album was about to 'give birth' to one of the most legendary of them all.
  A single organ booms out in great audio clarity from I believe, Al Kooper contributing to introduce a stunning sounding "Relax",
with the organ and Pete's electric guitar adding to the instrumental backing for more of those great psychedelic vocal harmonies.
  Pete Townshend's song writing was sheer genius on "Sell Out", as yet another personal favourite track ,"Silas Stingy" follows,
a beautiful melody in the mold of "Nowhere Man" and I am sure in turn, inspired John Lennon to write "Mean Mr. Mustard."
That's not just conjecture, during the 1969 "Get Back" or "Let It Be"rehearsals and filming, John Lennon was a Who fan and he
spontaneously broke into singing, "A Quick One While He's Away. " Did I say I was going to cut out my stories and keep the text
minimal for Side 2?  Starting from silent linking grooves, the very quietly, softly played, gentle song is in absolutely perfect
sound quality. "Silas Stingy" can be fully enjoyed in immaculate audio, the near acapella intro is normally competing with loud
crackles, without even a suggestion of surface sound even here.  The Mono mix created a great balance on the lovely organ,
it sits up along side Keith's emphatic drums and John's melodic bass guitar.  Roger Daltry's double tracked, inspiredly sung
vocals, crystal clear and once again demonstrating how perfectly the first pressings were mastered and pressed all those years
ago.  Even this beautiful delicate melody is amazingly clean, a psychedelic feel is there in the performance and production, the
Who were at a peak creativity and performance.  Their heavier side was perfectly suited to the early 1970's, nobody played louder
or more powerfully than the Who on stage, but here you have a delicacy of deep beauty. At the very end there's absolutely no
surface sound, allowing a perfectly clean intro to "Sunrise", a track on the album also often knee deep in crackles and explosive
clicks, Pete's acoustic guitar is in exceptionally sharp audio, considering this is the quietest track on the whole LP without any
drums, pristine sound quality here is just stunning!  All that is heard is Pete Townshend's vocal and his acoustic guitar, this was
performed as a solo song, like a folk music interlude on a Jethro Tull concept album. That is the ideal comparison for a song
with such a beautiful melody and poetic lyrics, I have to emphasise this provides an ultimate test for "Sell Out," this staggering
looking and sounding very first pressing record passes with flying colours!  Ending exactly as it began in pure silence, with
great reluctance I have  arrived at the last track on this masterpiece of an album, what a fantastic track to finish this with!
"Rael (1 & 2)" would later be listed as "Rael" on the re-issues, the song I mentioned before, that would become the cornerstone
for the next Who epic album in the following year, the great "Tommy" in 1969.  An incredible track, the Who's perform with full
blown inspiration, Keith Moon's incredible drums sound unbelievably prominent in Mono, a track that really amazes from original
  1967, having only knowing the mono album in the late 1960's, this is a real pleasure to write.   A truly epic ending as Pete
Townshend hits guitar chords that would soon be developed into the main musical theme to "Tommy."  Playing perfectly and cleanly,
a Mint first pressing first generation from the Mono Master Tapes is a stunning Sell Out" record to hear.    The strangest ending
ever, has an old 78 RPM record playing in the final run-out groove, maybe not widely known, but "Sell Out" had a "Sgt. Pepper"
like tape loop inserted in order to run as a continuous sound on first UK pressings.  My tone arm does not automatically lift,
giving the"Sgt. Pepper" continuous sound, very much like a sticking record!  (Which this most certainly does not!)   I gave some
extra info about where this strange crackling, tinny piece of pre-vinyl music originated from in my opening headings.
  {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.


  Pay me with PayPal.

I don't charge my buyers extra!