true stereo or mono source could not be found for the long version of the song. This longer take appeared on The Who Collection compilation in 1988. On 25 July 2007, Universal Japan re-released Meaty Beaty Big and Bouncy in a mini-LP sleeve that included the long alternative version of "Magic Bus" in fake stereo, as with the original album. In 2017, Polydor Records issued a remastered 180 gram vinyl LP of Meaty Beaty Big and Bouncy using Half Speed Mastering techniques. This edition includes the same mixes of the songs found on the original 1971 issue. Artwork and photographs On the front cover the Who are looking at four children, one of whom is Who manager Bill Curbishley's younger brother Paul. The panoramic photograph featured on the inside cover of the gatefold vinyl packaging is an exterior shot of the side of the Railway Hotel, a pub that was sited on the bridge next to Harrow & Wealdstone station in north-west London. The Railway Hotel was a popular hangout for Mods and soon after Keith Moon joined the band, the Who became a regular attraction there from June 1964, performing every Tuesday night. It was here that Kit Lambert, their manager, first saw the band, and here that Pete Townshend accidentally cracked his guitar's neck on the low ceiling above the stage. In response to laughter from the crowd, he then smashed his guitar for the first time in public; a gimmick he maintained for many years when playing live. The band were filmed at the venue on 11 August – a copy of the recording turning up in 2002. The Railway Hotel was destroyed by fire in March 2000, after becoming empty and vandalised. The site is now occupied by blocks of flats where the buildings, such as Moon House and Daltrey House, are named after the band members. Critical reception Robert Christgau remarked that "In England, this is a greatest hits album [but] in the U.S., where some of these songs have never been released and most have never made the charts, it's a mishmash revelation". Dave Marsh, however, greeted the collection as a disappointment for true fans because Townshend had publicly promised a rich, surprising, and comprehensive collection. Noting that less than half the tracks were new to the U.S. in any way, Marsh wrote somewhat bitterly on the predictable "greatest hits" nature of the tracklist: