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THE WHO-> 
"The Who Sell Out"
200 gram Vinyl
on
TRACK / CLASSIC RECORDS

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CONDITION

 Vinyl: NM-
Played Only One Time

Cover: NM-

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The Who Sell Out

  The Who Sell Out Studio album by The Who Released 15 December 1967 Recorded May – November 1967 at Talentmasters Studios, New York City, New York
IBC Studios, Pye Studios, De Lane Lea Studios, CBS Studios, and Kingsway Studios, London, England
Gold Star Studios, Los Angeles, California[1] Genre Psychedelic pop, power pop Length 38:46 Label Track, Decca Producer Kit Lambert The Who chronology A Quick One
(1966) The Who Sell Out
(1967) Magic Bus: The Who on Tour
(1968)
Singles from The Who Sell Out

1. "I Can See for Miles"
   Released: 14 October 1967

The Who Sell Out is the third album by English rock band The Who, released in 1967 by Track Records in the UK and Decca Records in the US. It is a concept album, formatted as a collection of unrelated songs interspersed with faux commercials and public service announcements.[2] The album purports to be a broadcast by pirate radio station Radio London. Part of the intended irony of the title was that the Who were making commercials during that period of their career, some of which are included as bonus tracks on the remastered CD.

The album's release was reportedly followed by lawsuits due to the mention of real-world commercial interests in the faux commercials and on the album covers, and by the makers of the real jingles (Radio London jingles), who claimed the Who used them without permission. (The jingles were produced by PAMS Productions of Dallas, Texas, which created thousands of station ID jingles in the 1960s and '70s). It was the deodorant company, Odorono, who took offense that Chris Stamp made a request for endorsement dollars.[3] "I Can See for Miles" was released as a single and peaked at #10 in the UK and #9 in the US.

Packaging

The cover is divided into panels featuring a photograph by David Montgomery of each of the band members, two on the front and two on the back. On the front is Pete Townshend applying Odorono brand deodorant from an oversized stick, and Roger Daltrey sitting in a bathtub full of Heinz baked beans (holding an oversized tin can of the same). Daltrey claims to have caught pneumonia after sitting for a prolonged period in the bathtub, as the beans had been frozen.[4] On the back is Keith Moon applying Medac from an oversized tube, and John Entwistle in a leopard-skin Tarzan suit, squeezing a blonde woman in a leopard-skin bikini with one arm and a teddy bear with the other (an ad for the Charles Atlas course mentioned in one of the album's faux commercials).

Original vinyl copies of Sell Out end with an audio oddity that repeats into a locked groove (In response to the Beatles' Sgt. Pepper's Lonely Hearts Club Band). The music in the locked groove is an instrumental version of what was originally intended to be a vocal jingle for the Who's UK label Track Records.

"Armenia City in the Sky", was written by a friend of the band, John Keen.

Music and lyrics

Music critic Richie Unterberger called the album's music "jubilant" psychedelic pop and felt that it exhibits a balance between "melodic mod pop and powerful instrumentation".[5] Edna Gundersen of USA Today observed power pop on the album.[6] The album also includes the psychedelic Relax.[7]

The album is a tribute to Wonderful Radio London and features sound effects, station breaks, and singing commercials.[8] It features many faux-commercials on and in-between songs. Some of them were real jingles from pirate radio station "Radio London". The majority of the commercial jingles recorded for the album were written and performed by Entwistle and Moon.[9]

Critical reception

Professional ratings Review scores Source Rating Allmusic [5] Robert Christgau A+[10] eMusic [11] Mojo [12] NME 9/10[12] Q [12] Record Collector [12] Rolling Stone [13] The Rolling Stone Album Guide [14] Uncut [15]

In a contemporary review for Rolling Stone magazine, Jann Wenner called The Who Sell Out "fantastic" and praised its "exquisite" sense of humor and the Who's "consummate" musicianship, which includes "wholly original" instrumentation and cleverly placed electronic sounds.[16] Robert Christgau, writing in Esquire magazine, said that the album establishes the band as "the third best not just in Britain but the world", and cited "Tattoo" as the best song Townsend has "ever written, worth the price of the album".[8] In a retrospective review for Allmusic, Richie Unterberger said that, "on strictly musical merits, it's a terrific set of songs that ultimately stands as one of the group's greatest achievements."[5]

In 1995, The Who Sell Out was reissued by MCA Records with numerous outtakes and rejected jingles to the end of the original 13-track album.[17] In the liner notes for the reissue, Dave Marsh called it "the greatest rock and roll album of its era" and "the Who's consummate masterpiece, the work that holds together most tightly as concept and realization". Marsh felt that the album's essence is "most tightly linked to the glorious pop insanity that psychedelia and its aftermath destroyed forever."[18] In a review of the reissue for The Village Voice, Robert Christgau called it the Who's "only great album" and felt that they had yet to "take their pretensions seriously." He observed "no bad songs here," including the faux-ads and bonus tracks.[10] Melody Maker said that it is a masterpiece because of its "glorious celebration of pop as useless commodity and a commercially corrupted art form" without degrading itself.[19] Rolling Stone called it "the most successful concept album ever" in a 1999 review.[13]

In 2003, The Who Sell Out was ranked number 113 on Rolling Stone's list of the 500 greatest albums of all time.[20] Mark Kemp, writing in The Rolling Stone Album Guide (2004), called it Townshend's first and best concept album and said that he "successfully does what he would overdo" in Tommy and Quadrophenia: "There's no fixed narrative to take away from the music. And the music is sensational".[21] In 2007, Rolling Stone included it on their list of the 40 essential albums of 1967 and stated, "the Who's finest album exemplifies how pop this famously psychedelic year was."[22] The album was reissued in 2009 as a two-disc deluxe edition, which Danny Kelly of Uncut magazine said was the "definitive" release of the Who's most "entertaining" and "endearing" album.[15] In his review for eMusic, Lenny Kaye said that The Who Sell Out is a "classic of prophetic pop art" because of "the concept of branding that has taken the place of record label patronage these days".[11]

Track listing

All songs written by Pete Townshend, except where noted.

The between song jingles apparently have no official titles and are not listed anywhere on the original album packaging

Side one
No. Title Lead vocals Length
1. "Armenia City in the Sky" (Speedy Keen) Daltrey 3:48 2. "Heinz Baked Beans" (John Entwistle) Entwistle 1:00 3. "Mary Anne with the Shaky Hand"   Daltrey 2:28 4. "Odorono"   Townshend 2:34 5. "Tattoo"   Daltrey, with Townshend 2:51 6. "Our Love Was"   Townshend 3:23 7. "I Can See for Miles"   Daltrey 4:44 Side two
No. Title Lead vocals Length
8. "I Can't Reach You"   Townshend 3:03 9. "Medac" (Entwistle) Entwistle 0:57 10. "Relax"   Daltrey, with Townshend 2:41 11. "Silas Stingy" (Entwistle) Entwistle 3:07 12. "Sunrise"   Townshend 3:06 13. "Rael (1 and 2)"   Daltrey 5:44
 
 

Personnel

• Roger Daltrey – lead and backing vocals, percussion
• John Entwistle – bass guitar, backing and lead vocals, horns, sound effects
• Pete Townshend – guitar, backing and lead vocals, keyboards, pennywhistle, banjo
• Keith Moon – drums, backing vocals, percussion, sound effects
  
• Al Kooper – keyboards, organ

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The Who Sell Out by The Who->  (Vinyl, Oct-2006, Classic Records)


Album Features

Artist: Who (The) Format: Vinyl Release Year: 2006 Record Label: Classic Records Genre: British Invasion, Oldies
Details Playing Time: 72 min. Distributor: City Hall Recording Type: Studio Recording Mode: Stereo


Album Notes
Only three albums into its recording career, the Who had already begun to distance itself from its proletarian R&B beginnings. Here, songwriter Pete Townshend follows up on the rock-opera idea he had introduced on A QUICK ONE with the extended, multi-part composition "Rael" and would later expand upon with TOMMY. The band had also begun exploring the form of the concept album. The songs are connected by bits of fake radio commercials and brass fanfares, and there's a little of everything thrown into the mix. All-out rockers like the vengeful "I Can See For Miles" vie for the listener's attention with the romantic declarations of "Our Love Was" and the soft, folky "Maryanne With The Shaky Hand" on this impressively eclectic album.

Editorial Reviews

9 (out of 10) - ...Townshend finally free of shackles....a stream of brittle, spangly pop songs...which are simply otherworldly....Like all truly great albums, SELL OUT isn't overrated. It's simply that you might not be ready for it yet.
NME (07/22/1995)

Bloody Essential - ...a masterpiece. A glorious celebration of pop as useless commodity and a commercially corrupted art form....it crosses art-school intelligence with pop flash with neither being cheapened or degraded, and is, as such, a stupendous achievement...
Melody Maker (07/22/1995)

4.5 stars out of 5 - ...SELL OUT is the most successful concept album ever...To hear these 13 tracks is to be transported to the wistful, alternatingly painful and joyous territory that was the Who's...adolescence.
Rolling Stone (10/28/1999)

Ranked #113 in Rolling Stone's 500 Greatest Albums Of All Time - [I]t was a send-up of consumer culture, and the band's first stab at a concept album.
Rolling Stone (12/11/2003)

4 stars out of 5 -- Revisiting it now, you can hear a hint of the monolithic rock that would make The Who a stadium act in the '70s, and the knowing humour that would inspire the best of such Britpop disciples as Pulp and Blur.
Q

4 stars out of 5 -- [W]hat truly defines SELL OUT is its deference to the well-rehearsed language of pop. Kinks-like character vignettes and PET SOUNDS-parroting textures are the dominant influences.
Mojo

4 stars out of 5 -- 'I Can See For Miles' was the powerhouse....'I Can't Reach You' and 'Rael' both strayed beyond the previous template of the accepted notions of pop, rich in motifs that would return more fully-formed on TOMMY.
Record Collector

5 stars out of 5 -- [A]s this package joyously proves, they never made anything more entertaining or endearing.
Uncut


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Grading Records

 
   Grading Records
The following is the grading system first developed by Goldmine Records. Virtually all methods currently in use for the grading of records, is based in some way, shape, or form, on this system. Rather than offer some variation of the original system first developed by Goldmine, the Record Collector's Guild will display the Goldmine record grading method in it's entirety.

   Visual or Play Grading?
In an ideal world, every record would be played before it is graded. But the time involved makes it impractical for most dealers, and anyway, it's rare that you get a chance to hear a record before you buy through the mail. Some advertisers play-grade everything and say so. But unless otherwise noted, records are visually graded.

   How to Grade
Look at everything about a record. It's playing surface, it's label, it's edges...under a strong light. Then based on your overall impression give it a grade based on the following criteria:

• Mint (M)   Absolutely perfect in every way. Certainly never been played, possibly even still sealed.(More on still sealed under "Other Considerations"). Should be used sparingly as a grade, If at all.
• Near Mint (NM or M-)   A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect.
  
  The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling.
  
  An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like.
  
  Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap.
  
  Near Mint is the highest price listed in all Goldmine price guides. Anything that exceeds this grade, in the opinion of both buyer and seller, is worth significantly more than the highest Goldmine book value.



• Very Good Plus (VG+)   Generally worth 50 percent of the Near Mint value.
  
  A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it.
  
  Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK".
  
  The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play.
  
  Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.
  
  In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.



• Very Good (VG)   Generally worth 25 percent of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound.
  
  Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.
  
  Goldmine price guides with more than one price will list Very Good as the lowest price. This, not the Near Mint price, should be your guide when determining how much a record is worth, as that is the price a dealer will normally pay you for a Near Mint record.



• Good (G), Good Plus (G+)   Generally worth 10-15 percent of the Near Mint value. Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white).
  
  A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.
  
  It is a common item, you'll probably find another copy in better shape eventually. Pass it up. But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.



• Poor (P), Fair (F)   Generally worth 0-5 percent of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon.
  
  Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each.

   Other Considerations
Most dealers give a separate grade to the record and it's sleeve or cover. In an ad, a record's grade is listed first, followed by that of the sleeve or the cover.

• With Still Sealed (SS) records, let the buyer beware! Unless it'a a U.S. pressing from the last 10-15 years or so. It's too easy to reseal one. Yes, some legitimately never-opened LP's from the 1960's still exist. But if you're looking for a specific pressing, the only way you can know for sure is to open the record.

Also, European Imports are not factory-sealed, so if you see them advertised as sealed, someone other than the manufacturer sealed them.
© 1997 Goldmine Magazine

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