The High Numbers - Live at The Marquee Club (1964) (The Who) Lp very rare

	£		30
	$		40

The High Numbers - Live at The Marquee Club (1964) (The Who) Lp very rare.

For just a few months in 1964 (approximately July to October), the Who changed their name to the High Numbers, releasing one single under that billing before reverting to the more inventive and appropriate "the Who." The name change resulted from their association with Pete Meaden, a mod who briefly managed them in mid-1964 (Helmut Gorden was also involved in their management with Meaden for much of that time). Meaden was instrumental in getting the band to gear their music and image more toward the mod movement, and this was reflected in his choice of the name "the High Numbers," which arose from mod slang.
 The High Numbers wisely changed their name back to the Who by November 1964, by which time they had also changed management, replacing Meaden with Kit Lambert and Chris Stamp.
 
Tracks:
 
01. I Gotta Dance To Keep From Crying
 02. You Really Got Me
 03. Young Man Blues
 04. Green Onions
 05. I Gotta Dance To Keep From Crying
 06. Instrumental Jam
 07. I Gotta Dance To Keep From Crying
 08. Long Tall Shorty
 09. Pretty Thing
 10. Smokestack Lightning / Money (That's What I Want)
 11. Here 'Tis
 12. Smokestack Lightning
 

Tracks 1-11 are live with decent sound considering the era. The tracks don't flow smoothly and some cut in and out abruptly. Some sound like there is an audience while others don't. A rough-and-ready collection.
 
Personnel:
 Pete Townshend, Roger Daltrey, John Entwistle, Keith Moon.
 
Approximate Length: 35m
 
Sound Quality: A surprisingly clear (for this era) recording from a promotional film soundtrack, but fragmented and incomplete. Bootleg: The High Numbers Live 1964.
 
Song List: I Gotta Dance to Keep From Crying (1), You Really Got Me (cuts in), Young Man Blues (cuts in at beginning), Green Onions (cuts in), I Gotta Dance to Keep From Crying (2), You Really Got Me (2) (cuts), Jam (cuts in), I Gotta Dance to Keep From Crying (3) (incomplete), Long Tall Shorty (cuts in), Pretty Thing (cuts in), Smokestack Lightning (cuts), Here 'Tis (incomplete).
 
Details: One of the earliest live recordings of the band (maybe the earliest, still known then as The High Numbers—the date and venue was finally cleared up with the release of the Anyway Anyhow Anywhere book after it had been previously attributed to the Marquee Club. It's a very rare glimpse from the period when they played primarily rhythm and blues covers and not original material, and the lack of an audience, as well as the presence of more than one version of a couple of tunes, seems to corroborate that this show was being recorded for promotional purposes. Some numbers (notably 'Green Onions' and 'You Really Got Me') are nothing more than short instrumentals, while 'Here 'Tis' is very similar to the studio recording done a few months earlier. Also worth mentioning is this jazzy rendition of 'Young Man Blues', which is much more similar to the Mose Allison original than the hard-edged rock versions played in later years. The 2005 bootleg The High Numbers Live 1964 probably provides the best-ever version of this recording.
As the group struggled to get a break, Townshend attended art school, while the remaining three worked odd jobs. Soon, the band became regulars at the Marquee club in London, which is where Townshend first smashed one of his guitars out of frustration with the sound system; the destruction would become one of his performing signatures. Soon, the group cultivated a small following, which led to the interest of manager Pete Meaden. Under the direction of Meaden, the Who changed their name to the High Numbers and began dressing in sharp suits in order to appeal to the style- and R&B-obsessed mod audience. The High Numbers released one single, "I'm the Face"/"Zoot Suit," which was comprised of two songs written by Meaden. After the single bombed, the group ditched him and began working with Kit Lambert and Chris Stamp, two fledgling music business entrepreneurs who had previously failed as film directors. Instead of moving the band away from mod, Lambert and Stamp encouraged them to embrace the movement, offering them advice on both what to play and what to wear, including pushing the target T-shirt that became a key visual signature. The group reclaimed the Who name and began playing a set that consisted entirely of soul, R&B, and Motown -- or, as their posters said, "Maximum R&B." By late 1964, they had developed an enthusiastic mod following. At the end of 1964, the Who signed with Decca on the strength of Townshend's "You Really Got Me" knockoff, "I Can't Explain." The group entered the studio with producer Shel Talmy, who previously worked with the Kinks, and the single was released to little attention in January 1965. Once the Who appeared on the television program Ready, Steady, Go, the single shot up the charts, since the group's incendiary performance, featuring Townshend and Moon destroying their instruments, became a sensation. "I Can't Explain" reached the British Top Ten, followed that summer by "Anyway, Anyhow, Anywhere." That fall, "My Generation" climbed all the way to number two on the charts, confirming the band's status as a British pop phenomenon. An album of the same name followed at the end of the year, and early in 1966, "Substitute" became their fourth British Top Ten hit.
 
The Who began as The Detours, a band started by guitarist Roger Daltrey in London in 1961. In early 1962 John Entwistle joined and John suggested Pete Townshend as rhythm guitarist. The band then also had Doug Sandom as drummer and Colin Dawson as lead singer. But Colin soon left and Roger took over as lead singer, and Pete took over the lead guitar. They changed their name to The Who. Doug Sandom was replaced by Keith Moon when Keith one day smashed his drum kit to pieces trying to prove he could play better.
 
Pete Townshend accidental broke the neck of his guitar out of frustration with the sound system. He noticed the affect it had with the audience, soon the concerts ended with Pete smashing guitars and amplifiers and Keith followed by smashing his drum kit.
 
In May 1964, The Who were taken over by Pete Meaden. Meaden was big in a new British youth movement called the Mods, young men who dressed in stylish clothes and wore their hair short. Meaden renamed The Who, The High Numbers and they released the single "I'm the Face" backed with "Zoot Suit", both songs written by Meaden.
 
The band were soon discovered by Kit Lambert and Chris Stamp, who would become their new managers, however they failed to get a record contract with EMI and soon also changed their name back to The Who.
 
They made their first famous gig at Marquee Club in November 1964. They were advertised all over London with black handbills designed by Richard Barnes featuring a windmilling Pete and the legend "Maximum R&B".

record in great condition,comes in a protective plastic sleave.this is a very rare bootleg

lp,and very sort after for any who fan.

please note as this was an unnoficial bootleg album,the record labels themselves are of something completely different,this was an attempt to hide the recording on the record itself.so dont panic this is the genuine live at the marquee 1964 album. and is very sort after,  and will definately be a worthwhile investment.

good luck and happy bidding you wont be disappointed.