The Cavern
Rock & Words
LIVE AT LEEDS (The Who, 1970)
Artist: The Who (B+)
Recording Date: February 14th, 1970
Release Date: May 16th, de 1970. UK
Record Label: Decca/MCA
Producer: Jon Astley, Kit Lambert & The Who
Rating: 10 (MUST HAVE, ICONIC ALBUM)
Era: Hard Rock (1968-???)
Subgenre: Live Album
Best Song: Heaven & Hell or My GenerationTracklist: Disco 1: 1) Heaven And Hell; 2) I Can't Explain; 3) Fortune Teller; 4) Tattoo; 5) Young Man Blues; 6) Substitute; 7) Happy Jack; 8) I'm A Boy; 9) A Quick One While He's Away; 10) Amazing Journey/Sparks; 11) Summertime Blues; 12) Shakin' All Over; 13) My Generation; 14) Magic Bus.
Disco 2: Tommy (20 tracks).
The best live album ever? I'm not even sure it's The Who's best live album.
HA! Gotcha! There's an almost universal consensus that marks The Who's Live at Leeds as the best live rock album in the known universe, for all eternity, amen. Almost like dogma. Seriously though, there's some truth to this paraphrase of Macca's. It turns out the first live Who album I ever heard was Live at the Amsterdam Opera House, recorded in 1969, because I was looking for a compilation and that was actually the only one I found, from a label called "On Stage" that apparently released bootlegs of "minor" concerts by "major" artists in the '90s. I must say that at first, I wasn't blown away. I was very young and still obsessed with the Beatles, Stones, Doors, Led Zeppelin, and Floyd. The Who intrigued me because of all the hype surrounding them, but it didn't grab me on the first listen. I was just a kid, some would say. As time went on, that little record seeped into my mind and compelled me to seek out the band's entire studio discography, and I was blown away by their power and virtuosity. Then I found this Live at Leeds album, which for many is the best live album ever.
I don't know… I think I have to agree. If we have to choose one, for its almost mythical fame, for the raw power of the performance, for the impeccable and virtuosic instrumental playing, for the tremendous bass lines, for the roaring vocals, for the monumental drumming, for Townshend's onslaught of riffs and artillery, and also for the relatively good sound quality, we have to go along with the masses and point to Live at Leeds as the favorite. It's flawless. Can anyone throw a stone at it? A pebble? No? Me neither.
But here come the caveats, and it's not that I'm trying to take away its label. When I announced the review as the best live rock album of all time, I did so sincerely, and almost everyone guessed what I meant. But frankly, it's very difficult to pinpoint which elements should be considered for this honorable title. It must be said, there are several concerts that could rival it for that title, from The Who's Live at the Isle of Wight, the colossal Live at the Fillmore East by the Allman Brothers, Deep Purple's Made in Japan, the Rolling Stones' Get Yer Ya Ya's Out, Bob Marley's Live!, Derek & The Dominos' In Concert, The Doors' Absolutely Live, Pink Floyd's Pompeii… Or more recently, some Radiohead bootlegs (Live At Earls Court) or Muse's HAARP. What makes one better than another? In all of them, the artists give their all and are immortalized in all their splendor, without studio tricks, doing the true magic of Rock, which is to refract with their music that energy of the public, to improve the studio versions with fluidity, with technique, with coupling, with virtuosity and with improvisations, things that all the live performances mentioned share.
On the other hand, it's incredibly difficult to successfully record a band at their peak, because this peak usually occurs just before their fame explodes and they reach their zenith. It's not a universal rule, but generally their best concerts are when they're living off their own performances, not the success of an album. After their iconic record, bands become saturated, start to tire, and the songs become more mechanical live. And it's especially difficult when it's a single night (as in this case), and not the best tracks from a tour or several days, or even a collage of snippets within a single song like Absolutely Live. The fact of recording it exactly as it happens and having that pressure, whether you like it or not, influences the performance, and it's no coincidence that the best concerts by Led Zeppelin, Hendrix, or Janis Joplin weren't included in their official discographies. In fact, it's unlikely that even the best concert in the history of any band was ever recorded. Those remain only for the lucky fans and for the band's own memory.
The Leeds concert was a single take from the night of February 14, 1970. Townshend had long wanted to release a live album by the band. Since mid-1969, they had recorded many of the performances from the Tommy tour, but ultimately the sound quality wasn't very good. It's a shame, because the Amsterdam album I own is excellent, rawer and more fluid than the Leeds recording, with the band sounding looser and wilder (though not quite reaching the level of the Wight), but the mix is certainly far inferior. Rumor has it that Pete burned the tapes to prevent bootlegs, although he obviously missed a few. Since they couldn't salvage much from the more than 80 hours of footage they had recorded from the tour, in 1970 they scheduled two dates, February 14 at Leeds University and February 15 in Hull, to record the entire shows in a mobile studio, from which they would select the best tracks for the live album. However, there were problems with the bass recording in Hull, which resulted in it being left out of some tracks, so they were forced to use the Leeds recording. Daltrey would say it was a shame, as the Hull recording was better in terms of execution and the acoustics of the venue, although I personally haven't heard it. Hence the joke about whether it's The Who's best live album.
In any case, the album is tremendous, no one disputes that. The original 1970 album only had six tracks (three of them covers), plus a single with a couple more songs from that night. The 1995 CD reissue, with remastered tapes and an even cleaner and more defined sound, includes 14 tracks and is now considered the complete Leeds album. However, there is a second disc, the 2001 Deluxe edition, which includes all of Tommy's material; well, not all of it, but the backbone of the rock opera, leaving out some minor filler. At the concert, they originally played the entire Tommy section before "Summertime Blues", "Shakin' All Over", "My Generation", and "Magic Bus", but it was decided to break the continuity on the album to put the whole Tommy on the second disc and the rest of the material from the previous LPs and singles on another, although generally when they refer to Live at Leeds they mean disc 1. There is a final version, the 40th anniversary one released in 2010 which in addition to everything above, brings the takes from the night in Hull for a total of 4 discs.
Back in Leeds, by this time The Who were already a true juggernaut live. Many of the songs that were more subdued in the studio, with more acoustic guitar and a relatively softer feel, were performed live. The band here focused more on singles than LP tracks (except for Tommy, obviously). “My Generation,” “A Quick One While He’s Away,” and “Tattoo”—apart from these, the rest were singles or covers—and even “Heaven & Hell,” the opening track, was never released in the studio but was created specifically for concert. In any case, live they transformed into a four-headed dragon, giving the songs a much more ferocious and incendiary treatment. Forget the arpeggios, the gentle acoustic strumming, and the like. Pete unleashes a dynamite charge with his guitar, employing his famous Power Chords to create a catalog of potent riffs, injecting a punchy dynamism into the songs, reinventing and improving them (both his own and the covers), and becoming a true wizard. Here, Pete reveals himself as a true leader, setting the pace, dictating the tempo, and giving direction to each song, while the incredibly intense rhythm section of Moon and Entwistle creates a veritable wall of sound with their lines, rolls, and fills, managing to keep up with Pete in truly remarkable synchronization. Roger sounds tremendous, but I believe his vocal peak will be reached on Who's Next. Leeds, therefore, is a powerful and impeccably executed album. I don't know if they cleaned up the sound or made corrections, but it's truly perfect, and I couldn't detect any mistakes from any of the musicians. However, despite its immense power, it's not The Who's most powerful live album. At the Isle of Wight concert, they sound far more tempestuous and brutal, with much more adrenaline, and it's equally flawless. I don't know if in Leeds, because it was a relatively small, enclosed auditorium, and the audience was mostly university students and a more serious crowd, Pete and company held back a bit and wanted to sound somewhat "technical and correct"; and I don't know if the free spirit of the Isle of Wight concert, in the middle of the night, in the countryside, before thousands of cheering hippies, influenced the fact that practically the same songs sound so different. In any case, Leeds is the one that has gone down in history as the Best Live Album, so let's get to it. For practical purposes, I'll be reviewing the 2001 version, quickly skimming the songs on Disc 1 and the highlights of Disc 2, which corresponds to Tommy.
Disc 1 kicks off with “Heaven & Hell”. We immediately hear the screams and applause of the crowd, Keith testing the bass drum, John checking the tuning of the four strings, and then the spectacular pyrotechnics with that intro that's enough to knock us off our feet. The Power Chords with the distorted guitar at just the right point, the complex yet fluid bass line, the incredibly powerful drums, with Moon running across his kit at an impressive speed, living up to his reputation as a lunatic with the sticks. An explosive intro that immediately takes us to the band's true live level. Then we settle into the double-key of the verses, and Roger (or is it John himself???) begins to sing with that feline tone that suddenly reaches soaring roars. An addictive melody, especially when Pete joins in on the backing vocals for those perfect harmonies. A great solo at 1:50, in which, despite the absence of a second guitar, the colossal rhythm section leaves no gaps and creates the foundation for one of Townshend's best guitar solos. This song was written by Entwistle but was never recorded in the studio, becoming a classic for opening concerts, and its energy perfectly complements the virtuosity and fluidity of this band. It would have been perfect for the album *Next*, but for some reason, they left it out and didn't even release it as a single. The song is perfectly constructed, catchy without being pop, allowing all three musicians to showcase their virtuosity. The guitar solo is extraordinary, the riff is one of those that becomes legendary, and it's incredibly powerful. One of the best songs in The Who's catalog, and the amazing thing is that we can only hear it live. In my opinion, one of the best of the concert.
The applause hasn't even faded when we enter the familiar descending riff of "Can't Explain". This song wasn't released on any album, but it was launched as a single in '64-'65 and is now considered a classic by The Who. It was one of the first songs Pete composed when the pressure from the Beatles and the Kinks to release his own material began. Jimmy Page played second guitar on the single. Here, Pete manages to deliver a masterful and powerful guitar performance on his own. Pete was always known for functioning more as a second guitarist than a lead, with his powerful chords and the way he carries the songs, and this is a perfect example. The song is brilliant, very rhythmic, with a sharp, chainsaw-like riff, the interplay between Roger and John, and the harmonies of John and Pete that echo the title after each verse. The bass is massive, not content with simply carrying the riff, but adding fills and flourishes as if it were a drum kit, and Moon himself sounds colossal. The well-crafted solo shows Pete's genius in this area, though it's rather brief here. A true classic that showcases them at their peak. At the end, Roger chats briefly with the audience, jokes around, and introduces the next song.
Next up is the first cover of the night: “Fortune Teller”, written by Allen Toussaint (under the pseudonym Naomi Neville) and first recorded by Benny Spellman. I find the Rolling Stones' version on Got Live If You Want It superior, more fluid and faster, with a more R&B feel, and that dark, menacing spirit in the backing vocals. But this one is also magnificent, more measured and apocalyptic. The Who treat the song with great skill and completely own it, making it almost unrecognizable. An elastic bassline, relentless drums, and that way they finish the backing vocals: “Said You're in loOOooOOOOve,” followed by a brief silence that leaves you in suspense before launching back in. They accelerate from the second half onward, with the instruments now at full throttle. It's not the best cover The Who have ever done, but it's a testament to the great care they take with other people's songs.
Finally, it connects with the rapid arpeggios of "Tattoo", which is very similar to the technically pristine studio version of Sell Out. Here we can enjoy that perfect interplay between the three of them, alternating in the slower sections, creating tension, and building those crescendos during the bridges. The one who stands out and improves the most is Moon, who injects more power into the drums, since John and Pete can make few changes to the already perfect studio version. A masterpiece in structure, and an impressive display of harmonies and vocal layering that the quartet possessed. Few bands are capable of replicating this seemingly magical performance (cough cough – overdubs – cough cough) in the studio and even surpassing it live.
After the applause, I believe it's Pete who introduces the next song, composed by Mose Allison. "Young Man Blues" reached its definitive version in the hands of The Who. This version is colossal. Considering that the original is basically the powerful riff with the blues pattern, here it's given an apocalyptic treatment, with the drums and bass playing figures as important as the guitar, extending it brilliantly, not a single note out of place. The precision with which the instruments combine to establish the dialogue with Roger is breathtaking. Daltrey, by the way, performs the song in this first part with that bluesy, attitude-filled vocal style, with a menacing and crushing tone. Stops and starts that sound like sonic stabs, until we enter the long instrumental section, beginning with the chugga-chugga of the guitar, a kind of bass solo, then the unhinged guitar solo, Roger screaming in the background like a madman, Moon massacring his drums, guitar solos and more guitar solos with an unusual fury, in which we can hear Pete squeezing every last drop of power and note from his brilliant Gibson SG. One of the most intoxicating and wonderful moments in rock. They lower the intensity for a moment only to create that eruption of notes again, which doesn't stop until Daltrey's final roar and the apocalyptic unison closing.
Next up is “Substitute”, another track that was only released as a single in '66. Interestingly, I was already quite familiar with this setlist thanks to the Amsterdam concert, which I memorized first, but many people will have missed out on these singles and will find them a pleasant surprise, since the studio versions only appeared on compilations. A playful guitar, with a relatively pop melody, but one that's treated ruthlessly here. Even though it's a more melodic track, Moon sounds brutal and doesn't hold back in his constant cymbal attacks. Keith would later joke that he didn't remember playing it because he was so high: “The guys should have put another drummer in my place.” Hahaha! No, it's more of a sad feeling, a déjà vu, if you know what I mean.
Continuing with the pop tunes, we have “Happy Jack”. This song was released as a single and as a bonus track in an acoustic version on A Quick One. Here it's improved and expanded, with the guitar delivering hushed tones and the bass taking center stage with that playful riff. They build tension, and in this electric version, they achieve a tremendous explosion during the choruses, with the Power Chords like tsunami waves and Moon once again putting on a phenomenal display. The “la-la-la's” are hilarious. Overall, the song is much improved, gaining a punch it completely lacked on the album.
“I’m A Boy” closes this trilogy of relatively harmless pop tunes. Pete starts singing, with a relatively clean guitar, until Roger comes in with his raspier voice and the guitar also gets grittier for the bridge. They both combine for the chorus “I’m a boy, I’m a boy.” The song is relatively simple in structure, with Entwistle dominating with a simple yet deep bass line. The section at 1:30 where they stagger for the “uhhhhs” is simply majestic. Then the guitar stings back to the verses. The song lasts until 2:40, but the track continues for another two minutes as they present the micro-opera “A Quick One While He’s Away,” clowning around with each other and the audience, eliciting more than a few laughs, even threatening that Keith Moon is going to sing it.
“A Quick One While He’s Away” begins with a three-part a cappella section in perfect harmony, serving as an intro. This is followed by arpeggios and then the rhythm section. Roger sings in an affected tone, comically drawing out the last syllable. At the one-minute mark, the backing vocals join in. The drums and bass improve considerably, and the guitar becomes much more prominent, its distortion adding a new dimension to the song. At 1:30, the song shifts in tone and section, introducing a catchy three-part chorus that becomes a “lalala” rhythm. The instrumental parts sound richer and more powerful, and there’s a playful interlude between sections. In the third section, around the three-minute mark, Moon literally runs his drum kit at breakneck speed, until they enter a festive, semi-country rhythm. At 3:40, the "soon be home" section begins, calmer and more rhythmic, with Moon laying down that gentle galloping rhythm with his drumsticks. Another series of guitar riffs leads into the most exuberant and joyful part of the song at 4:50. And well, the changes continue left and right, amplifying the effect of the studio version, which in comparison seems almost harmless. Here, the instrumental power highlights the playful and fun feel of the song, which extends until 8:30. In this case, they move faster since the album version lasts more than 10 minutes.
Another highlight is “Amazing Journey/Sparks”. This track is originally from Tommy. After “A Quick One” in Leeds, they played the portion that belongs on Tommy, but in the 1995 reissue, they skipped the entire Rock Opera and only included this tremendous cut. For the 2001 deluxe reissue, which includes Tommy as disc 2, this track is omitted from disc 1 and placed as track 4 on Tommy. Anyway, it's something you have to hear to believe. The reinterpretation is magnificent. On Tommy, the song is acoustic, giving it an innocent, simple feel. Daltrey even sings in an almost childlike tone. Here, Pete couldn't crank up the distortion any more; everyone plays at their limit, with an apocalyptic drum sound that's nothing like the studio version's timidity. The guitar is incredibly powerful, attacking with high notes, suddenly becoming a devastating saw, combining with the bass, unleashing riff after riff from all sides. Entwistle delivers one of the performances of his life, playing with tones, creating elastic lines, and suddenly picking up speed so fast it sounds like he's playing a solo. And speaking of solos, in the transition to "Sparks" at 3:15, Townshend plays a colossal riff-solo that's somewhat reminiscent of Hendrix on "Foxy Lady." The song builds with an almost violent display of virtuosity, guitar blasts, and the bass solo at 4:20, dynamically traversing the entire length of the instrument without missing a beat, before returning to the main figure. Wow! Then the sparkling section at 5:15, with tremendous combinations. It's drool-worthy, seriously. They make Tommy's version look like a children's song, ending in a truly apocalyptic way. If anyone in the universe still doubts that The Who deserves at least a B as a band, they simply need to sit down and listen to this song at full volume with headphones.
We continue with another cover, “Summertime Blues” by Eddie Cochran, which, if you ask me, also found its definitive version with The Who. They give the song a bit of a "sun and sand" treatment to make it much heavier, without losing its catchiness, of course. They speed it up a little so the power chords can really shine. John Entwistle really shines in this version. It's a song with a four-tone scale that goes up and down. Something very simple. But Entwistle uses a number of tricks, lines, riffs, and figures that fill absolutely every space. I once heard a version by The Who (I don't know if it was this one) without the guitar track due to a recording error. I swear it wasn't necessary. It sounded like the solo was creating an endless bass line that filled every single space. And, well, Keith's contribution is no slouch either; they all take ownership of it and give it a much less innocent treatment than the original, but this song is John's, without a doubt. A true masterclass in bass playing.
Continuing with the covers, we have “Shaking All Over” by Johnny Kidd. Another rockabilly, rhythmic, and very catchy song, which they transformed into a menacing and dark track. From the initial, somewhat stifled riff, with guitar and bass mirroring each other in the delicious scale. Break. Daltrey's roar. Instrumental return. Break. “Shaking AaaAAll OooovEEEEEEER!!!!” Don't you love it? This time Pete creates sparks of guitar, like a true lead, letting John handle the dark riff. At 1:40, Keith does a full-speed drum roll that leads into an instrumental jam with a killer bass solo while Pete plays with feedback and Keith massacres his drums. Then back to the rhythm, and they're doing a kind of triple solo at the same time. Pete blasts his guitar with high notes. Roger screams in the background. They create a speedy and powerful feeling that perhaps only Zeppelin can replicate. Towards the end, they return to the verses and a final chorus, bidding farewell with another Townshend-esque touch. Brutal. A true marvel and a great tribute to Johnny Kidd. With these two covers, they seem to pull off every imaginable rock trick; they always seem to drag on forever (not because they're bad, quite the opposite), but "Summertime" is barely 3:20 and "Shaking" less than 5 minutes. How do they do it? It's a mystery, but they're among the best covers ever.
The tremendous closing track extends with “My Generation”, The Who’s quintessential anthem. And if the original version was already colossal, this one is a medley that summarizes the entire Tommy album in 15 minutes, with a plethora of orgasmic riffs, some taken from Tommy, eventually returning to “My Generation,” others improvised, but all woven together in a way that keeps you on the edge of your seat for the entire 15 minutes. And sometimes knocks you off your feet! The guitar solos are also very good. He’s no Hendrix, but Pete knows how to handle a damn guitar, and he doesn’t do it gently. At times the song becomes chaotic, but when it seems like they’re all about to go off on their own (around 5:35), it falls silent to regroup around Pete and begin building tension again. That part where Pete returns with the guitar tentatively is exceptional. He’s only missing a violin bow. Hahaha. And then, out of nowhere, they transform into a runaway train, completely unstoppable, with Keith attacking his cymbals and John's bass thundering, as if he wanted to blow the amplifiers out of the air with just the notes. The band continues to improvise sections with mastery, sometimes leaning more towards blues and sometimes towards hard rock. At the 10-minute mark, they launch into a tremendous medley with "Sparks" and "See Me, Feel Me," featuring a razor-sharp guitar. Seriously, this is something you have to hear before you die. This live track is the equivalent of a 27-minute "Dazed & Confused," with the advantage that it doesn't use a violin bow and you don't need to be an expert to be captivated by every single note. The instrumental level is monstrous. And along with "Heaven & Hell," it has to be the best track on the album.
The most well-known version of Leeds closes with “Magic Bus”, which was also a single and lent its title to a B-sides compilation in 1968. The original is acoustic and more playful. Here, they practically retain Keith's drumming rhythm and melody. Pete adds much bluesier electric arrangements, and Roger himself sings in a darker and more ferocious style. Townshend and Entwistle respond to the title almost shouting themselves hoarse. The song builds momentum and creates tension in the jam. The track explodes at 3:20, with the drums pounding and the bass roaring, until they slowly return to the bluesy structure to continue improvising and playing with the intensity, creating an almost progressive piece. At the climactic point, we even get a harmonica solo from Roger, who may not be a virtuoso, but it works perfectly in the song. At the 6-minute mark, it seems they refuse to finish and extend the end of the song and concert for a minute and a half, finally delivering an absolute and masterful closing. It's not a very well-known song, but they give it great treatment and it serves well as a concert closer. Applause. You can almost see the audience on their feet in the well-deserved ovation.
Disc 2 contains almost the complete Tommy album, with the following tracklist:
1) Overture; 2) It's a Boy; 3) 1921; 4) Amazing Journey/Sparks; 5) Sparks; 6) Eyesight to the Blind 7) Christmas; 8) The Acid Queen; 9) Pinball Wizard; 10) Do You Think It's Alright?; 11) FiddleAbout; 12) Tommy, Can You Hear Me?; 13) There's a Doctor; 14) Go to the Mirror!; 15) Smash The Mirror; 16) Miracle Cure; 17) Sally Simpson; 18) I'm Free; 19) Tommy's Holiday Camp; 20) We're Not Gonna Take It.
I'd go crazy if I reviewed Tommy again, especially this live version. They generally stick to the structures of the original versions, but the songs are clearly amplified by Pete's guitar, which abandons the acoustic for long stretches. The distortion magnifies the tremendous riffs and turns them into ferocious rockers. The best, in my opinion, are (obviously) "Amazing Journey/Sparks," which we already saw on the version on disc 1 without Tommy; "The Acid Queen" and "Pinball Wizard" also take on colossal dimensions in this concert, and the closing track, "We're Not Gonna Take It," is immense. You can even hear Pete switching pickups here, haha. It's still a tremendous version, but Roger starts to sound tired and barely reaches the high notes towards the end of Tommy.
In short, without diminishing the live version of Tommy, disc 1 is the one that became immortal. If you can get the 14-track version, that's fine. Disc 2, with Tommy live, is also magnificent, but the sound wasn't as well cleaned up (it wasn't the same remastering, and it shows), and due to the Rock Opera structure, they don't make major changes to the songs like on disc 1. Perhaps more power, but towards the end they start to sound more tired, especially Daltrey.
In any case, and in any of its editions, Live at Leeds didn't become a legendary album for nothing. The execution and power are otherworldly. The sound is relatively clean, and personally, I love that the bass is so prominent and not buried in the background like in many other concerts. The Who was a great band in the studio, but immortal live, where they let loose and gave their songs their true personality: a perfect blend of violence and elegance. Returning to the initial idea, I don't know if it's The Who's best live album. Considering the clarity of the sound, perhaps it is, but they themselves acknowledged that it wasn't their most brilliant performance. Nevertheless, Live at Leeds has gone down in history as the best live album ever recorded. Imagine the band on a great night! A must-have! Undoubtedly, in addition to the mythical aura that surrounds it. If you haven't heard Leeds, you haven't truly begun to hear rock.
By Corvan
Jul/13/2012
