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WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

 

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·       THE WHO – LIVE AT LEEDS - VERY RARE ORIGINAL, LONG OUT-OF-PRINT 2006 CLASSIC RECORDS' ANALOG,AUDIOPHILE PRESSING ON A 140-GRAM, HI-GRADE, 'QUIEX' SUPERVINYL' MASTERED FROM THE ORIGINAL MASTER TAPES -  CLASSIC RECORDS STEREO LP 2406 001B

 

·       ORIGINAL U.S. PRESSING

 

 

·       ULTRA-RARE TEST PRESSING

 

 

·       PLAIN, WHITE GENERIC TEST PRESSING LABEL WITHOUT ANY IDENTIFICATION MARKS WHATSOEVER EXCEPT FOR THE TECHNICAL AND LEGAL DISCLOSURE

 

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. AUDIOPHILE PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

 

·       ORIGINAL "PORTFOLIO" SLEEVE WITH A SEPARATE “POCKET” FOR THE INSERTS (SORRY, NONE OF THE INSERTS ARE INCLUDED)

 

·       THICK, HEAVY VINYL PRESSING

 

·       CLEAN, WEAR-FREE LABELS

 

·       PLEASE NOTE: THE MATRIX NUMBER IN THE TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD IS CONSISTENT WITH THE CLASSIC RECORDS' 2006 AUDIOPHILE PRESSING OF THIS ALBUM

 

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

 

 

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Amazing !!! An unbelievable piece: What we have here is an unheard-of TEST PRESSING of this Who live masterpiece, easily one of the top-10 greatest live Rock recordings of all time.  While many test pressings often have alternate or demo- versions of known, later released songs, and while it is possible that this particular test pressing contains demo or alternate versions of some of the tracks, please don’t take our word that it does:

 

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Rushed out in 1970 as a way to bide time as the Who toiled away on their follow-up to Tommy, Live at Leeds wasn't intended to be the definitive Who live album, and many collectors maintain that the band had better shows available on bootlegs. But those shows weren't easily available whereas Live at Leeds was, and even if this show may not have been the absolute best, it's so damn close to it that it would be impossible for anybody but aficionados to argue. Here, the Who sound vicious -- as heavy as Led Zeppelin but twice as volatile -- as they careen through early classics with the confidence of a band that had finally achieved acclaim but had yet to become preoccupied with making art. In that regard, this recording -- in its many different forms -- may have been perfectly timed in terms of capturing the band at a pivotal moment in its history.

 

There is certainly no better record of how this band was a volcano of violence on-stage, teetering on the edge of chaos but never blowing apart. This was most true on the original LP, which was a trim six tracks, three of them covers ("Young Man Blues," "Summertime Blues," "Shakin' All Over") and three originals from the mid-'60s, two of those ("Substitute," "My Generation") vintage parts of their repertory and only "Magic Bus" representing anything resembling a recent original, with none bearing a trace of their mod roots. This was pure, distilled power, all the better for its brevity; throughout the '70s the album was seen as one of the gold standards in live rock & roll, and certainly it had a fury that no proper Who studio album achieved. It was also notable as one of the earliest legitimate albums to implicitly acknowledge -- and go head to head with -- the existence of bootleg LPs. Indeed, its very existence owed something to the efforts of Pete Townshend and company to stymie the bootleggers.

 

The Who had made extensive recordings of performances along their 1969 tour, with the intention of preparing a live album from that material, but they recognized when it was over that none of them had the time or patience to go through the many dozens of hours of live performances in order to sort out what to use for the proposed album. According to one account, the band destroyed those tapes in a massive bonfire, so that none of the material would ever surface without permission. They then decided to go to the other extreme in preparing a live album, scheduling this concert at Leeds University and arranging the taping, determined to do enough that was worthwhile at the one show. As it turned out, even here they generated an embarrassment of riches -- the band did all of Tommy, as audiences of the time would have expected (and, indeed, demanded), but as the opera was already starting to feel like an albatross hanging around the collective neck of the band (and especially Townshend), they opted to leave out any part of their most famous work apart from a few instrumental strains in one of the jams. Instead, the original LP was limited to the six tracks named, and that was more than fine as far as anyone cared.

 

And fans who bought the LP got a package of extra treats for their money. The album's plain brown sleeve was, itself, a nod and nudge to the bootleggers, resembling the packaging of such early underground LP classics as the Bob Dylan Great White Wonder set and the Rolling Stones concert bootleg Liver Than You'll Ever Be, from the latter group's 1969 tour -- and it was a sign of just how far the Who had come in just two years that they could possibly (and correctly) equate interest in their work as being on a par with Dylan and the Stones. But Live at Leeds' jacket was a fold-out sleeve with a pocket that contained a package of memorabilia associated with the band, including a really cool poster, copies of early contracts, etc. It was, along with Tommy, the first truly good job of packaging for this band ever to come from Decca Records; the label even chose to forgo the presence of its rainbow logo, carrying the bootleg pose to the plain label and handwritten song titles, and the note about not correcting the clicks and pops. At the time, you just bought this as a fan, but looking back 30 or 40 years on, those now seem to be quietly heady days for the band (and for fans who had supported them for years), finally seeing the music world and millions of listeners catch up.

 

 (REVIEW REPRINTED COURTESY OF BRUCE EDER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

 

The sticker on one of my previous (long ago worn-out) vinyl copies of this album had an ad sticker with the "New York Times" quote on it, proclaiming this to be "The best live Rock album ever". Now, normally, the endorsement of any Rock album by the New York Times -  the notorious mouthpiece of elitist corporate globo-imperialism masquerading as progressive-liberal "left"-  would be enough to make me avoid such album like leper,  but this time I fully concur. I can't for the life of me think of any other live album that can approximate the level of adrenaline rush on this performance. Maybe Hendrix' "Band of Gypsies" or Allman Brothers Band's "Live at Filmore East" can come close, but not quite close enough. I still vividly remember the moment about 40 years ago when I first heard that skull-crashing drum/guitar outburst at the finale of incendiary "Magic Bus" version here. I had to reposition my stylus to the same spot about 10 times because I just could not believe my ears. This album is as close as you will ever get to detonating an explosive device in your living room. Honest!

 

For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye , Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ►  for the complete album listing)

 

A Note on Classic Records: Acclaimed reissue label specializing in audiophile LP reissues of classic albums; employed its own custom-built tube-based mastering equipment on all of its releases; masters its releases from original master tapes (or the best sources available). Earliest releases were a box set of RCA Living Stereo classical titles and Verve jazz titles (subsequently sold individually). Classic used 180 gram vinyl until 2001. That year they switched to 180 gram "SV" (Super Vinyl) and added a sticker specifying the type of vinyl to all their LPs. They introduced 200 gram "Quiex SV-P" in July 2002. That was followed by "SV-P II" and, in 2008, "Clarity Vinyl." In the 2000s, they also introduced lower priced versions of many of their LPs, pressed from the same masters but on regular 150, 140, or 120 gram vinyl. Represses were always done on the latest vinyl formulation and can be dated by the sticker. Classic also produced a line of gold CDs in the 1990s and then 24/96 HDAD digital disks. Mastering was typically done at Bernie Grundman Mastering by Grundman himself or Chris Bellman. Classic's assets were purchased by Acoustic Sounds in 2010

 

For additional historical or discography information on this album, including track listing ►

 

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ► 

 

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·                               CONDITION:

 

·                               THE RECORD

 

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

 

(a)          WE GRADE THE VINYL AS NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

 

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

 

(c)           The record comes in a poly-lined inner sleeve, which has - apparently with success - shielded the vinyl from the harmful impact of elements over many years!

 

(d)          In addition, the record is pressed on a beautiful, high-quality, virgin-grade vinyl, which is usually used for audiophile, extended-dynamic-range, half-speed mastered and connoisseur pressings.

 

(e)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

 

 

·                               THE COVER

 

THE COVER IS (WEAK) NEAR MINT !

 

The following flaws or imperfections are noted on the cover:

 

-        Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 2.

 

-        Minor shelf wear noted on the seams (nothing significant)

 

-        Cover has a tiny "wrinkle" (crease)  in one of the corners.

 

-        Cover has a few tiny wrinkles along the spine  (BARELY VISIBLE)

 

 

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

 

 

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POSTAGE & SHIPPING:

 

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND (BUT DO NOT INSIST) that you select USPS International Priority Mail OR International Express mail when making a payment.

 

INTERNATIONAL POSTAGE rates vary from one region of  the world to another. For SPECIFIC international and domestic postage rates ►. While you can be rest assured that our packaging is careful, sturdy and impact-proof, please note that damage, loss or theft in transit is always possible, and in the case of some countries even PROBABLE. To discuss this potential problem and ensure flawless delivery, please contact us thru eBay BEFORE placing a bid.

 

 

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OUR REFUND POLICY :

 

WE OFFER UNCONDITIONAL MONEY-BACK GUARANTEE WITHIN 30 DAYS FROM THE RECEIPT OF THE MERCHANDISE, NO QUESTIONS ASKED; Still sealed items MUST be returned sealed in order to be eligible for a refund Some restrictions apply. Please read our complete refund policy before placing a bid. ►  for the full text of our policy

 

 

FINE (BUT IMPORTANT!) PRINT

 

 (1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored  (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever;  Thank You & Good Night!

 

 

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