Christopher Thomas Stamp (7 July 1942 – 24 November 2012) was an English record producer and manager known for co-managing and producing such musical acts as the Who and Jimi Hendrix in the 1960s and 1970s and co-founding the now defunct Track Records. He later became a psychodrama therapist based in New York State.

Born into a working-class family, Stamp was raised in London's East End and was one of six children. Their father, Thomas Stamp, was a tugboat captain, and their mother was Ethel (née Perrott). Actor Terence Stamp was his older brother.

Stamp started out as a filmmaker and met business partner and collaborator Kit Lambert while working at Shepperton Film Studios as an assistant director—they both worked on such films as I Could Go On Singing, The L-Shaped Room and Of Human Bondage. Eventually the pair came to share a flat in west London, and in 1963 Lambert convinced Stamp that the two should direct their own film about the burgeoning British rock scene."Our idea was to find a group that somehow represented the emerging ideas of our time. They would be rebellious, anarchistic and uniquely different from the established English pop scene," said Stamp.

Stamp and Lambert met the members of The Who during one of their performances at the Railway Hotel (no longer standing) in Harrow and Wealdstone. At that time the band was known as The High Numbers.

Stamp and Lambert's contrasting personalities and backgrounds also made an impression on the band; in a 1972 Rolling Stone article Keith Moon said that the two men "were...are...as incongruous a team as [The Who] are". Lambert was an Oxford graduate and the son of noted composer Constant Lambert; he spoke proper and high-class English. In contrast, Stamp was five years younger, the son of a tug-boatman, and Keith Moon described Stamp as speaking "in nearly unintelligible East London cockney". Roger Daltrey said the following about the pair:

Kit Lambert and Chris Stamp were the fifth and sixth members of The Who: Kit, with his outrageous behaviour and ideas on how to manipulate the media, and Chris, the expert in cool, menace, and scams! Their contribution to the band should never be underestimated.

The duo made a move to acquire the High Numbers from their manager Peter Meaden; Lambert had learned from The Beatles' attorney David Jacobs that the band's contract with their previous manager was legally invalid. In effect, Meaden had no legal claim to the band and in 1964 he accepted a buyout for relinquishing control to Stamp and Lambert.

By autumn of that same year Stamp and Lambert convinced the band to change their name back to The Who (a name they were using prior to Meaden's management) and began to focus on the band's Mod image. The band managers also encouraged the band's early Mod look and also encouraged the band to include more blues and James Brown and Motown covers in their sets – since this was the sound most enjoyed by the Mod crowd.