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Live At Leeds

Live At Leeds

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The greatest thing about The Who in a live setting is that each member played as if he were the only one on stage. John Entwistle and Keith Moon don't just keep the beat, they rise above the surface of the songs. Pete Townshend was never quite the soloist that his contemporaries were, but given the chance to spread out, he proved himself to be at least as good of a riffer and every bit as inspired as his fellow axemen. Roger Daltrey literally and figuratively speaks for himself, especially on "Young Man Blues", which might be his finest performance of the show. Made in Canada by the Compo Company Ltd. Licensed by Decca Records, a division of MCA Inc. N.Y., U.S.A. Broadcast under license only. (label) I'm not quite sure why this happened, but at a young age I was taught..."If it ain't broke, don't fix it!" Matte-finish photo with writing on reverse taken from behind the drums showing Pete Townshend jumping in front of a live crowd holding his Gibson SG guitar.

The sound is truly magnificent, and the music sounds as vital now as in 1970. Moon can be heard clowning in the midst of his still awesome drumming. And there is the late Entwistle somehow keeping time in the midst of the sublime chaos. Rejection letter to Kit Lambert, Esq., from John Burgess at E.M.I. Records Ltd in regard to the High Numbers. Two other classic hits are given mammoth treatment at the end of the show. "My Generation" runs for almost fifteen minutes, and is interspersed with lyrical and musical references to songs from Tommy (including some riffs that had originally appeared in "Rael I" from The Who Sell Out). I have never personally cared much for "Magic Bus", which runs for nearly eight minutes. However, it was definitely a crowd pleaser, and the band did a fine job of mixing it up here.The 'MY GENERATION LYRICS' typed insert (with handwritten annotations and THREE handwritten '*' - stars - two on the right & 1 on the left, later ones only have two); Several better-known songs - such as "The Kids Are Alright", "Anyway, Anyhow, Anywhere", and "Pictures of Lily" - were not performed at the Leeds concert. However, they are not that noticeably absent on the disc. The Who wisely treated Live At Leeds as an opportunity to present themselves in not-so-obvious ways. John Entwistle's "Heaven and Hell", the opening number, was never included in a studio version on a Who album. The Who Sell Out, the band's first great album, is represented not by the ornate hit single "I Can See for Miles", but by the poignant "Tattoo". As mentioned before, Tommy is represented by "Amazing Journey/Sparks" rather than by the classic "Pinball Wizard".

Live at Leeds - recorded in 1970 - suffered from a few limitations at the time of release. One, it was limited to a single record because in 1970 there was the LP. Two, recordings were on tape and no technology existed to clean defects as exists today. Those limitations are no longer in the cards - fortunately! Honestly, you can truly hear the power of Townshend's guitar in these recordings. The performances of each of the band members is more clearly heard in this release then the original. You can hear the banter between the band and some in the crowd - never before heard in the original. The 'PREMIER TALENT ASSOCIATES' Contract Insert (made in the CORRECT Yellow Colour, later ones aren’t); County Courts Acts Notice on behalf of Jennings Musical Industries to Kit Lambert for the outstanding return of musical instruments.The sound is awesome and full of the fury of The Who. They really are the forerunners of punk music which overtook England in the later 1970's. stamped or etched in runouts denotes MCA Pressing Plant, Gloversville, pressing. Remainder of runouts stamped, some trailing plating number (e.g., "1,""3,""4," etc.) etched.

Quibbles? A few exist. The only real significant quibble for me is the mix takes away Daltrey's fury in "Young Man Blues" where he delivers what I thought was the underlying statement of the whole song, " He ain't got nothing in the world these days, he ain't got nothin, he ain't got

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