THE WHO LIVE AT LEEDS ORIGINAL UK PRESSING EX

	£		70
	$		93

THE WHO----LIVE AT LEEDS!

ORINIGAL UK PRESSING

ON TRACK RECORDS LTD LABEL
(Polydor Records Ltd)

CATALOG No 2406 001

MATRIX No

SIDE A------A#3

SIDE B------B#3

MOTHER STAMPES

With Bilbo etched on runoff groove

THIS IS AN ALWSOME! PIECE OF VINYL SOUNDS SUPERB SHOULD BE PLAYED VERY LOUD!

The Album I have listed today has been well looked after. This is in EX- condition, this really is a superb piece of vinyl that plays absolutely great right through. Some isolated crackles but very minor. No hairline marks at all that I can find. Very minor warp is evident but this doesn't affect play.

Cover is of a gatefold foldout plain brown cardboard type and is in beautiful condition with only very very minimal wear to the top front edge but this is being very critical.

Album comes complete with 12 inserts in total including the poster! See photos (12 count includes one "doubler" of the court order for some reason, I don't know why). The inserts are in NM conditions, as if they were issued yesterday with only the "new action Ltd" shett showing any signs of wear, again, very minimal

Live at Leeds (1970) is The Who's first live album, and is their only live album that was released while the band was still recording and performing regularly. In 2003, the album was ranked number 170 on Rolling Stone magazine's list of the 500 greatest albums of all time

It is thought by many to be the best live rock album of all time and is included in the book 1001 Albums You Must Hear Before You Die.  It is also included in Q Magazine's list of Loudest Albums of All Time.

After releasing Tommy in mid-1969 The Who went on an extended world tour to promote it, and returned to England at year's end with a desire to release a live album from the tour. However, they balked at the prospect of listening to approximately 80 hours of accumulated recordings to decide which would make the best album; it was rumoured that Townshend burned the tapes (to prevent bootlegging), a rumour squashed later by Daltrey in an interview.

Two shows were consequently scheduled, one at the University of Leeds and the other in Hull, for the expressed purpose of recording and releasing a live album. The shows were performed on February 14 (Leeds) and 15th (Hull) 1970, but technical problems with the recordings from the Hull gig — the bass guitar had not been recorded — made it all the more necessary for the show from the 14th to be released as the album. Regardless of great approval of the Leeds gig by many fans and critics, the band members believed the recordings at Hull sounded better, as the acoustics projected better in the more spacious.

Perhaps because of these circumstances, or perhaps because The Who were hyped up from their international success with Tommy, or perhaps simply because The Who were in their prime at the time of recording, Live At Leeds turned out to be a wildly popular recording.

The album cover looks like the simple cover of a bootleg LP of the era: it is of plain brown cardboard with "The Who Live At Leeds" printed on it in plain blue block letters as if stamped on with ink. The original LP's cover opened out, gatefold-style, and had a pocket on either side of the interior, with the record in a paper sleeve on one side and facsimiles of various memorabilia on the other, including a photo of the band from the My GenerationTommy, a receipt for smoke bombs, and the early black "Maximum R&B" poster showing Pete Townshend windmilling his Rickenbacker. photoshoot, handwritten lyrics to the "Listening to You" chorus from

The label was handwritten (apparently in Townshend's hand), and included instructions to the engineers not to attempt to remove any crackling noise. This is probably a reference to the clicking and popping on the pre-remastered version (notably in "Shakin All Over") which was from John Entwistle's bass cable. Modern digital remastering techniques allowed this to be removed, and also allowed some of the worst affected tracks from the gig to be used also

Live at Leeds became a critical smash, with The New York Times acclaiming it as "the best live rock album ever made." Its reputation as such continues to this day with Q magazine recently putting it at the top of its list of the greatest live albums of all time.

The album's reputation has become so lofty that the venue at which it was recorded, the University of Leeds refectory, has been named a national landmark in the UK, commemorated with a blue plaque.

• Roger Daltrey – lead vocals, harmonica, tambourine
• Pete Townshend – guitar, vocals
• John Entwistle – bass guitar, vocals
• Keith Moon – drums, vocals

Original 1970 release

The original LP contained six tracks.

Side 1:

1. "Young Man Blues" (Mose Allison) – 5:51
2. "Substitute" (Pete Townshend) – 2:05
3. "Summertime Blues" (Jerry Capehart, Eddie Cochran) – 3:22
4. "Shakin' All Over" (Johnny Kidd) – 4:15

Side 2:

1. "My Generation" (Pete Townshend) – 14:27
2. "Magic Bus" (Pete Townshend) – 7:30

All items graded conservatively according to Record Collectors Grading System Record Collectors Grading system

Mint (M) The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet. booklet or poster are in perfect condiition. Records marked as Sealed or Unplayed should be Mint.

Excellent (EX) The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

Very Good (VG) The record has obviously been played many times, but displayes no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any moajor defects is acceptable

Good (G) Te record has been played so much that the sound quality has notceably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc

Fair (F) The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and/or defaced.

Poor (P) The record will not play properly due to scratched, bad surface noise, etc. The cover and contents will be badly damaged or partly missing Bad (B) The record is unplayable or might even be broken, and is only of use as a collection-filler

CD's and CASSETTES As a general rule CD's and Cassettes either play perfectly - inwhich case they are in Mint condition - or they don't, in which case their value is minimal. Cassette tape is liable to deteriorate with age, even if it remains unplayed, so care should be taken when buying old tapes. CD's are difficult to grade visually; they can look perfect but actually be faulty, while in other cases they may appear damaged but still play perfectly. Cassette and CD inlays and booklets should be graded in the same way as record covers and sleeves. In general, the plastic containers for cassettes and CDs can easily be replaces if they are broken or scratched, but card covers and digipaks are subject to the same wear as record sleeves.