Sold Date: November 18, 2016
Start Date: November 11, 2016
Final Price: £205.00 (GBP)
Bid Count: 13
Seller Feedback: 4310
Buyer Feedback: 62

No one knows what it's like, to feel these feeling's,
Like I do.... and I blame you.
No one bites back as hard on their anger,
None of my pain and woe can show through.
But my dreams they aren't as empty,
As my conscience seems to be,
I have hours, only lonely,
My love is vengeance,
That's never free.

When my fist clenches, crack it open,
Before I use it and lose my cool,
When I smile, tell me some bad news,
Before I laugh and act like a fool.
If I swallow anything evil,
Put your finger down my throat.
If I shiver, please give me a blanket,
Keep me warm, let me wear your coat.

No one knows what it's like
To be the bad man,
To be the sad man,
Behind blue eyes.
THE WHO: "Who's Next" LP.  UK 1973 TRACK LABEL PRESSING, ORIGINALLY ISSUED 1971.
Track Records ceased to exist in 1978, but by late 1975 they were no longer releasing records and they were down to only two
artists left anyway.  The Who's departure to Polydor really signalled the end of one of the greatest independent record company,
  how many newly founded record labels released singles as major as The Jimi Henrdix Experience & The Who, as their first releases?
Then followed them up with "Are You Experienced" and "The Who Sell Out" albums, in 1967 nothing like them had ever been heard.
The September,1971 "Who's Next" album never did drop from demand and for all the ever changing music trends in the first half of
the 1970's, "Who's Next" became a 'classic album' from day one.  However heavy the music got, the Who had recorded tracks more
'meaty & mighty' on "Who's Next," however innovative and hypnotic a track was, the opening "Baba O'Riley" was never surpassed.
  For a combination of open aggression, drug taking and the sheer beauty of a melody, nothing comes close to "Behind Blue Eyes."
For a defiant stance against authoritarianism, even to this day, nobody has written a song, performed it with the most biting
intensity, and recorded a track as staggering as "Won't Get Fooled Again."  That was written with all the bias of a very old Who
  fan since 1965, but it had to be aired before I could begin discussing trivialities about when this very rare unplayed,Mint Track
  Records label pressing was made.  With the album, music and label placed on the pedestal they fully deserve and earned the hard
  way, I will now turn my attention to the pressing details.  I only sell Who records when the sound quality has the true potency that
blows you clean away, well, I just listened to this record and it certainly was as potent I have heard "Who's Next".  Just saying
Side 1 has an ultra clear entrance, and the sensational intro to the  "Baba O'Riley" does not have any crackles, clicks, pops or
even audible static is indicative of the mastering and pressing.   All you hear on that intro is the most amazing impact... and it
continues throughout every second of every track.  Until the Who literally explode with astounding power and aggression, Roger
Daltrey screams and howls like a wolf on "Won't Get Fooled Again," the finale to one of the greatest albums ever recorded.


TRACK LABEL: 2408 102 DELUXE.
In 1973 the Track labels did not yet have a  shiny top surface, this pressing has the original thickly textured matt labels and
the outer rims finish flat, not yet ridged.  An inner circled groove was the only sign of the ever evolving design of the Track
labels.   Also the vinyl was not yet the extremely thin variety found with the full shiny labels, but the same thickness and
and quality of "Odds & Sods", the mastering was nothing less than sensational!  The one consistent factor behind Track Records,
   was having Polydor mastering and pressing the UK records, which for Jimi Hendrix and the Who, that meant having to harness the
   loudest music ever recorded in a studio, onto vinyl.   When a Polydor record from Cream to The Who, had a 'Deluxe' suffix to a
    catalogue number, record buyers in the 60's & 70's were never let down by the sound reproduction, wear and abuse over the decades
   has reduced once incredible records into a pathetic crackling mess.  That excessive volume no longer sitting on the right side of
   audio clarity, in place just horrific distortion.  This was late 1973 though and "Who's Next"  covers were no longer was printed by
   'McNeill Press', but the same top quality was evident in the late 1973 - 1974 covers credited with;
  
   "Printed In England by Clout & Baker Ltd.


   MAITRIX:  2408 102  A // 4   420  03  1   /  2408 102   B // 4    420  05
As usual, the digits after '420' are spread too far apart to fit into pictures, included iin them is the reason such attention
  was paid to the Master Tapes transfer to vinyl in 1973.   In fact, this pressing is by far superior to the second batch of the
  1971 first pressings.  A sound engineer who's mastering logo engraved on this record, is always welcome on all the many
  Polydor related pressings, the "Lord Of The Rings" connection was worthy of his famous hand scribed logo
 
  THE RUN-OUT GROOVES HAVE THE SCRIBED MASTERING LOGO OF 'Bilbo'.
Briefly, this was NOT in the sequence of the 1971 first pressings, when an inferior mix was used during the manufacturing of
the huge selling "Who's Next," the fullest focus fell onto faithfully transferring those Master Tapes, I will give some expanded
details about that in the main description.
 

   ORIGINAL LATE 1973 TRACK / POLYDOR INNER SLEEVE, UNUSED AND UNSPLIT  WITH ONLY LIGHT AGEING, WHICH
IN REALITY, IS WHERE THE POLY-LINING WAS GLUED TO THE INSIDE AND CAME THROUGH THE MATT PAPER.
IN UNUSED, NEAR MINT CONDITION.

THE SECOND ISSUE COVER WAS  PRINTED BY 'Clout & Baker Ltd.' BUT THE PREVIOUS 'McNeill Press' COVER
WERE MOST CERTAINLY ACTUAL 1971 FIRST EDITIONS.   THEY ARE NOT TO BE CONFUSED WITH THE 1971 FIRST
ISSUES THOUGH, BECAUSE THEY HAD POINTED SPINE ENDINGS,  LIKE THIS  'Clout & Baker Ltd.' COVER, THEY
HAD A STANDARD SQUARE SPINE SHAPE.
In late 1974, the front top left pink area with the USA catalogue number all but covered over by added clouds, is also on this
cover, I will detail that below.   The reason for mentioning that was to demonstrate how the late 1971 template was literally
still used in 1974, the time period really is that close.


UNUSED, THIS  A REALLY BEAUTIFUL COVER  AND REALLY CAREFULLY STORED IN A PLASTIC OUTER SLEEVE.  
SO NO FADING OR SCUFFING TO THE FRONT OR BACK, AND POSITIVELY NONE OF THE EXTENSIVE CUSTOMARY
RING WEAR, EITHER, INCLUDING THE BLACK BACKGROUND ON THE BACK.   NOTHING COULD PREVENT THE
USUAL RECORD IMPRESSION AND MINOR TRAITS OF STANDING OVER THE LAST 43 YEARS.  MOSTLY AS
RIPPLES AND TINY EDGE LINES, AS I KEEP SAYING, MATT COVERS LIKE THIS WITH BARELY PLAYED RECORDS
  SHOULD NOT BE GRADED IN THE SAME FASHION AS USED COVERS.....
  SO A BIG SIGH, THIS SUPERB  COVER IS IN EXCELLENT+++ / NEAR MINT CONDITION.

ONLY ONE / TWO PLAYS AND MADE WITH SUCH CARE, WITHOUT THE ULTRA FAINT SPINDLE TRACES, THERE WOULD
  BE NO WAY TO TELL IT HAD BEEN PLAYED.  THE DEEPLY GLOSSY VINYL IS :LTTERALY LIKE BRAND NEW WITHOUT
  ANY MARKS OF SCUFFS.   AS MENTIONED, THE SOUND QUALITY IS AUDIO PERFECTION AND NO IRRITANTS AT ALL.
  THE RECORD IS IN MINT CONDITION.
SIDE 1
"Baba O'Riley"
"Bargain"
"Love Ain't for Keeping"
"My Wife"
  "The Song Is Over"

SIDE 1
"Getting In Tune"
"Going Mobile"
"Behind Blue Eyes"
"Won't Get Fooled Again"

All Songs Written By Pete Townshend, Except "My Wife" By John Entwistle.

Roger Daltrey:
Lead vocals & harmonica
 
Pete Townshend:
Guitars, piano, synthesizer, backing and lead vocals.

John Entwistle:
Bass and backing vocals, lead vocals and piano on "My Wife"

Keith Moon:
Drums, percussion and violin production on "Baba O'Riley"
 
Additional Musicians:
Dave Arbus - violin on "Baba O'Riley"
Nicky Hopkins - piano on "The Song Is Over" & "Getting In Tune"
Leslie West - lead guitar on "Baby Don't You Do It"
 
  Recorded Between March & May,1971 At Olympic Studios, London, Except "Won't Get Fooled Again,"
  Which Was Recorded At Stargroves And Mixed at Island Studios, London.  Originally Issued In September, 1971.
Produced By The Who With Assistance From Glyn Johns
When 'Classic Albums' are being discussed, the Who's staggering catalogue throws up so many candidates, but to choose one from
  any of their 1960's recordings, would be much too much obvious. I believe it's now globally accepted, this first Who studio album
in the 1970's, set such high standards for the rest of that decade, only a handful of albums belong in the same exalted company,
in fact, all the following decades.  Writing descriptions as a lifelong Who fan since 1965, had to include a strong personal bias
but "Who's Next" is now quite rightly regarded as one of the world's greatest albums of all time.   I set ridiculously high audio
and all round condition standards to present any of the Who's original singles, EP's and LP's, so by offering this 1973 pressing
  you can rest assured it has been selected for the sensational the sound quality. I have played the record and am still blown away
by the incredible audio clarity and the sheer power of the music.  What a pointless exercise if 43 - 45 years of excessive wear
  has rendered a once mind blowing sounding record to a crackling, distorting mess, you can only assess the sound quality when a
record is at the completely other end of the spectrum, Mint is very special and a hardly unplayed record promises and delivers an
audio feast, something I could not resist.  After all, I became a record seller because I dearly love the music, my plays are not
detectible, I always remain aware I am discussing a fourty three year old Mint record, which was pressed only two years after
the album was released. I can't help thinking how illogical it is to think in terms of ignoring anything made not long before the
Who's "Odds And Sods" album, that also had staggering sound quality.   After what I just heard, it would be plain crazy when I
ebay,feels more like ten years!  This is a genuine pleasure to be able to produce a totally unmarked, unplayed perfect sounding
Track label record with the sound as fresh and sharp edged as the day this was pressed in late 1973.
 
  The Who did not release a studio album for two years after the 1969 "Tommy," in 1970 "Live At Leeds" was superb and the first
  live Who album was a long time coming.  In September 1971 ,"Who's Next" stormed tup o No.1 in the UK charts and resided in the
charts for a week over over four months, requiring an unbelievable volume of a records being manufactured, particularly before
the release date.  Three distinctive UK pressings emerged and back in 2002 when I first introduced the differences to ebay, there
were many emails arriving from long term Who fans who were in full agreement, particularly from  America.  There is no question
  "Who's Next" has always had an intriguing mysterious aura that stretches back to even before it had been released in September,
1971.  Fellow Who fans from that very exciting era will remember well how we kept reading in the weekly UK music press about
  Pete Townshend's 'Lifehouse' project, he was busily working on for The Who to record,Townshend's conceptual album themes had
long ago become accepted. It was great to read about it being imminent while impatiently waiting for a new Who studio LP during
those two years after "Tommy" had been released in 1969.  Then Pete just abandoned 'Lifehouse' and the theme, but some of those
newly written songs would however form the basis of "Who's Next", that kind of mystique to an album can only last for the next 45
years if the contents were indeed that great, which the entire record most certainly was. In fact, in 1971 the album went beyond
my own highest expectations, this was a simply staggering set of new songs!   "Won't Get Fooled Again", the single released from
the sessions, was sensational, even more dynamic than their very earliest Brunswick singles, with all the explosiveness of even
"Anyway, Anyhow, Anywhere."  Pete's lyrics had a hard biting edge, the musical chemistry of the Who had now been honed into an
indefinable tightness, the very basics of the band were always there, the new single established that, but now with a synthisiser
and even a violin on the album.   The Who had undergone a renewed surge of artistic inspiration and their powers in a recording
studio was second to none.  The single and "Who's Next" clearly demonstrated the new 1970's decade had not taken the edge away
from their ferocious and aggressive rock music.  Only now alongside the rawness to their music, were songs with deeply beautiful
melodies,such as an emotionally saturated "Behind Blue Eyes," the album opened up to a hypnotic rhythm of "Baba O'Riley, all part
of a sensational album to keep you enthralled from the very first seconds until the blistering outro of "Won't Get Fooled Again."
 

  I'm not giving the full history of the cover, but this 1973 cover is still solidly connected to the September,1971 first issues,
as revealed way back, there were many details I gave that were previously unknown, the cover had an undocumented and unseen
catalogue number, 'obscured by clouds,' like those first issues corners this also has the distinctive feature unique to the first
half of the 1970's decade.  Located on the front top left hand of this, the first  ever "Clout & Baker Ltd"  printed covers, exactly
as found on the first UK 'McNeil Press Ltd.' printed covers. In among the clouds, about an inch from the top of the spine moving
towards the far right side, approximately half an inch down from the top edge, depending on how the artwork was folded, if you
look really closely, almost camouflaged a number prefaced by two letters will be there.  Similar to today's computer concealed
  digits and letters used as codes that only human eyes can read, not machines, there will be, 'DL 33789'.   The colours that make
up the clouds on the front picture, included a pale pink colour, the number is partially seen in the pale pink or possibly mauve
depending on the ink, with just a merest hint of a black edge, at first glance near invisible, look harder and it will positively
  be there, or the cover is a re-issue from much later than this cover.  Providing me with a perfect dateable item as well as being
ideal to illustrate just how close to those final charting original pressings in early 1972, this record and cover actually are.
  Regadless of being from late 1971 to late 1973, you obviously need an unfaded and unworn cover to see this from, it has been
very deliberately printed, the reason why was it originated on the USA  cover, 'DL 33789' is the American catalogue number,
  in the early 1970's there was full cooperation between the UK and US for cover artwork.

The 1971 first UK issue being a No.1 album as mentioned, it meant multiple pressings before the September release date, during
the rest of the 1970's decade, the Who's live performances of so many of the LP's songs, kept a constant demand for "Who's Next"
extremely high.  Involving endless re-pressings, including budget Polydor labels and 'limited editions' etc. particularly between
the Who's peak touring years with Keith Moon, which was 1971 - 1975.  First issue covers have other very distinguishing features,
the details are not relevant here . Very noticeable on some of the first pressings made, etched onto the run-out groove on Side 1
  is, 'MG 12888'.  Now things do get rather complicated because some have 'Bilbo' and on others there will have "MG 12888" on one
side and "Bilbo" on the other side, there you have the three distinctive pressings during the mass production of 1971 -1972!
 
A positive identification point to what constitutes the first pressing, i.e. the copy bought on the day of release in a UK record shop,
  so all three variations below 100% belong to a unique first issue cover and are.... a first pressing!   Of course there are variations
  in any machine stamping, human error accounts for the setting of them, but here how virtually every one of the UK records pressed
  in advance of "Who's Next's" distribution to UK record shops in September, 1971 panned out.

1.) The very first made in the manufacturing process have stamped maitrix's of;
  '2408 102  A //1 /  2408 102  B // 1'  or  '2408 102  A // 1  / 2408 102  B // 2,'  with absolutely no difference between them,
  chronologically or the scribing.  They will have positively have either,'MG 12888' or 'Bilbo' etched only on one of the sides.
The fallacy about 'Bilbo' being a 'dubbed' copy is an outrageous invention by devious minds and why I'm been itching to get the
  truth back onto ebay and relish this opportunity to repeat the facts.

  Next in the pressing sequence, and I must stress, this was still in a continuous and an unbroken pressing chain, please note how
the maitrix end digit has not risen above 'A - 1.'   This record has precisely the maitrix and etchings given below, this is not only
close to the above copy, it is literally touching it in a clearly unbroken indexed sequence.
'2408 102  A // 1 /  2408 102  B // 3'
  These will positively have both 'MG 12888' and 'Bilbo' etched on either side of the record.
 
  3.) Next and last in the manufacturing sequence, but once more positively the first pressing, provided the labels are matt and
textured, well pitted is accurate, with all the necessary details unique to a first issue cover.
'2408 102 - A  // 1  (or  A // 2 ) /  2408 102  B // 4'.  
Only 'Bilbo' is etched in the run-out grooves.

4.) This is intended to be a rough guide to the pressings, so Please Do Not send me other variations, I'm certain they are most
likely to exist, simply because of the very nature of vinyl production during the 1960's and 1970's.  This record has the direct
  continuation of the matrix configurations;
  '2408 102   A // 4 /  2408 102  B // 4'.  
  Only 'Bilbo' is etched in the run-out grooves and ...as I said, variations are likely.

The most potent first pressing from an audio perspective were records with 'MG 12888' on one or both sides, but that will only be
  heard by those really into 'sound', the sad truth is most record sellers could never differentiate between them and just took my
details to use for worn out junk.  Once the high demand for "Who's Next"  died down, sound engineers were not under pressure to
meet pressing schedules required to re-stock record shop shelves. In 1973 full attention fell onto the most perfect mastering and
this record contains the same staggering sound heard on the very first made 1971 records, how do I know?  Well, I think I have
laid my qualifications as both a Who fan and the first UK record seller on the internet to reveal the facts & figures behind the
original pressings. By simply using my ears!  I bought the very first pressing and also the cassette version in September,1971,
  incidentally, I think 'Bilbo' mastered the very first pressings as well, instead of scribing his logo he wrote a catalogue number
  on the Master Tape spool box, 'MG 12888' instead.  Those dismissing his skills are doing so in ignorance, this record proves his
mastering was exactly the same as the records first made with 'MG 12888' on one or both sides, the rest has been invented by
ebay sellers. Now you never need to be 'fooled again', to hear an ultimate sounding UK 1970's pressing of "Who's Next," you also
need completely unworn grooves, they alone can give you an audio experience of you life!

  Now I have to restrain my over enthusiasm for such a loved album. not really possible but if i restrict the text to a minimum, it
will keep me under control, I can't wait to get started!


  Side 1 has silent run-in grooves, as I commented earlier, after 43 years that is indicative of the care taken over this pressing
in late '73.  What amazing clarity during the wonderful few minutes hearing the magnificent intro to "Baba O'Riley," no more than
  the merest hint vinyl is producing one of the most distinctive Who introductions ever recorded, stirring memories of that same
  intro blasting out live on stage is unavoidable, the sheer power of the mastering more than equals the Who's 'in concert' levels.
  It took at least 3 days before you ears lost the effect of all that power, great to hear without the usual excessive needle noise
   found on virtually every original, I refuse to sell this album unless that incredible"Baba O'Riley" intro is heard in as superbly
  clean sound. Then you need to check there are no breakable loose objects are in the room near the speakers, Keith Moon's drums
  now pick up that hypnotic, mesmerising rhythm and John's bass guitar enters the frame, the awesome power of this Mint record
   erupts, as an 'on fire' Roger Daltrey sings the first verse with real venom.  The instruments have unbelievable volume and there
  are some staggering true stereo panning effects, especially during Pete Townshend's sensational synthisiser's opening section.
When Keith Moon's drums came powering in, they had a razor sharp edge to the sound Mint vinyl alone possesses, Roger's vocals
   sound amazing, an emphatic delivery that becomes even more outstanding the further into "Baba O'Riley" you get and when Pete
    sings the majestic,"Don't cry, don't raise your eye, it's only teenage wasteland" section and the music drops back, all heard in
   stunningly ultra clean audio, without any surface sound from the as new grooves.  Finishing after the last verse with a brilliant
   instrumental piece with a fantastic violin going into overdrive, as the band intensify the tempo to breaking point before coming
  to a full stop. Virtually no static in the gap, the ultra low variety, then a superbly clean intro for a personal album favourite
  recording,"Bargain". With stunning sound from Keith Moon's full force drums, Roger Daltrey's very powerful vocals alternate with
  Pete Townshend's for the verses.  Pete's really aggressive electric guitar hits you like a sledgehammer from the left channel, as
  Keith's drums race across the speakers with a fluency of sound movement lost on following issues.  As a Who fan, this is indeed
the true Master Tape sound and in my opinion, the last of the 'original's' to contain such fantastic power and the precise stereo
  mix I have been hearing for the last 43 years, that really does make me feel old!  The whole band now pull back when Roger
  sings about how he looks at himself in a mirror, even the quietest piece on this track is completely clear of any surface sound,
  now the dynamics explode with such an impact as only the Who could!  The blending of acoustic and electric guitars give fantastic
  textures to the album, with John Entwistle's bass guitar at such a massive level,"Bargain" sounds stunning from mint vinyl! Right
  at the end there is a very gentle singular acoustic guitar, that is heard in mega sharp audio, the total lack of any surface sound
  here makes this an immaculate pressing, one of Track / Polydor's very finest pressings.  I only ever sell this album in a minimum
  of Nr. Mint condition, how much longer that can be done, only time will tell so I'm making the most of this record's description.
   "Love Ain't For Keeping" makes an entrance from a near silent gap, the superb acoustic guitar intro is once more as clean & clear
  of any irritants, as this record was pressed.  I am always the first to say when reviewing a record I know came with noticeable or
  intrusive in-built surface sound, but I will very emphatically say if any record was available when issued with just staggering
  mastering. The UK's "Who's Next" was such a record, there is no need at all to be listening to it through a barrier of noise and
  distractions.  I do like to turn up the volume even on these naturally loud records, not only stunning clarity, 'distortion' will
  not be a word found in this description!  My one and only complaint about the brilliant song, "Love Ain't For Keeping," is it was
  too short at just over two minutes long, you're just getting into it and it's all over. Such a great melody, the acoustic guitars
  and drums do suggest an imminent surge of Who like power is about to erupt, blink and you're into the next  track.  A silent gap
  before John Entwhistle's "My Wife," this fairly thunders out the speakers because John's bass guitar was mastered with colossal
  volume, intentionally as well, his bass provides the fullest foundation to the song and that very special way John's lead vocals
  are projected, really making his voice carry a tremendous impact.  Not as a stereo effect because his voice is panned in both
  channels, more the way it's balanced against the instruments and holding a position.  Keith is creating fantastic drum patterns
  on one of the most magical songs on the album, any track on the album has to measure up to Pete's outstanding songs,"My Wife"
  is on an equal footing with everything else on both of the sides.  The brass sounds superb, the stereo mix is adding great effects
  via panning of the constantly fluctuating sound movements.  The ending section with "she's coming," has a long glorious fade-out,
  as the volume very gradually falls away, just the faintest static & fractionally onto the piano only intro, I always find myself
  including the obvious that would not even register personally.   All part of an openly written honest description but the reality
of vinyl under such an intensive spotlight, must not create the false impression about such amazing analogue sound, not when I
am also hearing the piano notes in their natural tones. Roger Daltrey's vocals begins with a real edge to his voice, adding extra
emphasis to the very dramatic lyrics, they have just a touch of "Tommy" about them; "I'll sing my song to the free, to the free!"
   This was part of Pete's "Lifehouse" project, a kind of theme concept about an individual note and how it evolved into a' song,' I
explained it as best as possible!  Pete sings the next verse to a far quieter backing of mostly a piano, then Roger comes back in
with a pent up power waiting to be released, as Keith starts to play with all his usual fire before Pete's next verse. The melody
  starts to sweeten and Moon is off with his fantastic drum patterns, the stereo here is superbly crafted and balanced, even parts
of Keith's drumming is projected in the opposite speakers.  Defining a first stereo mix is never easy, subtleties of specific parts
of the tracks become ingrained after 40 years, the differences between the re-centralised stereo of the re-issues are immense.
  Just listing labels and covers variations, pale into insignificance alongside the actual sound of a record but I try hard to give
  both sets of details, I would never know those staggering sounds were not heard from a 1971 very first pressing as I detailed
earlier. That says it all about the fantastic mastering in 1974 and all was heard and enjoyed in the most stunning sound quality
  imaginable.
 

Side 2 starts from as close to silent run-in grooves as vinyl possibly gets, no crackles, the lowest possible level of static and
the very quietly played lone piano intro and then just as quietly sung first lyrics of "Getting In Tune," are ultra clean. I have
  excessively high volume and I always deliberately keep it that loud in order to make certain my descriptions will only ever be
accurate as I can.  Time to stop this very tedious business of continuously mentioning the bandings, so from here on, as a Mint
  record, the whole LP runs as smoothly as possible in all the track's gaps, including natural static is absurd.  I never claim the
  impossible from vinyl, my overriding concern is to only ever present records exactly as they were first bought and were unplayed.
  Not easy because some records will have light surface only traces but still have the sound of a mint record, but when vinyl looks
as stunning as it sounds I'm thrilled to be offering such a record. "Getting In Tune" has a really quiet intro with only a single
piano being joined by a subdued vocal, all iin ultra sharp edged audio, this is the second of the "Lifehouse" songs and a really
great song at that, with a brilliant production, gradually building and gathering a real momentum at the end. Pete Townshend was
in such inspired songwriting form in the early 70's period. I'm sure other Who collector's of unofficial material will agree, the
  original Townshend only performed "Lifehouse" demo's, are a really clear indication of just how talented Pete was at not only the
  songwriting side.  Pete's solo "Eel Pie" recording's have him playing every single instrument and even the drums, those who also
  dig into every possible source to find the Who's as well as Pete's every scrap of music, will know  how astonishing his solo demo
  of "Behind Blue Eyes" is!  For an official earful of "Lifehouse", make sure to have a copy of the essential 1974 "Odds And Sods"
   album. I have moved much too far ahead by mentioning "Behind Blue Eyes" yet, meanwhile the next track is the really outstanding
   "Going Mobile", I will say the first gap on this side is silent, an uplifting track sounds absolutely perfect with the wonderful stereo
  panning amazingly effective for the acoustic guitars, in the total channel separation."Going Mobile" is a kind of country / blues
  performance with the acoustic instrumentation hitting a great rhythm, this moves along at a fair old tempo and the fast rhythm is
  in keeping with the song's driving or 'on the road' theme.  Sung by Pete without any other vocal backing from the others and he's
moving between a soft singing tone, to really powering out some of the lyrics.   The backing is more complex than might at first
appear, if you concentrate on Keith's drums he really did make such fantastic contributions, staying in perfect synch with Pete's
  really fast rhythm acoustic guitar, the sound quality is immaculate. A sublime "Behind Blue Eyes" has a deeply beautiful melody,
  starting with single acoustic guitar notes, they have 'true to life' sound, the gap will positively be described, totally silent.
  Even the initial seconds of the completely exposed acoustic intro are mega clean and clear of any kind of sound irritants at all.
I include the slightest surface sound but I also make sure to stress when records performs above and beyond all expectations, the
solid truth is nearly all vinyl has moments that would beat a CD for nothing in the background, then go and sound..like a record!
This record is a very impressive pressing indeed for "Behind Blue Eyes" because there is no surface sound, just crystal clear and
absolutely stunning sound quality for the entire duration of this fantastic song.  I do have my amp  ridiculously loud for a such
  a powerful playing record, deliberately making sure nothing is going to escape my scrutiny.  I cannot possibly include the very
faintest, natural to vinyl static, or it makes a mockery of ultimate condition records like this.  This was just about Roger's finest
  ever vocals, both subtle and also so powerful as the emotions of the lyrics demanded from him. The first stereo mix is essential
to hear this with a fully wide, dramatic impact it was intended to be heard with!  The acoustic guitar is panned right and Roger
  Daltrey's voice is double tracked, he recorded two different vocals so in effect, harmonising with himself. I typed the verses
  above my opening heading's, but I still want to illustrate the wonderful moment when Roger suddenly injects a different emotion,
that rawest aggression he never lost from those Mod years, this is the Who at their most magical after all;
/font> When my fist clenches, crack it open, before I use it and lose my cool,
  When I smile, tell me some bad news, before I laugh and act like a fool.
  And if I swallow anything evil, put your finger down my throat,
  And if I shiver, please give me a blanket, keep me warm, let me wear your coat.
The stereo places two vocals into the opposite speakers, this is a magnificent way to hear such a stunning track, I cannot stress
  enough how faithfully mastered this 1973 pressing was, a staggering pressing and a Mint record, what more could I offer?  Yes,
an unplayed very first pressing would be very special but I deal with reality and Master Tape analogue sound is what this was all
about when the Who recorded the album in 1971.   With the sound as stunning and so perfect as this record contains, along with
the intended stereo panning effects,"Behind Blue Eyes" is just breathtaking to hear. The same  applies on the album's absolutely
stunning Master Tape cut of surely one of Pete Townshend's greatest  ever songs, "Won't Get Fooled Again".  A track that should
hit you like a hammer blow and nail you to the  floor, if not, you have yet to hear "Won't Get Fooled Again"!  The Who performing
at their most sensational, the incredible impact is not available on re-mastered vinyl or on CD's, the original single is the only
other source with the same extra power, almost like the late 1960's when the recording allowed the 'needle' to slip into the red
because every decibel of volume was needed and used.  The song title is very apt for anyone reading this who switched to CD's
and is now missing their original vinyl.  The Who play this as if on stage, with thunderous drumming from Keith Moon, and Pete
  Townshend playing his guitar as loudly and aggressively as you will ever hear outside of those early r&b Brunswick recordings.
  John's bass is right off the scale for astronomical volume, as for Roger Daltrey, the lung bursting scream of his before he sings
the final, "Meet the new boss, same as the old boss," is one of the most amazing moments ever found on a record.  The explosive
instrumental ending is the Who on fire!  The sound quality is sheer perfection and if there was any surface sound behind a wall
of overpowering sound, it belongs there!  That blood curdling moment when Roger lets out that scream and Pete makes those
  strangulated guitar sounds during the ending section, was a defining moment in rock history.  Much imitated ever since, like all
imitations, they do not send shivers down your back, but most amazing of, the Who were just as mind blowing live on stage!
My amp's wall shaking volume revealed even here there is no distortion, as a Who fan, I really want to conclude this by saying
there has never been a recording to match "Won't Get Fooled Again" and there never will be, what an album and what a listening
experience this has been!
{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!