THE WHO "SILVER ANNIVERSARY SPECIAL" 1989 UNITED STATIONS 3 HR.RADIO SHOW MINT

$

78

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THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON OR BUYING. THANKS FOR LOOKING. FEEL FREE TO ASK QUESTIONS.

NOTE: eBay HAS TAKEN IT UPON THEMSELVES TO REMOVE WHAT THEY CALL “OUTSIDE” LINKS, THESE ARE IN THE HTML DESCRIPTION, AND CAN'T EVEN BE SEEN IN MY ITEM DESCRIPTION, SO FROM NOW ON IF YOU WANT TO KNOW MORE ABOUT THE ITEM &/OR ARTIST LOOK 'EM UP, ON WIKI, OR OTHER SOURCES ETC. (SORRY 'BOUT THAT!)

CLEANING OUT MORE LP'S. SOME FROM THRIFT STORES, SOME FROM MY MUSIC LIBRARY, AND SOME FROM MY RADIO FRIENDS SOLD OR GIVEN TO ME, SOME FROM THE NETWORK I WAS AT.

NOTE: I DO NOT ACCEPT "BEST OFFERS" I WANT EVERYONE TO HAVE A FAIR SHOT AT WHAT I AM SELLING. THANKS! I DO COMBINE SHIPPING!

THIS IS A PHOTO OF THE ACTUAL ITEM FOR SALE, SORRY IF THE PICTURE(S) ARE A BIT BLURRY.

NOTE: I FIRST STARTED WORKING FOR THE UNISTAR RADIO NETWORK IN THE SPRING OF 1989, HERE IN HOLLYWOOD, AND WE MERGED WITH WESTWOOD ONE IN THE EARLY 1990's ALSO, WE MOVED OUR STUDIOS FROM HOLLYWOOD UP TO VALENCIA,CA. ABOUT 30 MILES NORTH.BEFORE THE MOVE ONE OF THE FOLKS IN OUR “SPECIALS” DEPT. DECIDED TO GET RID OF SOME OF THE VINYL RADIO SHOWS THAT HAD BEEN SAVED FOR WHATEVER REASON, THEY LEFT A LOT IN OUR BREAK ROOM, I GRABBED WHAT I COULD, DIDN'T WANT TO BE TOO GREEDY, AND NOW I AM CULLING THEM OUT AND SELLING A FEW ALL OF THEM ARE IN NM OR MINT- MINUS COLLECTION, THEY WERE NOT AIRED AND HAVE NEVER BEEN PLAYED. THEY COME WITH THEIR ORIGINAL CUE SHEETS AND IN MOST CASES THE POSTCARD STATIONS WERE REQUIRED TO SEND BACK TO THE NETWORK AS PROOF OF PERFORMANCE. PLEASE DON'T MAKE ME A “BEST OFFER” UNLESS IT REALLY IS SOMETHING I “CAN'T REFUSE”. I DO COMBINE SHIPPING.

ARTIST: THE WHO

TITLE: “THE WHO SILVER ANNIVERSARY SPECIAL” 3 HOURS

(NOTE THIS IS OPENED, IT WAS NEVER “SEALED”, THE RECORDS ARE BASICALLY BRAND NEW NEVER AIRED, NEVER PLAYED.)

TRACK LISTING-SEE PHOTOS/BELOW:

INTERVIEWEES INCLUDE:

1. ROGER DALTRY

2. JOHN ENTWHISTLE

3. PETE TOWNSEND

YEAR OF RELEASE- 1989

AIRDATES: WEEKEND OF APRIL 14th 1989

COMPANY: UNITED STATIONS RADIO NETWORK

CAT.#: N/A

INCLUDES: COVER LETTER FROM ED SALAMON PRESIDENT OF PROGRAMMING. 3 CUE SHEETS WITH SONG, INTERVIEW INFO & COMMERCIAL BREAKS. ONE RETURN PROOF OF PERFORMANCE POSTCARD.

RECORD CONDITION: THE RECORDS ARE IN NM+/M- CONDITION. NICE CLEAN VINYL, NO SMUDGES, LINES, SCRATCHES, BOTH LABELS IN MINT COND.

JACKET CONDITION: THE JACKET IS IN MINT/MINT- CONDITION, NICE CLEAN STRAIGHT EDGES, NO RIPS, NO TEARS, NO WRITING, ETC.

MORE INFO : THESE WERE NOT SOLD TO THE GENERAL PUBLIC. THESE CONTAIN MUSIC AND INTERVIEWS AS WELL AS THE NATIONAL COMMERCIALS THAT WOULD HAVE AIRED WHEN THE SHOW AIRED. PRINTED ON THE LABLES IS “....MUST BE DESTROYED IMMEDIATLY AFTER AIRING”

ALSO NO RESERVE!

ARTIST INFO:

Formed in Shepherd’s Bush, London, England in 1964, the Who evolved out of local youth club band the Detours. Pete Townshend (Peter Dennis Blandford Townshend, 19 May 1945, Chiswick, London, England; guitar/vocals), Roger Daltrey (b. Roger Harry Daltrey, 1 March 1944, Hammersmith, London, England; vocals) and John Entwistle (b. John Alec Entwistle, 9 October 1944, Chiswick, London, England, d. 27 June 2002, Las Vegas, Nevada, USA; bass/vocals) founded this attraction, and having jettisoned Colin Dawson (vocals) and Doug Sandom (drums), recruited Keith Moon (b. Keith John Moon, 23 August 1946, Willesden, London, England, d. 7 September 1978, London, England; drums) 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 contract 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 later in the year by the innovative ‘Anyway, Anyhow, Anywhere’ and the UK number 2 hit ‘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 passé 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 (the UK number 2 hit ‘I’m A Boy’) and masturbation (‘Pictures Of Lily’). Townshend’s decidedly English perceptions initially precluded a sustained international success. A Quick One (1966) and The Who Sell Out (1967), 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’, the track also providing the band with their only US Top hit. Despite their strength as a singles act, however, the band failed to achieve a number 1 hit on either side of the Atlantic. Their burgeoning status in the USA was confirmed in August 1969 with a spellbinding performance on the second day of the Woodstock Festival. They embraced the album market fully the same year 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 (b. Kenneth Thomas Jones, 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 (1981) nor It’s Hard (1982) 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, with the band announcing their official split on 16 December 1983. Although they did reunite two years later for an appearance at Live Aid, the band members 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 reissuedLive 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 andA Quick One, all of which were remastered and contained many extra tracks, including the legendary Ready Steady Who EP. From these albums it is clear from where the 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 (b. 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.

Entwistle’s death in June 2002 came as a shock, but Townshend and Daltrey soldiered on and completed a number of subsequent live dates with Pino Paladino filling in on bass. Remarkably, the death of their former partner brought Townshend and Daltrey closer together, and in 2004 they announced they had begun work on a new Who studio album. The resulting Endless Wire owed more to the 70s than the 60s, but it did find both Daltrey and Townshend in excellent shape musically.

The Who is unquestionably one of the finest acts of the rock generation. Alongside the Rolling Stones they continue to be spoken of as the greatest rock ‘n’ roll band in the world, and few could disagree.

RADIO NETWORK INFO:

Westwood One was an American radio network hat was based in New York City . At one time, it was managed by CBS Radio, and was later purchased by the private equity firm The Gores Group Due to purchases, mergers and other forms of consolidation in the 1980s and 1990s, at one time or another, it had ownership stakes in or syndication rights to some of the most famous brands in network radio, including CBS,NBC, Mutual,CNN , Fox and Unistar. The company was one of the largest producers and distributors of radio programming in the United States. It broadcast entertainment, news, weather, sports, talk, and traffic programming to about 7,700 radio stations across the United States. The company was the top provider of local traffic reports in the US through its subsidiaries,Oaktree

Capital, through its Triton Media Groupdivision, merged with Westwood One in October 2011. Triton then folded Westwood One into its Dial Global subsidiary. The Westwood One name was initially retained for most sports programming. However,, Westwood One's sports programming was branded as "Westwood One on the Dial Global Radio Network."After the NFL Playoffs concluded, the Westwood One name was removed altogether in favor of the Dial Global Sports Network, and the sports website was relocated to www.dialglobalsports.com.

On September 4, 2013, Dial Global announced that it was renaming itself Westwood One, citing greater brand recognition

The company takes its name from an earlier network also named Westwood One a company founded in 1978. The company was, at various times, managed by CBS Radio, the radio arm of CBS Corporation and Viacom. It was later purchased before merging with Dial Global in 2011. In December 2013, Dial Global was, in turn, acquired by Cumulus Media. Prior to the sale's completion, Dial Global re-assumed the Westwood One name. After the completion of the purchase, Westwood One was merged into the Cumuls Media division (the former ABC Radio Networks).

Content syndicated by Westwood One includes talk shows, music programs and 24-hour formats. It is particularly prominent in sports radio,

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