Contains ALL Inserts /\ TOP CONDITION

           Solid COLLECTION COPY       ..|/\|...............................................|/\|..                          

THE WHO

LIVE AT LEEDS
                                  ..|/\|...............................................|/\|..                   

USA - DECCA RECORDS - MG 712421

MINT CLEAN ALL OVER! Contains all 12 inserts... complete ...

      FINAL COLLECTION COPY

RARE and sought after... includes 12 inserts - as pictured!

a TOP COLLECTION COPY

1970 FIRST PRESSING

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As it stands, LIVE AT LEEDS is noted as the best live rock concert ever recorded. High energy, extended jam performances, some of Keith Moon and Pete Townshend's most energetic performance, Roger Daltrey stars vocally, and Jon Entwistle stands alone, weaving intricate patterns with his bass.

The track list is also very good. This is the essence of early WHO and the beginning into their progressing rock phase and they sound brilliant, from the start of the rip roaring "Young Man Blues" on through to the stretched-out tandem of (14"27) My Generation and closing the album with (7:30) Magic Bus that really exhalts all the excitement and energy that the band had in them.

This energy is in fact the winning key of the Who's live performances, the one that makes so many people say that they were the best live act ever. It's just amazing to hear Pete Townsend play the guitar with his exciting chord riffs. Entwistles powerful bass, Moon's machine gun drumming, and, of course, to hear Roger Daltrey's confident voice soar up through the music to exhibit some amazingly melodic vocals within the mayhem of the mighty band.

THE FOLD OPEN SLEEVE HAS EXTERNAL RED PRINTING

ALL 12 INSERTS ARE PRESENT INCLUDING THE OFTEN ELUSIVE 'MAXIMUM R&B' POSTER
A 1964 Letter Written By EMI Records' John Burgess To Kit Lambert, Turning Down The High Numbers

A Black & White 1964 Publicity Photo Of The High Numbers

A Detailed 1964 Accounts Sheet For The High Numbers
A Large 1964, Black & White Poster Of The Who's "Maximum R&B" Residency At London's Marquee Club (there is no Track catalogue number above "Tuesdays" which is present on later copies of this poster)

A 1st December1964 Statement Of Payment From The Marquee Club

Pete Townshend's 1965 Typewritten Lyrics For "My Generation," With His Handwritten Notations

A 1965 Letter From 'King's Agency (Variety) Ltd.' Cancelling A Gig in Swindon, Due To The Who's Bad Behaviour

A 1965 'New Action Limited' Schedule Of Gigs With The Who's Pre-Agreed Fees

A March 1965, 'Jennings Music' Legal' Notice Before Proceedings', Demanding The Who Return A Vox Phantom Guitar And Case & A Vox Piano bass

A 1967 Invoice /Delivery Sheet From 'Brock's Fireworks' For A Gross of Y2 Smoke Generators

A 1969 Contract From 'Premier Talent Associates' For The Who To Perform At The 'Woodstock Festival'

A 1969 Fold-Out Photo Of Pete In Mid- Air At 'The Isle Of Wight Festival,' Printed On Both Sides, This Also Has Pete's Handwritten Line-up of 'Brian Carroll & The Playboys'

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 darn 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 career through early classics with the confidence of a band that 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 its 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 recognised 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.

Side one     "Young Man Blues" – 5:51     "Substitute" – 2:05     "Summertime Blues" – 3:22     "Shakin' All Over" – 4:15
Side two     "My Generation" – 14:27     "Magic Bus" – 7:30

 

CONDITION: The cover: Rated: M- original 'bootleg' cover (with blue text) is solid and clean all over. Overall the original owner took care of and going strong after 49 years in collectible shape (the cover usually soils so easily) ~ here an original '70 survivor ... strong colors, no writing, no split seams, no delete marks ...  

The vinyl: Rated: both sides retain original clear SHINE, rated: M- visible, not scratched and play graded M- with sensational in-your-face audio - incredibly fresh and exciting with a crystal clear, strong and powerful sound and on playback at a LOUD volume ...there are no scratches, no jumps, no sticks, no unwanted clicks or pops and no surface noise - the audio delivery is sensational and the whole album plays throughout to the highest possible standard with superb clarity, no groove-wear and no distortion, sounds stunning, raw, fresh and incredibly exciting ...

The INSERTS: All 12 inserts are M- to Mint clean, undamaged with a little evidence of being handled - while the poster is TOP (MINT) clean, NO staple holes and NOT torn or frayed anywhere

The Who had made extensive recordings of performances along their 1969 tour, with the intention of preparing a live album from that material. They recognized when it was over that most of the tapes didn't add up to their level of excitement  and the band (i.e. Pete Townsend) had the time or patience to go through the many different recordings  -- so he cut to the quick when came upon this recording capturing the electricity, exactly, the WHO in 1970.

        A cool addition to anyone's music library!






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