So what's it to be on this bright March lunchtime, the day the clocks go forward and Spring in England is really about to start.

First off, I dig out my Brunswick box set from The Who which I acquired a few years back. It would be wonderful to own the originals of these slices of brilliance. They're on the holy grail of the second hand records list. I always keep my eyes open for them when I'm checking out vinyl in dusty vintage shops, or at least I did before lockdown. But the chances of finding original copies of I'm The Face/Zoot Suit and I Can't Explain are pretty remote. But I keep looking, along with a few other gems I could mention and probably will at some point.

So it's I Can't Explain first and those crisp, chiming chords blast into the mind and put a smile on the Face, just like they have all my life, since my twelfth birthday, when Beaty Meaty Big And Bouncy came into my possession for the first time. I Can't Explain could very well be the greatest record ever made, with its teenage questioning and wonder at life, its exuberance at what it all holds and vital, furious vocal fire, which precedes the pilled up modernist excess of My Generation and, in a sense, exceeds it. I Can't Explain is totally authentic, the genuine article, as far as these ears are concerned. Plus it sort of summarises all of Jean Paul Sartre's philosophy into a two minute pop song, which is no mean feat.

A couple more from the box set follow, both sides of the debut High Numbers single, Zoot Suit and I'm The Face. Penned by the late, great modernist guru, Peter Alexander Edwin Meaden, they ring as true today as they did when the record was first issued on Fontana back in the sixties. Love them both. And both have Quadrophenia connections, of course. The intro to Zoot Suit takes me straight to that clip in the film when Jimmy's getting ready to hit the tiles on Saturday night. And I'm The Face is of course reprised on the album in Sea And Sand. All quality stuff.

And after that, what then? Next up is a move to Tamla Motown and Junior Walker's greatest hits. First off the magnificence of Shotgun with its full on sax and driving beat that just make you want to dance round the kitchen. Some of the others we know well. How Sweet It Is To Be Loved By You and Roadrunner are Tamla staples. Others are less familiar. What Does It Take is a beautiful, soulful tune that just gets inside and takes you off to those heady days when soul was young and the world was opening up to new ideas.

But there you go. Coffee's ready and its aroma's wafting across. The sax is screaming and the rhythm hard hitting. There are more records to be listened to, books to be read, films to be watched. And, yes, it's almost Spring. What more could a boy about town want out of this glorious life?