Up for sale The Who My Generation LP 200 gram Classic Records.
Sleeve Condition: Excellent a Beautiful example
Record Condition: Excellent a Beautiful example
A nice rare LP an absolute must for any collectors of The Who.
£95 Postage within the UK is Free!!
If interested please PM me Cheers
Sleeve Condition: Excellent a Beautiful example
Record Condition: Excellent a Beautiful example
A nice rare LP an absolute must for any collectors of The Who.
£95 Postage within the UK is Free!!
If interested please PM me Cheers
The Who – My Generation
Classic/Brunswick LAT-8616
mono 200g Quiex SV-P 12" LP
Produced by: Shel Talmy
Engineered by: Glyn Johns
Mastered by: Chris Bellman
When Classic Records announced that it was planning to reissue the first release from arguably the world's best Rock band, I got right in line! It is no secret that I am a long-time fan. While their early work caught my attention, their seminal works such as 1969's Tommy, 1971's Who's Next and 1973's Quadrophenia cemented it. I just got it …and their music infuriated the 'rents! While I'm willing to acknowledge that the latter attribute may have played some small part in the attraction, it was their energy and sincerity that spoke to me. Of all the original British Invaders, the Who were, to me, the most lyrically honest, and musically engaging.
I still have my 1965 release The Who sings My Generation, a Decca Mono (DL4664). At the time, I had no idea that it had been altered from the British Brunswick release. First, the cover photo was completely different. The US Decca cover has the four mods angrily posing with "Big Ben" looming in the distance over their shoulders. Just for the record, though the large clock in the tower of the Palace of Westminster is normally referred to as Big Ben, the name actually refers not to the clock-tower itself, but to the thirteen ton bell hung within. The bell was named after the first commissioner of works, Sir Benjamin Hall. Sorry, I had to…
In the US Decca release photo, Keith Moon is the only one not looking like he'd rather be anywhere else. This Classic/Brunswick reissue employs the original photo, restored from a mint original copy of the impossibly rare UK Brunswick LP (which now goes for over $1500 on eBay!), with the four displaying their signature individuality and bravado.
Even more offensively, side 2 of the US Decca release omitted a soulful cover of the Bo Diddley (Ellas McDaniel) 1955 chart success, "I'm a Man." Omitting this in favor of the previously unreleased joke tune "Instant Party," only serves to further distance the release from the fuel of the original British invasion—American Rhythm and Blues.
Coming closely on the heels of the success of the British hits "I Can't Explain" and "Anyway, Anyhow, Anywhere," and under American producer Shel Talmy's guidance, the Who rushed into London's IBC studios to produce their debut. Though Talmy was reputedly feuding with Pete and Who co-manager Kit Lambert, (who apparently wanted to produce the album), nothing could diminish the spirit of the rousing cover of James Brown's "Please, Please, Please." Yet, it is the Townshend originals, most notably "My Generation," The Kids Are Alright," and "A Legal Matter" that portend the intensity for which the Who would soon become celebrated.
Here in their formative years, long before the rock operas and the arenas, the Who was still an electric-soul band. Do you remember that famous Marquee Club poster that said, The Who - Maximum R&B? Pete Townshend's clever originals reveal a quartet more than merely capable of generating three-minute pop perfection. The edgy anthems "My Generation" and "The Kids Are Alright" epitomize youthful audacity, balancing subtlety and brutality. John Entwistle's rumbling bass and the impetuous druming of Keith Moon, whose atypical time keeping remains fresh to this day even after countless outings, oftentimes overshadow Roger Daltrey's enormous voice and Townshend's brazen guitar.
For this important mono reissue, Classic reassembled the original mono master takes of each tune onto a master reel and had Chris Bellman at Bernie Grundman Mastering cut directly from that reel through Classic's all tube mono cutting system. That's right, this is not mono cut on a stereo head with the resulting crosstalk. Rather, it is the real deal just like it was cut in 1965 from producer Shel Talmy's original (not copies) mono master tapes.
Make no mistake, you are not buying an audiophile recording; it is unabashedly primitive sounding. However, by comparison, my original US Decca sounds compressed and bright, with the Classic/Brunswick offering greater detail and intelligibility. Though no sonic marvel, much of it is highly dynamic, often with remarkably deep and defined bass. Though just as sonically haphazard as the original, with distorted drums on "My Generation" and numerous cuts that are over saturated, there are others, like "Out in the Street," which cleanly exhibit all the power and vitality the band had to offer. This is a cultural snapshot of the sixties that is not to be missed; a piece of rock history that sounds better than any other version you are likely to find—period. Who fans, scarf it up before it is long gone.
Classic/Brunswick LAT-8616
mono 200g Quiex SV-P 12" LP
Produced by: Shel Talmy
Engineered by: Glyn Johns
Mastered by: Chris Bellman
When Classic Records announced that it was planning to reissue the first release from arguably the world's best Rock band, I got right in line! It is no secret that I am a long-time fan. While their early work caught my attention, their seminal works such as 1969's Tommy, 1971's Who's Next and 1973's Quadrophenia cemented it. I just got it …and their music infuriated the 'rents! While I'm willing to acknowledge that the latter attribute may have played some small part in the attraction, it was their energy and sincerity that spoke to me. Of all the original British Invaders, the Who were, to me, the most lyrically honest, and musically engaging.
I still have my 1965 release The Who sings My Generation, a Decca Mono (DL4664). At the time, I had no idea that it had been altered from the British Brunswick release. First, the cover photo was completely different. The US Decca cover has the four mods angrily posing with "Big Ben" looming in the distance over their shoulders. Just for the record, though the large clock in the tower of the Palace of Westminster is normally referred to as Big Ben, the name actually refers not to the clock-tower itself, but to the thirteen ton bell hung within. The bell was named after the first commissioner of works, Sir Benjamin Hall. Sorry, I had to…
In the US Decca release photo, Keith Moon is the only one not looking like he'd rather be anywhere else. This Classic/Brunswick reissue employs the original photo, restored from a mint original copy of the impossibly rare UK Brunswick LP (which now goes for over $1500 on eBay!), with the four displaying their signature individuality and bravado.
Even more offensively, side 2 of the US Decca release omitted a soulful cover of the Bo Diddley (Ellas McDaniel) 1955 chart success, "I'm a Man." Omitting this in favor of the previously unreleased joke tune "Instant Party," only serves to further distance the release from the fuel of the original British invasion—American Rhythm and Blues.
Coming closely on the heels of the success of the British hits "I Can't Explain" and "Anyway, Anyhow, Anywhere," and under American producer Shel Talmy's guidance, the Who rushed into London's IBC studios to produce their debut. Though Talmy was reputedly feuding with Pete and Who co-manager Kit Lambert, (who apparently wanted to produce the album), nothing could diminish the spirit of the rousing cover of James Brown's "Please, Please, Please." Yet, it is the Townshend originals, most notably "My Generation," The Kids Are Alright," and "A Legal Matter" that portend the intensity for which the Who would soon become celebrated.
Here in their formative years, long before the rock operas and the arenas, the Who was still an electric-soul band. Do you remember that famous Marquee Club poster that said, The Who - Maximum R&B? Pete Townshend's clever originals reveal a quartet more than merely capable of generating three-minute pop perfection. The edgy anthems "My Generation" and "The Kids Are Alright" epitomize youthful audacity, balancing subtlety and brutality. John Entwistle's rumbling bass and the impetuous druming of Keith Moon, whose atypical time keeping remains fresh to this day even after countless outings, oftentimes overshadow Roger Daltrey's enormous voice and Townshend's brazen guitar.
For this important mono reissue, Classic reassembled the original mono master takes of each tune onto a master reel and had Chris Bellman at Bernie Grundman Mastering cut directly from that reel through Classic's all tube mono cutting system. That's right, this is not mono cut on a stereo head with the resulting crosstalk. Rather, it is the real deal just like it was cut in 1965 from producer Shel Talmy's original (not copies) mono master tapes.
Make no mistake, you are not buying an audiophile recording; it is unabashedly primitive sounding. However, by comparison, my original US Decca sounds compressed and bright, with the Classic/Brunswick offering greater detail and intelligibility. Though no sonic marvel, much of it is highly dynamic, often with remarkably deep and defined bass. Though just as sonically haphazard as the original, with distorted drums on "My Generation" and numerous cuts that are over saturated, there are others, like "Out in the Street," which cleanly exhibit all the power and vitality the band had to offer. This is a cultural snapshot of the sixties that is not to be missed; a piece of rock history that sounds better than any other version you are likely to find—period. Who fans, scarf it up before it is long gone.
