THE WHO A Quick One REACTION 1st Press MONO Textured Labels

	£		75
	$		99

A BREAKDOWN OF THE ARTIST/S :-

Formed in Shepherd's Bush, London, England in 1964, the Who evolved out of local youth club band the Detours. Pete Townshend (Born Peter Dennis Blandford Townshend, 19 May 1945, Chiswick, London, England; guitar/vocals), Roger Daltrey (Born 1 March 1944, Hammersmith, London, England; vocals) and John Entwistle (Born John Alec Entwistle, 9 October 1944, Chiswick, London, England, d. 27 June 2002, Las Vegas, Nevada, USA; bass) founded this attraction, and having jettisoned Colin Dawson (vocals) and Doug Sandom (drums), recruited Keith Moon (Born Keith John Moon, 23 August 1946, Wellesden, London, England, d. 7 September 1978, England) as a replacement for the latter. The restructured quartet was adopted by manager/publicist Peter Meadon, who changed their name to the High Numbers, dressed them in stylish clothes and determinedly courted a mod audience. Their sole single, "I'm The Face", proclaimed this allegiance although Meadon shamelessly purloined its melody from Slim Harpo's "Got Love If You Want It".

Two budding film directors, Kit Lambert and Chris Stamp, then assumed management responsibilities and having reverted to their Who sobriquet, the band assiduously began courting controversial publicity. Townshend's guitar pyrotechnics were especially noteworthy; the instrument was used as an object of rage as he smashed it against floors and amplifiers in simulation of painter Gustav Metzger's auto-destructive art, although the origins of the act derived from when Townshend accidentally broke the neck of his guitar in a low-ceilinged club to the perverse delight of the crowd. The Who's in-person violence matched an anti-social attitude and despite a highly successful residency at the famed Marquee club, the Who were shunned by major labels. They eventually secured a deal through Shel Talmy, an independent producer who placed the band with American Decca Records. Their recordings were then sub-contracted through UK subsidiary, Brunswick Records, a perilous arrangement bearing later repercussions.

The Who's first single "I Can't Explain", released in January 1965, rose to the UK Top 10 on the strength of appearances on television's Ready, Steady, Go! and Top Of The Pops, the latter transpiring when another act dropped out. Written by Townshend, already the band's established composer, but modelled on the Kinks, the song's formal nature surprised those expecting a more explosive performance. Such hopes were answered by the innovative "Anyway, Anyhow, Anywhere" and "My Generation", the latter of which encapsulated the frustrations of an amphetamine-charged adolescent, both in its stuttered intonation and smash-and-grab instrumental section. This pivotal release, one of the benchmarks of British 60s pop served as the title track to the Who's debut album, the release of which was delayed to accommodate new Townshend originals at the expense of now pass‚ cover versions. "The Kids Are Alright" and "Out In The Street" articulated a sense of cultural affinity and if the songwriter's attachment to the mod phenomenon was undoubtedly expedient, the cult held a lasting fascination for him.

Despite artistic and commercial success, the Who wished to sever their punitive contract with Talmy. When he refused to renegotiate their terms of contract, the band simply refused to honour it, completing a fourth single, "Substitute", for a new label and production company. The ensuing wrangle was settled out of court, but although the unit achieved their freedom, Talmy retained five percent royalty rights on all recordings made until the end of the decade. The Who continued to enjoy chart success, adeptly switching subject matter from a parochial clique to eccentric characterizations involving transvestism ("I'm A Boy") and masturbation ("Pictures Of Lily"). Townshend's decidedly English perceptions initially precluded a sustained international success. A Quick One and The Who Sell Out, the latter of which was, in part, programmed as a homage to pirate radio, thus proved more acceptable to the UK audience.

The Who's popularity in the USA flourished only in the wake of their strong set at the 1967 Monterey Pop Festival. They returned to the UK Top 10 in the winter of 1967 with the powerful "I Can See For Miles". Despite their strength as a singles act, however, the band failed to achieve a number 1 hit on either side of the Atlantic. They embraced the album market fully in 1969 with Tommy, an extravagant, semi-autobiographical rock opera which became a staple part of their increasingly in-demand live appearances. The set spawned a major hit in "Pinball Wizard" but, more crucially, established the band as a serious act courting critical respectability. Tommy was later the subject of a film, directed in 1975 by the suitably eccentric Ken Russell, as well as an orchestrated interpretation, recorded in 1972 under the aegis of impresario Lou Reizner. This over-exposure undermined the power of the original, and fixed a musical albatross around its creator's neck.

The propulsive Live At Leeds, released in 1970, was a sturdy concert souvenir (regarded by many as one the best live albums ever recorded), while Townshend created his next project, Lighthouse, but this ambitious work was later aborted, with several of its songs incorporated into the magnificent classic Who's Next. Here the Who asserted their position as one of rock's leading attractions by producing an album that contained "Baba O'Riley" and "Won't Get Fooled Again", two epic anthems destined to form an integral part of the band's 70s lexicon. The latter reached the UK Top 10 and was the prelude to a series of specifically created singles - "Let's See Action" (1971), "Join Together" (1972), "Relay" (1973) - which marked time as Townshend completed work on Quadrophenia. This complex concept album was a homage to the mod sub-culture which provided the artist with his first inspiration. Although compared unfavourably with Tommy, the set's plot and musical content, while stylistically the antithesis of the band's early outburst, has shown a greater longevity and was the subject of a commercially successful film, featuring future stars Toyah and Sting.

Commitments to solo careers undermined the parent unit's progress during the mid-70s, and 1975's The Who By Numbers, although a relevant study of the ageing rock star, was deemed low-key in comparison with earlier efforts. Another hiatus ensued, during which the ever self-critical Townshend reassessed his progress in the light of punk. The quartet re-emerged with the confident Who Are You, but its release was sadly overshadowed when, on 7 September 1978, Keith Moon died following an overdose of his Heminevrin medication taken to alleviate alcohol addiction. His madcap behaviour and idiosyncratic, exciting drumming had been an integral part of the Who fabric and rumours of a permanent split abounded. A retrospective film, The Kids Are Alright, enhanced a sense of finality, but the band resumed recording in 1979 having added former Small Faces/Faces drummer Kenney Jones (Born 16 September 1948, Stepney, London, England) to the line-up. However, any new-found optimism was undermined that year when 11 fans were killed prior to a concert at the Cincinnati Riverfront Colosseum in Ohio during a rush to secure prime vantage points, and neither Face Dances nor It's Hard recaptured previous artistic heights, although the former contained the fiery "You Better You Bet", which restored them to the UK Top 10.

A farewell tour was undertaken in 1982-83 and although the band did reunite for an appearance at Live Aid, they remained estranged until the end of the decade. Townshend's reluctance to tour - he now suffered from tinnitus - and his much-publicized period of heroin addiction, were major stumbling blocks, but in 1989 he agreed to undertake a series of US dates to celebrate the Who's 25th anniversary (with Simon Phillips on drums). Townshend, Daltrey and Entwistle were augmented by a large ensemble of supporting musicians for a set indebted to nostalgia, which culminated in Hollywood with an all-star gala rendition of Tommy. As such, the tour confirmed the guitarist's fears - a request to include material from his concurrent solo album The Iron Man was vetoed.

Townshend's desire to progress and challenge preconceptions has marked the very best of the Who's extensive and timeless catalogue. In 1993, over 25 years after its original release as an album, a production of Tommy, retitled The Who's Tommy, was staged on Broadway, and won five Tony Awards. The Who's star continued to rise in 1994 with the sympathetically packaged Thirty Years Of Maximum R&B CD box set, and was maintained with the reissued Live At Leeds with many extra tracks added from that memorable gig. The recording recalled a period that showed Townshend's playing at its most fluid and Daltrey's vocals strong and effortless. Further reissues in the mid-90s included The Who Sell Out, Who's Next and A Quick One, all of which were expertly remastered and contained many extra tracks, including the legendary Ready Steady Who EP. From these albums it is clear from where 90s Britpop bands such as Dodgy, Blur, and Swervedriver derived their "Cockney' rock style. Released three decades too late for most Who fans, 1996"s Live At The Isle Of Wight Festival set demonstrated (as does Live At Leeds) what an astonishing live band the Who were (and are). The quality of the Isle Of Wight concert recording was viewed as a welcome windfall to the band's (still) considerable following.

In June 1996 the Who appeared at London's Hyde Park, performing Quadrophenia in front of 200,000 people. Further performances were given in the USA and the UK later that year. The drummer for this latest re-formation was Zak Starkey (Born 13 September 1965, London, England), son of Ringo Starr. The Who's major tour in 2000 (with Starkey and John "Rabbit" Bundrick) was remarkable. Keith Moon would have been proud of the younger Starkey's uncanny ability to "play in the style of". Townshend appeared to enjoy playing onstage and relations on and off stage with Daltrey were highly amiable. The music at most concerts was stunning, and belied the ages of the three senior members. The Who are unquestionably one of the finest acts of the rock generation, and they continued, up until Entwistle's death in June 2002, to be one of the most influential and exciting (Townshend and Daltrey soldiered on and completed a number of subsequent live dates with Pino Paladino filling in on bass). Alongside the Rolling Stones they continue to be spoken of as the greatest rock 'n' roll band in the world.

Discography:
My Generation (Brunswick 1965)****, Sings My Generation (Decca 1966)****, A Quick One (Reaction 1966)****, The Who Sell Out (Track 1967)****, Happy Jack (Decca 1967)***, Magic Bus - The Who On Tour (Decca 1968)***, Tommy (Track 1969)****, Live At Leeds (Track 1970)*****, Who's Next (Track 1971)*****, Quadrophenia (MCA 1973)****, The Who By Numbers (Polydor 1975)***, Who Are You (Polydor 1978)**, The Kids Are Alright film soundtrack (Polydor 1979)***, Quadrophenia film soundtrack (Polydor 1979)****, Face Dances (Polydor 1981)**, It's Hard (Polydor 1982)**, Join Together (Virgin 1990)***, Live At The Isle Of Wight Festival 1970 (Essential 1996)****, Live At Leeds Deluxe Edition (Polydor 2001)*****, My Generation Deluxe Edition (Polydor 2002)*****, Who's Next Deluxe Edition (Polydor 2003)*****, Live At The Royal Albert Hall (SPV 2003)***, Tommy: The Deluxe Edition (Polydor 2004)****.

Compilations:
Magic Bus (Decca 1967)***, Direct Hits (Decca 1968)***, Meaty, Beaty, Big & Bouncy (Polydor 1971)*****, Odds & Sods (Track 1974)****, The Story Of The Who (Polydor 1976)***, Hooligans (MCA 1981)***, Rarities Volume 1 (1966-1968) (Polydor 1983)***, Rarities Volume 2 (1970-1973) (Polydor 1983)***, The Singles (Polydor 1984)***, Who's Last (MCA 1984)**, Who's Missing (MCA 1985)**, Who's Better Who's Best (Polydor 1988)****, The Who Collection (Stylus 1988)***, Thirty Years Of Maximum R&B 4-CD box set (Polydor 1994)*****, My Generation - The Very Best Of The Who (Polydor 1996)*****, BBC Sessions (Polydor 2000)****, The Ultimate Collection (Universal Music TV 2002)*****, The 1st Singles Box (Polydor 2004)****, Then And Now! (Polydor 2004)****.

THE HISTORY OF THE RECORD :- The American record company executives at Decca Records released the album under the title Happy Jack, rather than the sexually suggestive title of the original UK release, and due to "Happy Jack" being a top 40 hit in the US this track replaced a cover of the Holland–Dozier–Holland hit Heat Wave) which was included on the original UK version of the album .

This is widely regarded by fans to have been a pivotal album for the group, due to the departure from the R&B/pop formula featured on the band's first release. Part of the marketing push for the album was a requirement that each band member should write at least two of the songs on it (although Roger Daltrey only wrote one), so this Who album is the least dominated by Pete Townshend's writing.

The album was also the band's first foray into the form of rock opera, with "A Quick One, While He's Away", the title track of the LP, a nine-minute suite of song snippets telling a story of infidelity and reconciliation. The Who would later go on to write and record the full scale rock operas Tommy and Quadrophenia.

The album was intended to be pop music, a sonic participant in the pop art movement. The cover was designed by the pop art exponent Alan Aldridge, with the front cover depicting the band playing their instruments. The back cover is a black-and-white photo montage of the band members accompanied by a short personality sketch of each (infamous among Who fans for Keith Moon's humorous assertion that he was keen on "breeding chickens"). A track listing, a couple of paragraphs touting the band, an ad for their first album, and a technical blurb are also crowded onto the back cover.

The blurb reveals the recording technology of the time by announcing "This is a high-fidelity record! For proper reproduction use RIAA or a similar Record Compensator setting." The album was recorded at IBC Studios, Pye Studios and Regent Sound, in London, England in 1966 with Kit Lambert as the record producer.

In 2003, the album was ranked number 383 on Rolling Stone magazine's list of the 500 greatest albums of all time

THE COVER :- Single laminated sleeve

THE LABEL :- Reaction textured blue labels

THE VINYL VISUALLY :- On initial inspection of this piece of vinyl there are on or two areas worth noting. The vinyl sits perfectly flat on the turntable so there are no nasty warps to worry about. The vinyl shows a number of light scratches and a few scuffs, these are evenly distributed over both sides of the record. There is nothing deep or of major concern but the vinyl isn't perfect and has seen some play over the years. These thick pressed vinyls of the late 60's were built to last so the playback will no suffer too much. Visually I would grade as Very Good to Very Good Plus condition

THE VINYL PLAY GRADED :- The playgrading reveals it sounds far better than it looks. There is a lot less surface noise than you would think, mainly there is just the odd section of crackle and hiss inbetween tracks. There is the odd light pop but barely any. You can hear very very light crackle if you crank up the volume in small areas but it is nothing that in any way spoils the listening pleasure. Most of these early Who albums got trashed going from party to party in the 60's but not this one. I think the audio is as good as you might find after all these years. It is not perfect but I would grade as a strong Near Excellent condition audibly.

THE SLEEVE FRONT CONDITION :- This is the very earliest 1st press laminated Ernest J. Day sleeve. The front of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. The sleeve reveals some light ringwear. There is some laminate lifting in areas, mainly in the bottom left corner and about the opening edge where it has recieved most of the handling. The corners and seams are in excellent shape but the is some freying about the opening edge. Not a bad cover compared to a lot I've seen and deserves a Very Good Plus grading.

THE SLEEVE REAR CONDITION :- The rear of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the rear but some visable ringwear. Just some very light corner and seam wear. There are a couple of dinks that have broken through the laminate and lifted some of the black top surface away. One you can see to the right of the faces and the other on the top seam above the word ONE. I would grade the rear as Very Good condition.

THE LABEL SIDE ONE CONDITION :- Original Reaction textured label in good order free from stickers or writing and no damage at all, quite a few signs of play around the spindle hole. Excellent condition.

THE LABEL SIDE TWO CONDITION :- Original Reaction textured label in good order free from stickers or writing and no damage at all, quite a few signs of play around the spindle hole. Excellent condition.

THE SPINE CONDITION :- The writing on the spine is crystal clear, no spine splits at all just very light signs of shelfwear in the two corners. Excellent condition

THE INNER SLEEVE CONDITION :- Generic white inner in Very Good condition with some browning around the edges

THE EXTRAS :- No extras were given with this album

THE CATALOGUE NUMBER :- 593002

THE YEAR OF RELEASE :-  1966

THE COUNTRY OF ORIGIN :-  UK

PLAYING FORMAT :- MONO

THE MATRIX NUMBERS :-  593002 A//2  &  593002 B//2

TRACK LISTING :-

SIDE ONE :-

1. RUN RUN RUN
2. BORIS THE SPIDER
3. I NEED YOU
4. WHISKEY MAN
5. HEATWAVE
6. COBWEBS AND STRANGE

SIDE TWO :-

1. DON'T LOOK AWAY
2. SEE MY WAY
3. SO SAD ABOUT US
4. A QUICK ONE, WHILE HE'S AWAY

WHAT WE PLAY THE RECORD ON :- 

We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range

HOW WE CLEAN YOUR RECORD :- 

We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing

HOW WE PACKAGE YOUR RECORD :- 

Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam spliting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection

POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-

We advise that items reaching over £46 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced

FIRST CLASS RECORDED FOR RECORDS INSURED UP TO £46  :-   £4.50

SECOND CLASS RECORDED FOR RECORDS INSURED UP TO £46 :- £4.00

SPECIAL DELIVERY NEXT DAY UPTO 500g :- £7.15

SPECIAL DELIVERY NEXT DAY FROM 500g - 1000g :- £8.35

(SPECIAL DELIVERY INSURES YOUR ITEM UPTO £500)

POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-    

All records reaching under £15 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £6.22 (For items under £15)

INTERNATIONAL SIGNED FOR :-  £11.37 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :-  £13.97 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE USA AND CANADA :- 

All records reaching under £15 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS  :-  £8.78 (For items under £15)

INTERNATIONAL SIGNED FOR :- £13.93 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.53 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :- 

All records reaching under £15 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £15

AIRMAIL SMALL PACKETS :- £9.06 (For items under £15)

INTERNATIONAL SIGNED FOR :- £14.21 (For items £15 - £50)

INTERNATIONAL SIGNED FOR :- £16.81 (For items £50 - £500)

(These prices are based on a package weight of no more than 500g and can vary for heavier packages)

PLEASE NOTE THAT WE DO NOT PROFIT FROM POSTAGE, THE PRICES WE QUOTE ARE QUITE ACCURATE AND INCLUDE THE PACKAGING MATERIALS AT COST PRICE

NOTE FOR INTERNATIONAL BUYERS:

PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES

BUYERS OF MULTIPLE ITEMS :- 

Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases

HOW TO PAY FOR YOUR RECORD :-

We can accept the following payment methods

UK BUYERS :- 

• PayPal
• Personal cheque (Please allow to clear)
• Bankers Draft
• Postal Order

OVERSEAS BUYERS :-

• Paypal only

TERMS AND CONDITIONS :-

We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio  equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction

SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS