Track Listing
1. Heaven and Hell - (previously unreleased)
2. I Can't Explain - (previously unreleased)
3. Fortune Teller - (previously unreleased)
4. Tattoo - (previously unreleased)
5. Young Man Blues
6. Substitute
7. Happy Jack - (previously unreleased)
8. I'm a Boy - (previously unreleased)
9. Quick One, While He's Away, A
10. Amazing Journey / Sparks - (previously unreleased)
11. Summertime Blues
12. Shakin' All Over
13. My Generation
14. Magic Bus
| Details | | Playing Time: | 77 min. | | Producer: | The Who | | Distributor: | Universal Distribution | | Recording Type: | Live | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
The Who: Roger Daltrey (vocals, harmonica), Pete Townshend (guitar, vocals), John Entwistle (bass, vocals), Keith Moon (drums).
Reissue producer: Jon Astley.
Recorded live at Leeds University, Leeds, England on February 14, 1970. Includes liner notes by Chris Charlesworth. Originally released on Decca (79175) in May 1970.
All songs written by members of The Who except "Fortune Teller" (Naomi Neville), "Young Man Blues" (Mose Allison), "Summertime Blues" (Eddie Cochran/Jerry Capehart) and "Shakin' All Over" (Johnny Kidd).
The Who: Pete Townshend (vocals, guitar); Roger Daltrey (vocals, harmonica); John Entwistle (vocals, bass); Keith Moon (drums).
Producer: The Who.
Reissue producer: Jon Astley.
Recorded live on February 4, 1970. Includes liner notes by Chris Charlesworth.
The Who: Roger Daltrey (vocals, harmonica); Pete Townshend (guitar, background vocals); John Entwistle (bass instrument, background vocals); Keith Moon (drums).
Recording information: Leeds University, Leeds, England (02/14/1970).
On the surface, the Who's LIVE AT LEEDS seems like it should be nothing more than a stopgap recording. Released a year after TOMMY, as guitarist/songwriter Pete Townshend was getting bogged down in the abortive LIFEHOUSE concept, LIVE AT LEEDS is simply the (mostly) non-TOMMY portion of the Who's standard live set of the era, packaged in a bootleg-like manila cover with a faded rubber-stamp logo.
The thing is, Townshend and company were at the blinding height of their powers in 1970, and LIVE AT LEEDS makes a far stronger case for the Who as the World's Greatest Rock & Roll Band than the Rolling Stones' contemporaneous live document, GET YER YA-YA'S OUT. Not quite so much a band as three powerhouse musicians playing solos simultaneously, while Roger Daltrey screams to make himself heard over the din, the Who never lapsed into aimless jamming for its own sake. Even on the 14-minute-plus encore of "My Generation," drummer Keith Moon and bassist John Entwistle hold down the song's pile-driving groove nonstop. The vast majority of live rock albums are either pointless or awful; LIVE AT LEEDS is the exception in every way.
On the surface, the Who's LIVE AT LEEDS seems like it should be nothing more than a stopgap recording. Released a year after TOMMY, as guitarist/songwriter Pete Townshend was getting bogged down in the abortive LIFEHOUSE concept, LIVE AT LEEDS is simply the (mostly) non-TOMMY portion of the Who's standard live set of the era, packaged in a bootleg-like manila cover with a faded rubber-stamp logo.
The thing is, Townshend and company were at the blinding height of their powers in 1970, and LIVE AT LEEDS makes a far stronger case for the Who as the World's Greatest Rock & Roll Band than the Rolling Stones' contemporaneous live document, GET YER YA-YA'S OUT. Not quite so much a band as three powerhouse musicians playing solos simultaneously, while Roger Daltrey screams to make himself heard over the din, the Who never lapsed into aimless jamming for its own sake. Even on the 14-minute-plus encore of "My Generation," drummer Keith Moon and bassist John Entwistle hold down the song's pile-driving groove nonstop. The vast majority of live rock albums are either pointless or awful; LIVE AT LEEDS is the exception in every way.
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