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Bottom line: I have my caveats with Live at Leeds, as mentioned in the beginning of this review. But in the end the Who’s sheer sonic bludgeoning does indeed make the live LP great and a must own. This isn’t an album; it’s a neutron bomb of hard rock, as produced by what may well be rock’s greatest band. Even “My Generation” works because it’s not a case of noodling for noodling’s sake, as bands like the Grateful Dead and the Allman Brothers specialized in, but a series of bombs going off, so that you needn’t nod out during the usual series of dull instrumental interludes. In other words the Who was never a jam band, and I haven’t heard a seventies LP so unremittingly barbaric since, well, ever. Between Townshend’s guitar, Entwistle’s bass, Moon’s drums, and Daltrey’s vocals some synergistic effect occurs, causing my typically unerring critical faculties to short circuit. It’s a lesson in humility, it is, and while I won’t learn anything from it, I’m happy to add Live at Leeds to my list of favorite Who albums, “Summertime Blues” and all.
As for the closer, Magic Bus, it opens with Moonie s famous stick work and Townshend s syncopated guitar riff, at which point Townshend sings about the magic bus and the backing vocals follow him until he screams and repeats stubbornly, I want it, I want it, I want it. I can t remember where it was recorded off the top of my head, but it is actually pretty bad, in fact I found it hard to believe that they released it at all.
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Thread: Collecting The Who Live Recordings
I feel that I should start this thread saying that I do own all of The Who's studio albums and a few live recordings, already. I see that they have released several live albums over the years. Would anyone be interested in giving me advice which are the better ones? I see that a lot of them are just a shuffle of the same songs. Any advice? Thanks in advance.07-10-2017 #2 Member Join Date Feb 2013 Location Philadelphia, PA Posts 351
Live At Leeds. The longer single disc version from 1995, which opens with Heaven and Hell.07-10-2017 #3 Member since March 2004 Join Date Oct 2012 Location Ottawa, Ontario, Canada Posts 8,576 Originally Posted by chescorph
Live At Leeds. The longer single disc version from 1995, which opens with Heaven and Hell.
There, you're done!
I was going to post the exact same thing. What a amazing album. 07-10-2017 #4 Member Join Date Nov 2012 Location Kalamazoo Michigan Posts 8,842Live At Leads: This one is essential.
Who’s Last: This one was recorded on their farewell tour after “It’s Hard” came out. It is just ok. Kenny Jones on drums. Not great, not terrible.
Join Together: A lot of people seem to hate this one, but I have always liked it. It was the version of The Who that had Pete Townshend mainly playing acoustic guitar due to tinnitus problems and the band was augmented by backup singers, extra musicians and a horn section. The first disc is “Tommy” live and the second disc a “Best Of” set. I seem to like this one a lot more than most people.
Endless Wire Bonus Live Album: This one came with the edition of Endless Wire that I have. I can’t remember where it was recorded off the top of my head, but it is actually pretty bad, in fact I found it hard to believe that they released it at all.
07-11-2017 #5 Member Join Date Nov 2012 Posts 7,928 Originally Posted by SteveSlyLive albums I own:
Who�s Last: This one was recorded on their farewell tour after �It�s Hard� came out. It is just ok. Kenny Jones on drums. Not great, not terrible.
I'd agree with this assessment. One of the big problems is the chosen material. There's not a single song from either Face Dances or It's Hard, even though they played The Quiet One and about half of It's Hard every night of the tour. And they also left most of the more interesting numbers that were played on that tour, such as Tattoo, Sister Disco, I Am One, Punk Meets The Godfather, 5:15, Drowned and Naked Eye.
Given the fact that the album was released Stateside by MCA (who hadn't released any new Who material since Who Are You), I'm guessing this must have been some sort of contractual obligation. That might also be why Who Are You is the most recent song on the record. The other omissions were probably because somebody decided this should be a "greatest hits live" thing, rather than any attempt to portray what the band actually played on that tour. Hence they come off as a really bad nostalgia act (kinda like what some bands do now, actually, ie ignoring their most recent material in favor of playing "the hits" from decades ago).
This is one example where i feel compelled to play "armchair record producer". Given that Substitute, My Generation and Magic Bus had all been on Live At Leeds, they should have been left off this album. I'd have opened the album with I Can't Explain, put Sister Disco somewhere on side one, and stuck Naked Eye after Doctor Jimmy.
Actually, come to think of it, if I was really in charge of this project, I would have made it a triple LP, so as to be able to include all the Quadrophenia songs, Tattoo, and I'd have bent over whatever table one needed to bend over to allow the inclusion of The Quiet One, Eminence Front, It's Hard, and Dangerous (assuming that's actually the reason why those songs aren't on the album).
As it stands, the best thing about Who's Last is Doctor Jimmy and the photo montages on the inner sleeves, with all of those cool photos with Townshend playing his custom Telecaster copies and Entwistle with one of his Alembic basses. Yeah, I care that much about cool looking guitars!
OH yeah, and the version of Won't Get Fooled Again is kinda cool, as it has this coda section that I think was only ever played on this tour. The usually ending of the song turns into a false ending, with the band riffing for another minute or two. That's kinda nice to have.
Join Together: A lot of people seem to hate this one, but I have always liked it. It was the version of The Who that had Pete Townshend mainly playing acoustic guitar due to tinnitus problems and the band was augmented by backup singers, extra musicians and a horn section. The first disc is �Tommy� live and the second disc a �Best Of� set. I seem to like this one a lot more than most people.
I saw them on this tour, and have a couple different recordings from it, though not this particular album (which as I recall was packaged as a boxset, even though it's just two discs). The problem here is they didn't sound like The Who on this tour. They had the horn section playing stuff that sounded like Tower Of Power charts during songs that never had horns before, the auxiliary guitarist (Steve Bolton was his name) didn't play anything like Townshend, so anytime he played a solo (which was a little more often than he should have) it just sounded like a guy failing his audition for a tribute band.
And on video, at least, the backup singers are annoying, doing these sort of "show band" dance moves during the uptempo songs. And don't even get me started on that bass tone Entwistle had. At least in '82 The Ox still had a killer bass tone (though I remember reading he was upset that they "overcompensated" when they remixed Who's Last, because apparently on the original mix the bass was too loud on side one, and since he couldn't be present at the second mixing session, apparently he wasn't loud enough).
And the band sounds way, way, way too over rehearsed. You don't have that sense of spontaneity, the feeling that at any given second, this whole thing could go sideways, the way you had during the Moon years.
About Pete playing acoustic, I don't think that had anything to do with his hearing problems. He actually did play electric guitar on this tour, maybe not as much as acoustic, but he had an electric guitar rig, as detailed in both Guitar Player and Guitar World at the time. He used a Stratocaster that he plugged into a Mesa/Boogie amp, which he then ran direct into the sound board, so that he wouldn't be blasting his ears with the big Hi-Watt stacks he had used on previous tours. Hence, when he did play electric he had this sickly, anemic guitar tone. I think the real reason he was using acoustic so much on that tour (which I read, varied from night to night, depending on his mood or whatever) was because he was trying to escape the image he had created for himself during the 60's and 70's, ie "Pete Townshend, gravity defying guitar god". I think from the early 80's onward, he wanted to be "Pete Townshend, sensitive singer/songwriter" or maybe even "Peter Townshend, musical artiste" or something, and he felt The Who, and in particular his old image, was holding him back. Or something
Come to think of it, he couldn't have been that much of an "artiste" if he's letting lame ass TV shows use his songs as theme music and any advertiser paying top dollar use them as jingles. So who knows what's going through his mind, in terms of what kind of performer he is. (shrug)
I'm gonna throw my lot in for some of the DVD's that are out there:
30 Years Of Maximum R&B: a great "greatest hits" collection spanning the band's career from the late 60's up through 1989. Lots of cool footage here, and there's also some interesting interview bits (despite some "creative" editing decisions).
LIve From Toronto: this is basically the old Who Rocks America home video release from 83, which was basically most of the last show of the 82 tour, at Maple Leaf Garden. The DVD is still missing both Behind Blue Eyes and Doctor Jimmy, but the rest of the show seems to be intact, and it gives a much better impression of the 82 tour than Who's Last. The only downer is that butt ugly gold Schecter Telecaster (apparently the prototype for their subsequent Saturn model) that Pete plays through most of this show. But he sounds good and so does the rest of the band. Daltrey reportedly once opined that he wished the tour had ended the night before, because he felt they played better during that show than this one, but I still think this is a good set. And it too has that extended coda version of Won't Get Fooled Again. I'd say the versions of Naked Eye, Sister Disco, Dangerous, Eminence Front, and It's Hard are all great too (and you also get the rare opportunity to see Roger Daltrey play guitar).
Live In Houston: from the The Who By Numbers tour, in 75 or 76. Looks to be footage taken from a video screen feed. Not the best visual representation, but hey, ti's from the Moon era, though it's effectively a "greatest hits" show due to the chosen setlist.
The Kids Are Alright: Jeff Stein's classic career retrospective documentary from 1978, completed just weeks before Moon went home. If you've never seen this, I don't know what to say. This is just an awesome montage of footage, with lots of really cool live footage, including, for many years, the only available footage from The Rolling Stones Rock & Roll Circus (which was reportedly found in Stones pianist Ian Stewart's barn).
I don't think it's ever been issued on DVD (and probably never will be, due to the licensing nightmare it would almost certainly entail), but if you can ever find the Concerts For The People Of Kampuchea album or video, that's worth checkign out. Both were compiled from three nights of shows in December of 79, at the Hammersmith Odeon. The three headlining bands were Queen, The Who, and Paul McCartney and Wings. The rest of the groups performing each night were mostly punk and new wave bands, includign Ian Dury & The Blockheads, The Clash, The Pretenders, Elvis Costello & The Attractions, Rockpile (check out their awesome version of Little Sister with some bloke called Robert Plant guesting on lead vocals) and I forget who else.
Side one of the album is given over to The Who (they also have three songs in the film), and again, I think the version of SIster Disco here is awesome (actually, that's the first Who song I remember hearing), though the version of See Me Feel Me features Pete Townshend demonstrating how not to play a guitar solo (he sounds like he forgets what key he's in, how that managed to be released I'll never understand). The album closing Rockestra performance (several songs from all star group led by Paul McCartney, including Townshend, members of Led Zeppelin, The Pretenders, Rockpile, Ronnie Lane, Morris Pert, and a few others) is also pretty awesome. I think that was the first version of Let It Be I ever herad, and I always dug Rockestra Theme, too.
I know there's a couple others out there that I haven't seen, so I won't comment on them.
The first is the LP’s inclusion of “Summertime Blues,” a song that has always given me hives and put me off my dinner of Hormel’s Chili on hot dogs, which is the impoverished rock critic’s version of pan-fried foie gras with spiced citrus purée. The second is that Live at Leeds suffers—if only in one notable case—from that early seventies affliction, song bloat. You know what I’m talking about: live albums where the bands stretch their songs to extraordinary lengths, in some cases obscene two-sided lengths, forcing the stoned listener to stand up, stagger to the stereo in a Tuinal haze, and turn the damned record over to hear the second side. Finally, there was the issue of song selection: six tunes, three of them covers, with none of the covers being particular favorites of mine. And I’ve never been a big fan of one of the originals, “Magic Bus,” either.
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