THE WHO Live At Leeds 1970 UK TRACK 1st PRESS - BLACK PRINT - 12 INSERTS

THE WHO
Live At Leeds

UK TRACK (2406 001 SUPER) FIRST PRESSING (June 1970)
SEEN A FEW SPINS BUT DELIVERS SENSATIONAL SOUND

FIRST BLACK PRINT SLEEVE
COMPLETE WITH ALL 12 INSERTS
MATRIX: 2406001 A//1 1 2 3 / 2406001 B//1 1 1 2
THE RECORD IS HOUSED A THIN CARD GATEFOLD SLEEVE STAPLED TO CREATE TWO POCKETS FOR THE RECORD AND 12 INSERTS, DESIGNED BY 'Graphreaks' AND "Printed and made by MacNeill Press Ltd., London, S.E.1" WITH BLACK PRINT BOTH OUTSIDE AND INSIDE
COMPLETE WITH THE ORIGINAL POLY-LINED INNER SLEEVE DATE CODED '0270' (February 1970)

INSERTS:
1) A 1964 Letter Written By EMI Records' John Burgess To Kit Lambert, Turning Down The High Numbers
2) A Black & White 1964 Publicity Photo Of The High Numbers
3) A Detailed 1964 Accounts Sheet For The High Numbers
4) A Large 1964, Black & White Poster Of The Who's "Maximum R&B" Residency At London's Marquee Club
5) A 1st December1964 Statement Of Payment From The Marquee Club
6) Pete Townshend's 1965 Typewritten Lyrics For "My Generation," With His Handwritten Notations
7) A 1965 Letter From 'King's Agency (Variety) Ltd.' Cancelling A Gig in Swindon, Due To The Who's Bad Behaviour
8) A 1965 'New Action Limited' Schedule Of Gigs With The Who's Pre-Agreed Fees
9) A March 1965, 'Jennings Music' Legal' Notice Before Proceedings', Demanding The Who Return A Vox Phantom Guitar And Case & A Vox Piano bass
10) A 1967 Invoice /Delivery Sheet From 'Brock's Fireworks' For A Gross of Y2 Smoke Generators
11) A 1969 Contract From 'Premier Talent Associates' For The Who To Perform At The 'Woodstock Festival'
12) 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.

And fans who bought the original LP got a package of extra treats for their money. The original album's plain brown sleeve was, itself, a nod and nudge to the bootleggers, resembling the packaging of such early underground LP classics as the Bob Dylan Great White Wonder set and the Rolling Stones concert bootleg Liver Than You'll Ever Be, from the latter group's 1969 tour -- and it was a sign of just how far the Who had come in just two years that they could possibly (and correctly) equate interest in their work as being on a par with Dylan and the Stones. But Live at Leeds' jacket was a foldout sleeve with a pocket that contained a package of memorabilia associated with the band, including a really cool poster, copies of early contracts, etc. It was, along with Tommy, the first truly good job of packaging for this band ever to come from Track Records; the label even chose to forgo its usual black/silver label, carrying the bootleg pose to the plain label and handwritten song titles, and the note about not correcting the clicks and pops. At the time, you just bought this as a fan, but looking back 30 or 40 years on, those now seem to be quietly heady days for the band (and for fans who had supported them for years), finally seeing the music world and millions of listeners catch up.

Side 1:
Young Man (4:45)
Substitute (2:50)
Summertime Blues (3:22)
Shakin' All Over (4:15)
Side 2:
My Generation (14:27)
Magic Bus (7:30)

LABELS: VERY GOOD
Light/moderate spindle traces and some grubbiness to the white - nothing major (please see close-up photographs)
VINYL Visual: EXCELLENT
Some marks/hairlines are visible especially under bright light but none of these have any significant effect on the sound
VINYL Audio: EXCELLENT
Sounds sensational - no scratches, just a little low-level surface and a few ticks noted on some of the quietest bits - nothing really - a very, very strong EXCELLENT
SLEEVE: VERY GOOD
No major structural damage to the delicate cover just some grubbiness and rub to the spine (please see close-up photographs) - still a fine example
INSERTS: EXCELLENT
All 12 inserts are clean, unmarked and undamaged with little evidence of ever actually being handled - except for the Pete Townshend photo which has been on a wall (but not the poster strangely enough)

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 804 (GS 7.0.8 (804))