- Heaven and Hell (Entwistle)
- I Can’t Explain (Townshend)
- Fortune Teller (Neville and Spellman)
- Tattoo (Townshend)
- Young Man Blues (Allison)
- Substitute (Townshend)
- Happy Jack (Townshend)
- I’m a Boy (Townshend)
- A Quick One, While He’s Away (Townshend)
- Summertime Blues (Capehart and Cochran)
- Shakin’ All Over (Kidd)
- My Generation (Townshend)
- Magic Bus
- Overture (Townshend)
- It’s a Boy (Townshend)
- 1921 (Townshend)
- Amazing Journey (Townshend)
- Sparks (Townshend)
- Eyesight to the Blind a.k.a. “Born Blind” (Sonny Boy Williamson)
- Christmas (Townshend)
- The Acid Queen (Townshend)
- Pinball Wizard (Townshend)
- Do You Think It’s Alright? (Townshend)
- Fiddle About (Entwistle)
- Tommy, Can You Hear Me? (Townshend)
- There’s a Doctor (Townshend)
- Go to the Mirror! (Townshend)
- Smash The Mirror (Townshend)
- 16. Miracle Cure (Townshend)
- Sally Simpson (Townshend)
- I’m Free (Townshend)
- Tommy’s Holiday Camp (Keith Moon)
- We’re Not Gonna Take It (Townshend)
“What hits you when you listen to it is you realise how much you need to see the Who.” ~ Pete Townshend, 1970.
Live At Leeds was the ultimate confirmation of The Who’s sheer ferocity as a live rock act without equal. Whereas their studio recordings had only tantalisingly hinted at the all-out barrage of the senses that a live Who gig produced, Live At Leeds removed all doubt. Following on the heels of the success of the rock opera Tommy, and the band’s grandstanding appearance at the Woodstock Festival, when released in 1970, Live At Leeds unwittingly documented The Who at the peak of their powers, whose shows now stretched up to two and a half hours without a break containing Tommy as their centrepiece. Except it should have been very different. The original intention was to release the recording from the Hull City Hall performance the following night after Leeds as the live album. The recording from Leeds was largely set up as a back-up in case there were any problems with the Hull recording. Suffice to say, upon listening to the tapes it was discovered that John Entwistle’s bass was missing from the first four tracks of the Hull recording. With little they could do to repair the tapes in those days, the band went with the Leeds recording for release instead, despite preferring the Hull performance. Through the wonders of modern technology, however, the full Hull recording has been repaired by flying in Entwistle’s bass tracks from the Leeds recording to repair the Hull tapes and is now available for the first time ever.
Captured on the Super-Deluxe 40th Anniversary Collectors’ Edition of this landmark of live albums, at the time, live pop or rock albums tended to be primitive affairs when capturing both band and audience. Live At Leeds was no exception, recorded on a mobile unit placed amid the kitchen of a university refectory in an unassuming industrial town in northern England. But the results – crackling noises and all – were enough for influential pop culture writer Nik Cohn, to describe Live At Leeds in his New York Times column as “the best live rock album ever made.” As recently as 2006, it topped a poll in Q magazine of the greatest live rock albums ever made – a testament to its enduring legacy.
This new edition contains:
• Two CDs containing the full Leeds show from 14 February 1970 recorded for the album including the complete performance of Tommy
• Two CDs containing The Who’s complete performance from Hull
• A heavyweight vinyl reproduction of the original six-track album as it was released in 1970
• A 64-page hard-back, colour book containing rare photos, memorabilia from the original release (replica contracts, letters, poster gig list, photos etc.) and liner notes detailing the history of this landmark album.
• A replica 7” single – ‘Summertime Blues / Heaven & Hell’ with colour sleeve.
• A classic Pete Townshend poster
• Housed in a hard-back box with cover artwork reproducing the original black stamped vinyl first UK pressing.