THE WHO LIVE AT LEEDS UK TRACK 1st RARE NEAR MINT VINYL

	£		46
	$		61

Thank you for visiting my listing. The section immediately below sets out information specific to the particular album / record offered in this listing. This is followed by my general comments about vinyl which you may want to browse through if you have time. Please feel free to email me with any related comments or observations; particularly if you have any reliable information which contradicts any of my descriptions as I am always interested in adding to my knowledge on this subject. When preparing my listings I use a combination of facts from reliable sources, more than forty years of personal experience and, occasionally, music industry anecdotes. Just a visual inspection of used vinyls is almost always misleading so I play grade every vinyl I offer, before listing, on a Project III deck fitted with an Ortofon OM 5E cartridge down-force set at 17.5 mN (1.75 g), fitted with a first grade stylus which I renew at intervals according to manufacturers specification, through a manufacturers pre-set Rega Brio amplifier with sound delivered by Focal Chorus 706 loudspeakers, which is unforgiving where there are surface imperfections. If I think a vinyl will benefit from professional cleaning I use my ‘Moth’ RCM2, but I do not clean vinyls for the sake of it - many I offer for sale have had little use and although there can be slight contamination in the grooves, even when new, that is the original authentic sound. I believe in cleaning only when my ‘ear’ tells me that the audio performance has deteriorated by exposure over time and will obviously be returned closer to the original sound by cleaning. Although it is extremely rare, there can be a difference between my descriptions, and opinions, and an individual buyer’s expectations so I have a clearly stated Returns Policy for added reassurance which is detailed at the bottom of all my listings. In the unlikely event that you want to use this facility please read the details carefully first, and then contact me to agree the procedure. There really will never be a reason to have any problem with an item you purchase from me. Before bidding please take a careful look through my terms and conditions to avoid any misunderstandings.

First Issues, First Pressings & Originals: Please note that when I refer to a First Issue I mean that the evidence suggests that the album offered is from the first batch that was issued for commercial release in the country of origin stated in the listing. Where I state First Press I mean that based on a reasonable interpretation of the matrices and stamper codes the vinyl comes from the first batch pressed using that particular master disc; these statements alone do not always mean that the vinyl is from the very first master ever made. However, where I state First Issue and First Press it is likely that the album offered is one of the earliest produced in the country of origin from the first master or masters. Original means that the record bears the first label design for that particular pressing and, in the case of the cover, it is from the first cover manufacturer for that pressing; it may have very slight changes, if they were made within the first production run or, if the album was issued with a choice of cover designs or colours on first release, but in these cases I will try and explain the differences. This is not an exact science and anomalies will occur where I may make a mistake but I believe this will not happen very often - if it does then all of my buyers have the unequivocal reassurance of my Comprehensive Returns Policy.

Album / Record Title: LIVE AT LEEDS

RARITY: Live At Leeds was a hugely popular and enormously successful album that has sold in vast quantities since first release in February 1970, consequently there are many variants and they are often seen for sale. In these circumstances to have one which qualifies as EXTREMELY RARE requires explanation; I will explain why this example justifies that description. There is some irony about the concept in that the cover is by Peter Blake, something of a departure from the intricacies of his better known work on Sgt. Peppers, and although basic - to beat the bootleggers at their own game - the inclusion of 12 inserts means that it is complicated to easily recognise a genuine first issue. There’s a lot of misinformation and mixing and matching, and no definitive point of reference so I will explain why I believe this is the ‘REAL THING’ based on the fact that I bought one on the day they were released in May 1970 and my experience of seeing many example since - I have a number of variants in my current collection. Starting from the outer cover and working in: -

THE OUTER COVER: The buff card used for the ‘butterfly’ style opening cover with inner pockets was thicker on the first issues and had a slightly coarse finish - later ones were noticeably thinner and smoother. The inner pockets on the first ones were deeper. There are different opinions about the relevance of the colour of the block title stamp on the front; some reference books only mention red and blue as first press but undoubtedly black was amongst the first issues. Some say black was the first but my day one purchase was red and it is definitely a first press so, having examined many, I think there were red, blue and black genuine first pressings all released simultaneously. If you then take an overview of the current market, black seems to be seen least, blue is rare, and red is seen most frequently of the three colours. There is also a line of thought that the credits printed on the inside of the first issues were all in black regardless of the colour of the outer stamp, but this is unsubstantiated.

THE INSERTS: All UK first pressings contained 12 which were as follows: - Marquee Poster / Group photograph / Isle of Wight photo print / Premier Talent Woodstock Booking / Marquee Club Box Office summary / King’s Agency Locarno ballroom Swindon cancellation letter / EMI Records Ltd indecision letter / My Generation typed lyrics / New Action bookings form / The High Numbers payments slip / Notice Before Proceedings / Brocks Delivery Note. In my opinion the KEY FEATURES of the inserts which indicate a FIRST ISSUE are paper colour, size and thickness. The inserts to concentrate on here are the Premier Talent Woodstock booking which is on flimsy yellow copy paper with first issues and the High Numbers payment slip which again is on flimsy copy style off white paper. Later issues had both of these on thicker white standard cartridge paper (please see my photographs which show the originals with this album). There are subtle differences with the other inserts mainly concerning paper thickness and dimensions - the originals generally being on thicker paper as opposed to the two I have highlighted - but I’m not going to go into any more tedious detail unless I receive a specific request. I must emphasize that this is based solely on my personal research and experience, but I do believe it is accurate.

THE VINYL: The DEFINITIVE indicator of A FIRST PRESSING. The cover can be swapped, the inserts can be lifted, mixed and matched, copied or changed but the VINYL is UNIQUE. There were four main issues of this album UK TRACK, US DECCA, GERMAN TRACK & POLYDOR. The UK TRACK and US DECCA first issues were released almost simultaneously on 16 May 1970; other variants have later release dates. All UK FIRST PRESSINGS have the catalogue number 2406 001 followed by A//1 & B//1 MATRICES on the respective sides followed by low number stamper codes. The vinyl weight of UK TRACK first pressings were around 140 grammes, re-issues and later pressings were generally lighter.

THE LABEL: White TRACK with blue facsimile handwriting, said to be Pete Townshend’s, with the notorious additional note ‘CRACKLING NOISES O.K. DO NOT CORRECT!’ - used by many an unscrupulous seller to excuse a rubbish vinyl - don’t be misled by this, it is in fact remarkably ‘clean’ as far as ‘Live Recordings’ go.Townshend apparently added the note because Entwistles bass cable was playing up during the live performances, most evident on ‘Shakin’ All Over’, so there’s some electric crackle which he did not want edited out because that would interfere with the original audio - he certainly wasn’t referring to scratches or vinyl damage. Anecdotally this album was originally planned to be the best of two Live performances at Hull and Leeds, but Entwistles bass didn’t record at all at Hull so they could only use the Leeds recordings.

THIS PARTICULAR EXAMPLE: POSSIBLY THE BEST YOU WILL EVER SEE OR HEAR.

Artiste(s): THE WHO, who were - Pete Townshend, Roger Daltrey, John Entwistle, Keith Moon

Disc Format: 12” LP

Recording Format: STEREO

Record label: ORIGINAL TRACK WHITE LABEL (for detailed description see 'THE LABEL' paragraph above)

Catalogue Number: 2406 001

Country of manufacture and first published date: Made in Gt. BRITAIN 1970

Vinyl ‘run off’ matrices side A:     2406001 A//1

Vinyl ‘run off’ matrices side B:     2406001 B//1

Vinyl ‘run off’ stampers side A:    1   1   1

Vinyl ‘run off’ stampers side B:    1   1   1

Track Listing as per label: SIDE A: YOUNG MAN / SUBSTITUTE / SUMMERTIME BLUES / SHAKIN’ ALL OVER / SIDE B: MY GENERATION / MAGIC BUS

Opinion: Often referred to as the best ‘LIVE’ rock album ever recorded, and there are few who would disagree. This is one of the best examples of one of the finest albums ever made; superb, brilliant to listen to and a rare and wonderful addition to any collection.

MY GRADING OF THIS ALBUM (based on Record Collector ‘Rare Record Price Guide 2008’)

Vinyl Visual side A: NEAR MINT, some superficial surface movement lines, none of which have any tangible depth or significant audio consequence.

Vinyl Visual side B: NEAR MINT, some superficial surface movement lines, none of which have any tangible depth or significant audio consequence.

Label Visual side A: NEAR MINT, no marks, no scuffs, no tears, no apparent spindle hole wear

Label Visual side B: NEAR MINT, no marks, no scuffs, no tears, no apparent spindle hole wear.

Outer Cover: EXCELLENT minus, and this is a cautious grading because it’s hard to imagine how this design and construction of cover could be much better after 37 years. The now iconic, minimalist, buff thick paper cover folded and stapled together with BLUE title stamp - the staples have NOT rusted. Shows light signs of handling. An extraordinary cover and the whole concept seems, in hindsight, inspired. Superb ‘Live’ rock and roll basically packaged - all very ‘real’ - just as it should be in this case. The cover was a Peter Blake concept, Designed by GRAPHREAKS, and Printed and made by MacNeill Press Ltd., London S.E.1

Spine: VERY GOOD+ at least, slightly discoloured and a little frayed, but generally in much better than very good shape.

Inner Sleeve: EXCELLENT minus, original standard white paper printed with blue cautionary notes with an antistatic poly-liner, a little creased and lightly discoloured - physically excellent.

Inserts: EXCELLENT minus, Full set, all 12 inserts as described above - a few small creases, the stage photo print neatly centre folded, some wear to the creases on the poster, a little discolouration here and there but nothing which constitutes more than reasonable and careful handling wear.

Vinyl Warp: slight deflection visible when eye tested on a moving turntable but has absolutely no audible affect on this superb vinyl which is exceptional in every way.

Vinyl Weight: 143 grammes (a terrific TRACK vinyl)

Play Grade: NEAR MINT

Audio Performance: RARELY HAVE I COME ACROSS A ‘LIVE AT LEEDS’ VINYL THAT DELIVER SOUND LIKE THIS, ABSOLUTELY EXCEPTIONAL. CLEARLY THIS VINYL HAS NOT BEEN PLAYED MUCH IN THE PAST AND THAT IS REFLECTED IN THE BRILLIANT, SMOOTH AND CLEAR AUDIO PERFORMANCE. THERE IS SOME OCCASIONAL LIGHT SURFACE SOUND WHICH DID NOT CONCERN ME AT ALL. I ALWAYS SAY PLEASE BEAR IN MIND THAT THIS SECTION AND THE GRADING IS BASED ENTIRELY ON MY PERSONAL OPINION AND AUDIO PERCEPTION BELONGS TO THE INDIVIDUAL. WITH VINYL CLARITY THERE IS ALWAYS LIGHT TRANSITIONAL SURFACE SOUND WHICH IS INEVITABLE FROM THIS MEDIUM, EVEN WHEN NEW, AND OCCASIONALLY A LITTLE LIGHT CRACKLE WHICH IS OFTEN STATIC, OR EVEN A RANDOM SOFT TICK - BUT THIS WAS COMPLETELY ENJOYABLE AS FAR AS I AM CONCERNED - ABSOLUTELY REAL, CLEAN AND BRIGHT SOUND - IN PURE AUDIO REPRODUCTION TERMS THIS MAY BE THE BEST YOU WILL EVER HEAR THIS ALBUM.

Other: If you miss this one you may be trying for a very long time and still not find one as outstanding as this - an exceptional example.

PLEASE TAKE A LOOK AT MY OTHER LISTINGS BY CLICKING ON THE ‘VIEW SELLERS OTHER ITEMS’ IN THE TOP RIGHT HAND CORNER BOX OF THIS LISTING - THANK YOU.

My definition of a rare vinyl: Generally there is agreement that to qualify for the description rare there should not be too many of the type offered, available on the market at the time. With my listings that will be the main criterion however I will also occasionally claim rarity based on excellence of condition, or some other key feature, or an accompanying item such as an insert, which is not often found with similar vinyls.

UK first and early pressings: This has become something of a ‘fashion accessory’ for many of the albums listed on eBay and, as with fashion, there are many imitators. Of course with the more popular huge selling albums, where the record companies were fairly sure of major sales from the outset, there were many first pressings but otherwise this was not usually the case. Generally the lower the numbers in the matrices and stamper codes on the vinyl ‘run off’ areas, on both sides of a record, the earlier the pressing therefore ‘A1’ & ‘B1’ are most often first or early pressings, but there are variants and exceptions to the rule. The most notable ones, for example where the ‘1’ matrix was only used for test pressings so the commercial releases started at ‘2’, are well documented now but there are a few more observations which are worth noting. There are low numbered matrices which belong to second and even third pressings (in these cases the record companies gave similar numbers to the first press of a re-issue) you can normally identify these by, examining the labels which are often different in texture and/or design, and by checking the weight of the record as the earlier pressings were normally heavier. This weight difference can also be indicative where different symbols were used in the matrices. For example some record companies first denoted early pressings with A61 & B61 and then soon after changed to A // 1 & B // 1, in these cases weight of the vinyl is often very helpful with identification. Occasionally there are high numbers on first pressings, but this is unusual. Other points to note are the manufacturer of the ‘cover’ or ‘outer sleeve’ and various characteristics or design variants. The ‘inner sleeve’ or ‘bag’ can also be an indicator. However it is not wise to rely on details beyond the matrices and labels as the covers and sleeves can easily be interchanged. ‘Made Up’, Swapped’ or ‘Doctored’ sets are not uncommon, particularly with high value albums which have inserts and special text, so the best advice is to try and make sure that everything matches the criteria thus eliminating most of the risk (a good look at the photographs on the listing, if they are of the actual item offered as they are on all of my listings, is always advisable). As a general rule I suggest that you don’t pay hundred’s or thousands of pounds unless you are buying from a reliable source who provide you with comprehensive information and have a clearly stated ‘Returns Policy’ - or unless you’ve got money to throw away (and in that case there are any number of far more deserving charities)

Audio reproduction on vinyl: In my experience there is always an element of surface or background sound with audio reproduction on vinyl, even when new - very hard to imagine how there could not be when two solid surfaces come into contact with each other and are then amplified! In my opinion anybody who claims there is no surface sound, or ‘silence’, is hard of hearing, has not turned the amplifier on, or is using very poor quality audio equipment. Almost all used vinyl has at least light surface scratches which are always visible when viewed under a bright halogen light - which is what I use for inspection. So if you are uncomfortable with a bit of light crackling it’s probably best not to buy vinyl. In my opinion the light surface sound is more than compensated for by the clarity and ‘reality’ of the overall sound reproduction. I listen carefully to every album I list, before listing it for sale.

Finally: All of this comment contained in this listing is subjective, it is based only on my opinion and your expectations may not necessarily correspond with my standards. If you receive an album from me and you have some differences please remember to use reasonable communication as a first option. I have a comprehensive non confrontational ‘Returns Policy’ which is clearly set out below and providing there is no abuse, or use the negative feedback system, I will always reimburse you in full for your direct costs if you return the album correctly.

TERMS AND CONDITIONS OF SALE

DESCRIPTIONS: Are given in good faith, but they are based on my opinion and standards.  Bidders should note that they offer at their own risk and must satisfy themselves that they have sufficient information about the item before they enter the bidding process.  Please ask questions before you become involved with the auction, NOT afterwards! Where I list sizes/dimensions they are either as stated on the item/label by the supplier/manufacturer or reasonably accurately hand tape measured; however, they are not necessarily precise, should be taken as approximate and not relied upon where absolute precision is required. This clause does not in any way affect your rights under the terms of my ‘Returns Policy’, it is stated to prevent unnecessary inconvenience to both parties.

INFORMATION: Whilst I take care to try and provide accurate information on the original listing it is possible that new information may become available to me afterwards. I therefore strongly recommend that all bidders read any revisions and the ongoing questions / answers section of the listing before bidding as they may contain updated information which could affect your valuation of the item(s). In the event that new information is published, after the time you have become the high bidder, which adversely affects your valuation of the item(s) and you wish to withdraw from the bidding process please email your request and I will use the cancel bid option with no ongoing liability to any of the parties involved in the auction.

PHOTOGRAPHS: All photographs contained within this listing show the actual item (s) offered – they are not catalogue, archive or library photographs.  Furthermore they are direct images and not re-touched or modified in any way. I try to make good and comprehensive use of images on the listing in order to give the prospective bidder the best opportunity to evaluate the item(s); however it is possible that in some circumstances the photographs can enhance the appearance of the item(s) due to compression so please take this into account before bidding and do not hesitate to ask for more images or information which I am happy to send by attachment to email. This is particularly recommended with overseas buyers where returns are often not a viable option.  

OVERSEAS BUYERS WELCOME: I am pleased to deal with buyers from anywhere in the world. My method of LP packaging reduces the risk to your valuable vinyls & covers in transit. Makes no sense to me to buy something important and then play the ‘high risk of damage game’ when having it shipped around the world – I hope you feel the same. Unless the prospective bidder / buyer states a preference I always quote Airmail as Surface Mail does not usually cost much less and takes a long time (again more risk of damage or loss I think). Also please note that for British Pounds £3.30 extra you can have an International Signed for service which includes insurance up to £32. Insurance quotations to a value you specify in advance of shipping are available on request.

PACKING & POSTAGE:  Vinyl’s are removed from covers and placed in separate transit sleeves. All components are then placed side by side in a polythene inner for extra safety and water resistance and then secured between two corrugated card stiffeners. I use ‘Premium Quality 600 Micron Card Mailers’ with ‘Ultra Safe’ double 3.5 cm. wide latex strips across the whole of the mailer which provides excellent adhesion and protection. Internally I use 2 of the highest grade ‘B’ flute corrugated card stiffeners to prevent bending, deformation or edge/corner creasing. Packing & postage prices are NOT negotiable on items dispatched individually or separately. However, if you are a similar time multiple buyer where all items purchased are being sent to the same address and they can be combined safely, you can ask for a discounted quotation before bidding. I will always try to be fair with buyers on p&p costs but if you do not want to pay the prices on the listings or quotations please do not bid.  I am not interested in hearing from successful bidders afterwards questioning and complaining about cost of packing and postage! I always keep proof of posting but unless you pay for Recorded Delivery, International Signed For, Special Delivery or Full Insurance I may not be able to assist you with recovery of the item or any of the costs.

Where postal insurance is included it is subject to Royal Mail Standard Terms & Conditions. Quotations for other insurance or premiums to cover increased values are available on request

PAYMENT: For Buyers WITHIN the UK: PayPal, or Pound sterling cheques / money orders, with minimum 7 days to clear before despatch.

PAYMENT: For Buyers OUTSIDE of the UK: Payments by PayPal only please.

CANCELLATION: The Seller reserves the right to cancel any bid, entirely at his discretion and without giving prior notice, in the following circumstances:

They have reason to believe that the bidder has not complied with the terms of their offer as set out on the listing.

The bidder’s feedback is of such limited quantity that it cannot be regarded as reliable.

The bidder’s feedback is of dubious quality and/or gives the seller any indication or reason to doubt the credibility of the bid.

MY FEEDBACK POLICY: I leave feedback for buyers after they inform me that they have received the item(s) and have left me their feedback. As I have a clearly stated Returns Policy, which does not expose the buyer to any direct loss whatsoever, I see no reason for either side to indulge in negative feedback. Providing the buyer does not engage in threats, abuse or use of negative feedback I will resolve any problem in a fair and reasonable way. If you have a problem or complaint about any transaction you have made with me contact me on somemightsell_e@btinternet.com and we will find a solution that is acceptable to you.

SUPERSIZED PHOTOGRAPHS: I have super-sized the photographs below to provide prospective bidders with the best opportunity to make their valuation before entering the bidding process, please just click on the ‘Larger Picture’ and arrows to use this facility. Sometimes due to reflection these images can appear slightly distorted, ‘graining’ can appear and dust particles can be exaggerated by the light - in reality there are no defects of this kind.