Domenico De Simone
at Dec 5, 2013 11:03:52 PM
live rock lp
di tutti i tempi
The Who - Live at Leeds (1970)
Side one :
1. Young Man Blues - 0:00
2. Substitute - 4:52
3. Summertime Blues - 7:14
4. Shakin' All Over - 10:42
Side two :
1. My Generation - 15:10
2. Magic Bus - 29:42
Roger Daltrey – lead vocals, harmonica, tambourine
Pete Townshend – guitar, vocals
John Entwistle – bass guitar, vocals
Keith Moon – drums
1."Young Man Blues" (Mose Allison) 4:45
2."Substitute" (Pete Townshend) 2:04
3."Summertime Blues" (Jerry Capehart and Eddie Cochran) 3:22
4."Shakin' All Over" (Johnny Kidd) 4:15
No. Title Length
1."My Generation" (Pete Townshend) 14:27
2."Magic Bus" (Pete Townshend) 7:30
Live at Leeds is The Who's first live album, and is the only live album that was released while the group were still recording and performing regularly. Initially released in the United States on 16 May 1970, by Decca and MCA and the United Kingdom on 23 May 1970, by Track and Polydor, the album has been reissued on several occasions and in several different formats. As of 2005, the album is ranked number 170 on Rolling Stone magazine's list of the 500 greatest albums of all time.
It is often cited as 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.
Live at Leeds is the first live album by English rock band the Who. It was the only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. Initially released in the United States on 16 May 1970, by Decca and MCA and the United Kingdom on 23 May 1970, by Track and Polydor, the album has been reissued on several occasions and in several different formats. Since its initial reception, Live at Leeds has been cited by several music critics as the best live rock recording of all time.
Live at Leeds
Live album by The Who
Released 16 May 1970
Recorded 14 February 1970; University Refectory, University of Leeds, Leeds
Genre Hard rock
Label Decca, MCA
Producer Jon Astley, Kit Lambert, The Who
Allmusic 5/5 stars
Robert Christgau B
Entertainment Weekly A+
Mojo 5/5 stars
Q 4/5 stars
The Rolling Stone Album Guide 5/5 stars
Uncut 4/5 stars
By the end of the 1960s, particularly after releasing Tommy in May 1969, the Who had become one of the best live rock acts in the world. According to biographer Chris Charlesworth, "a sixth sense seemed to take over", leading them to "a kind of rock nirvana that most bands can only dream about".
Realising that their live show stood in equal importance to the rock-opera format of Tommy, the group returned to England at the end of 1969 with a desire to release a live album from concerts recorded earlier in the US. However, Townshend balked at the prospect of listening to all the accumulated recordings to decide which would make the best album, and, according to Charlesworth, instructed sound engineer Bob Pridden to burn the tapes. Roger Daltrey cast doubt on this rumour in a 2006 BBC interview, but it was supported by Townshend during an interview (broadcast by the radio station Planet Rock on 11 February 2010) celebrating the 40th anniversary of the original recording.Townshend further supported this claim in his book Who I Am.
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 Leeds concert was booked and arranged by Simon Brogan who later became an assistant manager on tour with Jethro Tull. The shows were performed on 14 and 15 February 1970 at Leeds and Hull, respectively, but technical problems with the recordings from the Hull gig — the bass guitar had not been recorded on some of the songs — made it all the more necessary for the show from the 14th to be released as the album.
The rubber-stamped cover of the bootleg Live'r Than You'll Ever Be inspired the cover
The plain album cover looks like the cover of a bootleg LP of the era and was modelled after the Rolling Stones' Live'r Than You'll Ever Be: it is of plain brown cardboard with "The Who Live At Leeds" printed on it in plain blue or red block letters as if stamped on with ink (on the original first English pressing of 300, this stamp is black). The original 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 12 facsimiles of various memorabilia on the other, including a photo of the band from the My Generation photoshoot, handwritten lyrics to the "Listening to You" chorus from Tommy, the typewritten lyrics to "My Generation", with hand written notes, a receipt for smoke bombs, a rejection letter from EMI, and the early black "Maximum R&B" poster showing Pete Townshend wind-milling his Rickenbacker. The first 500 copies included a copy of the contract for the Who to play at the Woodstock Festival.
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.
In a contemporary review for The New York Times, music critic Nik Cohn praised Live at Leeds as "the definitive hard-rock holocaust" and "the best live rock album ever made". Jonathan Eisen of Circus magazine felt that it flows better than Tommy and that not since that album has there been one "quite so incredibly heavy, so inspired with the kind of kinetic energy that the Who have managed to harness" here. Greil Marcus, writing in Rolling Stone, was less enthusiastic and said that, while Townshend's packaging for the album is "a tour-de-force of the rock and roll imagination", the music is dated and uneventful. He felt that Live at Leeds functions simply as a document of "the formal commercial end of the first great stage of [the Who's] great career."
In a 1981 review, Robert Christgau felt that, although side one is valuable for the live covers and "Substitute", the "uncool-at-any-length" "Magic Bus" and "My Generation" are not an improvement over their "raw" album versions. In a retrospective review for Allmusic, Bruce Eder felt that the album was seen as a model of excellence for live rock and roll during the 1970s; that it was the Who's best up to that point, and that there was "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." In a review of its 1995 CD reissue, Tom Sinclair of Entertainment Weekly asserted that it shows why the Who were important: "Few bands ever moved a mountain of sound around with this much dexterity and power." Mojo magazine wrote that "the future for rock as it became, in all its pomp and circumstance, began right here." Steven Hyden, writing for PopMatters, said that it is "not only the best live rock ‘n’ roll album ever, but the best rock album period." Roy Carr of Classic Rock, reviewing the 2010 Super Deluxe Edition of the album, remarked how the new Live at Hull section "is noticeably more tight, more focused and even more aggressive" than the original recording, concluding that "we now have the two greatest live rock albums...ever."
Live at Leeds has been cited as the best live rock recording of all time by The Daily Telegraph, The Independent, the BBC, Q magazine, and Rolling Stone. In 2003, it was ranked number 170 on Rolling Stone's list of the 500 greatest albums of all time. The venue at which it was recorded, the University Refectory, was named a national landmark, commemorated with a blue plaque. On 17th June, 2006, over 36 years after the original concert, the Who returned to perform at the Refectory, at a gig organised by Andy Kershaw. Kershaw stated the gig was "among the most magnificent I have ever seen". A Rolling Stone readers' poll in 2012 ranked it the best live album of all time.
The original LP was released on 16 May 1970 in stereophonic format. The album was reissued on Compact Disc in 1985 by MCA in the US, and in 1987 by Polydor in Germany.
In 1995, the album was reissued as a remixed CD including more songs than the original vinyl edition, as well as song introductions and other banter that had been edited out of the original release. For the remix, new vocal overdubs from Daltrey, Townshend and Entwistle were recorded to address occasional flaws in the original tapes or performances.
"Fortune Teller" and "Young Man Blues" are R&B tunes that were a standard part of the Who's stage repertoire at the time. "Shakin' All Over" is a cover of a hit by pioneering early 1960s British rocker Johnny Kidd and "Summertime Blues" is a cover of an Eddie Cochran song.
"My Generation" is drawn out into an almost sixteen minute medley including "See Me, Feel Me" / "Listening To You", "Underture", the instrumental riff from the end of "Naked Eye", "The Seeker," and a number of other mostly unfamiliar themes. "Magic Bus" is drawn out to seven and a half minutes (9:42 on the un-edited recording). On the originally released version, there is an 8 second segment near the beginning of "Magic Bus" (leading into the lyric I don't care how much I pay) where the music is played backwards. The 1995 and 2001 CD mixes edit this section differently and do not have the backward portion. The backwards portion was retained on "Greatest Hits Live".
A similar concert from later the same year was released in 1996 as Live at the Isle of Wight Festival 1970, along with a film of the same event titled Listening to You: The Who at the Isle of Wight Festival.
In 2001, the album was released again as a part of the Universal Deluxe Edition series. The Deluxe Edition includes more chat between the songs, and the entirety of the band's Tommy set as performed at Leeds. Again, new overdubs from the vocalists were employed at select points.
An excerpt from this recording of "We're Not Gonna Take It"—titled "See Me Feel Me/Listening to You"—was also previously released on Thirty Years Of Maximum R&B.
During the concert, "Summertime Blues", "Shakin' All Over", "My Generation", and "Magic Bus" were played after the Tommy set, but for easier listening the Deluxe Edition devoted the entire second disc to the Tommy set, and moved "My Generation" and "Magic Bus" out of order to the end of the first disc. During 1970, the regular Who concert set was set up this way, but an album with a 1970 concert in true order wasn't available until 1996 when the official Live at the Isle of Wight Festival 1970 album was released.
In October 2010, Universal Music announced the impending release of a 40th Anniversary edition of the album which would not only contain the full Leeds show from 14 February 1970 but also the band's complete performance from Hull which was recorded the following evening as well as a heavyweight vinyl reproduction of the original six-track album, memorabilia and a replica 7 Inch Single of 'Summertime Blues/ Heaven & Hell'. This performance had previously been unavailable because of a problem with the recording of John Entwistle's bass guitar on the first six songs. To fix this problem his performance at the Leeds show was overdubbed over these tracks of the Hull performance using digital technology.
Recensione di Francesco Vitale (truemetal) (5 stars)
Quando si parla di Rock, quello autentico, datato '60 - '70, loro non possono essere non nominati. Si escluderebbe un gruppo cardine di tutta la scena Rock internazionale di sempre. Per rendere omaggio ai The Who, ho scelto Live At Leeds, che oltre ad essere un live a dir poco leggendario, è anche decisamente la migliore espressione del gruppo, quella del periodo migliore, quando le alchimie all'interno della formazione erano perfette. Lo show inoltre ha una componente d'improvvisazione impressionante, sfociando spesso in selvagge ed infuocate jam. La storia vuole che i The Who tornati dal tour Americano del 1969, avessero a disposiozione numerose registrazioni on-tape dei loro show per poi poter realizzare un live. Townshend non riuscì a sentire tutte le registrazioni e chiese così al tecnico del suono Bobby Pridden di fare un gran bel falò di tutte le cassette. Chiamò il loro manager e chiese di fissare due show per il gruppo nella loro Inghilterra: uno alla Leeds University e l'altro alla Hull City Hall, ma le cassette di quest'ultimo furono danneggiate. E così il 14 Febbraio del 1970 i The Who si trovarono a tenere una delle più grandi lezioni di Heavy Rock della storia alla Leeds University. La prima edizione dell'album conteneva solo 6 tracce, che poi nelle ristampe diventarono in tutto 14. Esiste anche una versione Deluxe in doppio cd, ma per questa recensione faccio riferimento alla Extended Versione della Polydor del 1995. Di date, fatti, numeri, nomi ne abbiamo già detti anche troppi, ce ne sarebebro altri, ma ora bisogna parlare della musica, perchè Live At Leeds ne è un monumento.
L'opener Heaven and Hell, è sicuramente la più bella canzone di quelle scritte dal bassista John Entwistle. Infatti il songwriting è quasi sempre stato compito di Pete. La song ha riff taglienti, è aggressiva e ha come motore ritmico il perenne drum solo di Keith Moon, instancabile dietro ai suoi tamburi. Le fantasiose melodie che Townshend riesce a ritagliare, con la sua chitarra, ne fanno una canzone dall'attitudine sanguigna. Nella versione originale in studio c'era anche un certo Jimmy Page a suonare la chitarra. I Can't Explain, parte subito, non concedendo molto tempo per gli applausi. Il primo singolo di sempre dei The Who, ricca di carica melodica, possiamo dire che è stata sempre parte dei concerti dei The Who. Dopo i 2 minuti di questa song Roger Daltrey spende le prime parole, d'altronde è il suo compito da front-man a relegarlo a questo contatto con il pubblico. Parte con gli arpeggi della chitarra di Pete la terza canzone, una celebre cover di Fortune Teller, originariamente di Benny Spellman, coverizzata anche dai Rolling Stones. Si trasforma in un turbinio di schitarrate che si placano solo con l'attacco immediato della song successiva, Tattoo. Molto più distesa degli episodi precedenti, grazie anche alle trame più dilatate di chitarra e batteria; la canzone parla di due fratelli che decidono appunto di tatuarsi, per dimostrare a tutti di essere veri uomini, contro il volere dei genitori. Ancora una pausa, giusto per permettere a Roger di presentare la successiva canzone, ancora una cover questa volta di Mose Allison, Young Man Blues. E qui quasi certamente raggiungiamo uno dei punti più alti del concerto. Infatti la rilettura dei The Who di questa canzone blues, è spezzatissima e selvaggia, gli strumenti attaccano la voce di Roger con sincopate scariche elettriche. Grandissimi il solo di Townshend e la velocità con cui John tocca le corde del suo basso. Ora Daltrey si diletta a presentare le tre canzoni successive: Substitute, Happy Jack ed I'm a Boy, che verranno ancora una volta eseguite senza pause tra l'una e l'altra. Roger diverte il pubblico anche con battute, ed i molti presenti partecipano e si lasciano andare a fragorose risate. Substitute che ha detta di molti è il miglior singolo mai realizzato dai The Who, è un'altra delle canzoni probabilmente suonate ad ogni show dei The Who, grintosa e dal grande ritornello melodico. Su tempi più sfiziosi parte Happy Jack, che poi esplode in tempi vorticosi con l'arrivo del ritornello, dove la batteria di Moon fa da collante con tutto il resto. I'm a Boy fu scritta da Pete come parte di un progetto più ampio chiamato Quads, dove in un futuro non molto lontano si sarebbe potuto scegliere il sesso dei propri figli. La famiglia protagonista della vicenda narrata dalla canzone, aveva chiesto quattro figlie femmine, ma ne riceve tre più un figlio maschio. E la canzone non è altro che il lamento del ragazzo per l'inaspettato errore. Ricorda un pò il genere "surf" dei Beach Boys ma i riff di chitarra sono completamente Who. La successiva e splendida A Quick One, While He's Away è una sorta di mini Rock-Opera, che originariamente era composta da sei movimenti ben precisi e differentemente strutturati. Questa versione diventa così un mix riuscitissimo di vari stili diversi dal rock, al pop, al country. La successiva Amazing Journey/Sparks è una selezione di due canzoni tratte dalla maestosa e celebre opera rock Tommy, probabilmente l'album più famoso del gruppo inglese. Qui vi sono solo i 7 minuti di questi due episodi, ma i The Who hanno suonato tutta l'opera live in numerosissimi concerti, e stiamo parlando di un'ora e 15 minuti di musica filata, una vera e propria maratona, decisamente non alla portata di tutti. A seguire ancora cover, la prima è Summertime Blues, di Eddie Cochran. Un pugno di accordi tipicamente rock'n'roll, ed ancora uno stile incofondibilmente Who. Altre canzoni di Cochran come My Way e C'mon Everybody, hanno fatto parte delle scalette dei The Who per anni. La seconda cover è Shakin' all Over, uno dei primissimi esempi di brit-rock. Infatti fu scritta dai The Pirates che con questo singolo scalorono la classifica inglese, giungendo fino al primo posto all'inizio degli anni '60. La song è un attacco frontale micidiale, assolutamente elettrico e straripante. L'inno del gruppo, la seguente My Generation, che in sede live raggiunge il quarto d'ora di durata, diventando ogni volta sempre diversa dalla versione della sera precedente. Tipico esempio di inno rock immortale, i cui versi più celebri recitano: "Spero di morire prima di diventare vecchio". A chiudere tutto c'è la coinvolgente Magic Bus. Keith e John non sono molto sotto i riflettori: per il primo infatti la canzone se ne va via quasi tutta di wooden block, per il secondo è costruita su un groove ritmico semplicissimo ed efficace, che però a John non piaceva suonare. Spazio quindi all'armonica di Roger e alle crescenti melodie della chitarra di Pete.
E per finire? Null'altro. Ascoltate Live At Leeds e lasciate che sia la musica a parlare.
Review by Bruce Eder (ALLMUSIC) (5 stars)
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 damn 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 careen 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 recognized 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 Decca Records; the label even chose to forgo the presence of its rainbow logo, 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.
The album was duly re-released on compact disc in its original six-track version early in the CD era. But the increasingly common practice of adding bonus tracks and going back to original source tapes eventually caught up with the Who. In the '90s, Live at Leeds was expanded twice, first as a superb 14-track single disc containing excerpts of their Tommy performance from that February 14, 1970, gig, along with all the non-Tommy music, and then in 2001 as a double-disc deluxe edition containing the entirety of the show. It's a treat to hear more (or all, depending on the edition) of this great performance, all in remastered sound, but there's something to be said for the original LP, which packed a lethal, lean punch quite unlike any other Who album. And what is equally amazing, hearing whatever form of the album one happens to have, is the nature of the performances -- one realizes, hearing them do "Substitute," not how much it sounds like the record (though it does), but rather how amazingly fully the Who of 1965-1966 captured their live sound in that record; neither the Beatles, for certain, nor even the Rolling Stones ever nailed their live sound quite so well on their studio sides.
The same is true, in the expanded version, of "Tattoo," "I Can't Explain," "Happy Jack," etc., so that hearing this album -- superb as it is in its own right as a self-contained musical entity -- only elevated the level of respect one felt for the band across its entire recorded history. And then there were those extended jams, moving from "My Generation" and "Magic Bus" into new and expansive territory, and showing that numbers like "Sparks" and "Amazing Journey" on Tommy had not been side-filling studio indulgences, but honest studio captures of the kind of playing that Townshend, Keith Moon, and John Entwistle had been doing for years. And this album, especially in its original LP form and in the single-CD expanded version, also showcased exactly how much Tommy, and a year of performing it on-stage, had improved Roger Daltrey's singing in intonation, control, and sheer power. It was the greatest Who album heard up to that time, and one of the best live albums ever done by anyone -- and ironically enough, was a stopgap release, to give the band time to finish its next project, the film Lifehouse. Even more ironically, the latter would never get completed, but in salvaging it the Who would create Who's Next, an album that came as close to matching Live at Leeds as any studio recording ever could.
Recensione di jack daniel's (DeBaser) (5 stars)
Sono convinto che un certo tipo di rock abbia avuto la sua era migliore fra la fine dei '60 e l'inizio dei '70. Se si pensa ai dischi usciti nel breve periodo che va dal '67 al '73 non si può che rimanere estasiati da tanta abbondanza e qualità. The Doors, Velvet Underground, Jimi Hendrix, Led Zeppelin, Rolling Stones, Pink Floyd, Stooges sono solo alcuni degli artisti che in quel breve periodo di tempo hanno pubblicato praticamente tutti i loro dischi migliori, o quasi. Ma oltre ai nomi citati, che già basterebbero a soddisfare anche i palati più esigenti, c'è anche quello degli Who, che dal 1967 (The Who Sell Out) al 1973 (Quadrophenia) hanno vissuto infatti il loro periodo più fecondo e importante, imponendosi al mondo come band di indubbio talento compositivo e spiccata creatività. Sono stati fra i pionieri dei concept album con opere complesse, emozionanti e maestose come "Tommy" e "Quadrophenia", hanno pubblicato album rock praticamente perfetti, come ad esempio lo splendido "Who's Next" nel quale quel genio di Pete Townshend riesce ad inserire i sintetizzatori nel suono della band, ma senza perdere un solo briciolo in carica rock, dando vita così ad un disco dal suono moderno, ma allo stesso tempo un vero classico. Ma se gli Who in studio erano speciali, gli Who dal vivo erano il no plus ultra delle live band, capaci di suonare del purissimo e potente rock senza troppi fronzoli, ma anche i pezzi più impegnativi sempre con classe, vigore e sicurezza. In quest'ottica il disco che meglio rappresenta gli Who come macchina da guerra on stage è il celeberrimo Live at Leeds.
Live at Leeds fu registrato il quattordici febbraio 1970 all'università di Leeds e pubblicato nel maggio dello stesso anno. Il set di allora prevedeva una serie di brani pescati dai primissimi lp e 45 giri, alcune cover rock'n'roll e la messa in scena quasi integrale del loro ultimo disco, l'opera rock Tommy, uscito l'anno precedente. La performance quella sera fu semplicemente straordinaria, impareggiabile, qualcosa di unico ed irripetibile. Per fortuna fu registrata (molto bene) e messa su disco, ma era il 1970 e gli album live non avevano ancora preso piede in maniera definitiva, non godevano della considerazione che invece si aveva per gli album in studio; soprattutto un doppio lp live era ancora considerato un azzardo (nonostante un precedente di grosso calibro come il "Live Dead" dei Grateful Dead), quindi all'epoca i discografici optarono per la soluzione più semplice e, per quei tempi, forse più sensata: un solo vinile, che però contenesse il vero cuore del concerto, un concentrato di Who live breve ma intenso. Fu così che un disco di soli trentasette minuti divenne ben presto uno dei più grandi classici degli album dal vivo. Solo sei pezzi, meno di un terzo dell'intero concerto, ma di una forza ed un impatto devastanti.
La cover "Young Man Blues" fa da apripista ed è un pezzo di puro rock blues pieno di sfuriate chitarristiche, scandito da ripetuti stop & go con un'alternanza tra la strofa cantata e il riff principale che anticipa quel che faranno i Led Zeppelin poco tempo dopo con "Black Dog". L'acustica della sala è favolosa, il suono è pieno, grosso, sembra di poter toccare con mano quelle vibrazioni: è il rock che si materializza, il rock che diventa tangibile, reale, prende forma, prende vita. Segue "Substitute", singolo del '66, alegro pezzo in puro stile beat, ma rinvigorito dal pesante lavoro di John Entwistle al basso: un basso duro, distorto, suonato col plettro credo, un basso che a tratti sembra una seconda chitarra. Altra celebre cover è "Summertime Blues" che, letteralmente stravolta, diventa un vero e proprio hard rock, con Keith Moon che pesta le pelli manco avesse quattro braccia e Pete Townshend che mulinella i suoi riff schiacciasassi. Cover, cover ed ancora cover, l'ultima è un omaggio ad uno dei primi pezzi inglesi di rock'n'roll: "Shackin' all Over" di Johnny Kid; qui è Roger Daltrey che fa la parte del leone offrendo una prova incredibile che lo incorona come uno dei migliori vocalist che il rock abbia mai conosciuto. Si conclude così il lato A, un quarto d'ora appena, ma un quarto d'ora immenso. Si gira il disco, si riappoggia la puntina e parte "My Generation": questa, signori, è la miglior My Generation di sempre, questa è una delle perfomance più incredibili catturate fra solchi vinilici. Spazza via tutto e tutti, potentissima, precisa, inappuntabile. Pete lascia a Entwistle l'assolo di basso e lo sorregge coi suoi riff; c'è da dire che una delle caratterstiche del live at leeds, ma direi degli Who in generale, era proprio questa, cioè che ogni strumento ed ogni componente aveva pari importanza e dignità nelle'economia del suono, così spesso era il basso che faceva gli assoli e le chitarra che teneva la ritmica e poi c'era Keith Moon che rinforzava i riff ed allo stesso tempo sorreggeva il tutto. Ma che mostro era Moon? A sentirlo suonare sembra in continuo assolo, ma contemporaneamente tiene il tempo: uno stile unico ed inimitabile. Questa performance di My Generation allungata fino a un quarto d'ora è un vero e proprio calderone infernale in cui trovano spazio anche svariate citazioni: da Tommy con "See Me Feel Me\Listen to You", ma anche da "The Seeker" ed il finale della splendida (e dico splendida) "Naked Eye", più una marea di altri riff, rullate e assoli da sfamare una generazione intera di rockettari. Sconvolgente, epica, maestosa, e se vi viene in mente qualche altro aggettivo qualificativo, superlativo, lodativo e adorativo, mettetecelo, cazzo, mettetecelo! La traccia finale del disco è una vera e propria corsa sul "Magic Bus", anche qui, il miglior Magic Bus di sempre, clamoroso e senza precedenti. Qui il bello è il dialogo fra Daltrey e Townshend, spesso e volentieri più che una seconda voce, ma anche l'interazione fra il basso di Entwistle e la Gibson SG Special di Pete Townshend. Eggià una Gibson diavoletto special, ma non la special moderna, una degli anni '60, con i single coil P90, le cosiddette saponette. Perchè tutti questi dettagli sulla chitarra? Perchè il suono di Live at Leeds è peculiare, perchè il lavoro che fa Townshend è pazzesco, semplice e geniale allo stesso tempo. Servendosi dei controlli volume separati per i due pickup, Pete riusciva a passare da un suono più leggero, quasi acustico, ad uno più distorto e potente semplicemente spostando la levetta del selettore pickup; un pedale univox super fuzz era invece usato per incrementare ancor di più la distorsione durante gli assoli, e poi c'era un effetto eco usato quasi a simulare la presenza di due chitarre sul palco. Bene, in Magic Bus Pete usa queste tecniche, e lo fa con una padronanza che pare si stia pettinando allo specchio la domenica mattina appena alzato a mezzogiorno. Quando poi si aggiunge anche la batteria e l'armonica suonata da Daltrey sembra che sul palco vi sia un'intera orchestra, ma un'orchestra che suona all'unisono, con tutti gli strumenti che suonano insieme quasi come se fossero l'uno dipendente dall'altro: una coesione ed un affiatamento che lascia sbalorditi. Il finale è un vero frastuono di schitarrate selvagge che manco gli Stooges.
Meno di quaranta minuti, ma un vero e proprio pugno nello stomaco, un purissimo distillato di quella cosa che qualcuno ha chiamato Rock e che a me piace invece chiamare Rock. Si narra o meglio, ho letto in qualche sito, che vi sarebbero alcune sovraincisioni, insomma un po' di overdub su alcune parti vocali, sapete che vi dico? Chissenefrega. Gli Who dal vivo in quegli anni erano dei grandi, e se anche vi fosse qualche sovraincisione questa non cambia di certo la sostanza delle cose, perché anche ascoltando altri live del periodo, come quello all'isola di Wight, si capisce quanto questi sul palco fossero senza rivali o quasi.
Il vinile originale fu impacchettato in una cover da bootleg contenente all'interno diverse sorprese, gadget e memorabilia, fra cui dodici iserti e poster Maximum R&B. Questo il disco storico. Nel tempo però l'album è "cresciuto" grazie al supporto digitale. Nel '95 la prima abbondante aggiunta di brani dallo stesso concerto. Nel 2001 finalmente il concerto completo (a parte qualche edit), con la Deluxe Edition in doppio cd e tutto Tommy sul secondo disco (questo per facilitare l'ascolto, evitando così di spaccare Tommy in due tronconi). La versione del concept qui suonata è molto più grezza dell'originale, chitarra, basso e batteria, senza orpelli orchestrali, semplice, diretto, immediato, non oso dire meglio dell'album storico perchè mancherei di rispetto a quel disco per come è stato concepito e voluto, ma una cosa è certa, il Tommy di Leeds potrà sicuramente piacere anche a chi aveva storto il naso per quello in studio, per credere provate a confrontare le due "I'm Free". Ed infine, di poche settimane fa la versione super deluxe anniversary, che oltre a contenere il concerto integrale a Leeds in doppio cd, contiene anche quello successivo a Hull (stessa scaletta, altri due cd), il vinile originale ed il singolo Summertime Blues\Heaven and Hell. Chiaramente anche tutti gli altri brani meriterebbero qualche parola, ma sono veramente troppi, mi limito quindi a dire che la qualità è sempre quella, elevatissima.
Chi, per qualche strano motivo (perché la vita a volte è strana), non dovesse ancora avere questo disco sappia che è ancora in tempo per procurarselo. Quindi, Tu che non conosci Live At Leeds ed hai appena letto questa ammorbante e noiosissima recensione, vai tranquillo che il disco è tutta un'altra cosa. Beh, ancora qui? Che aspetti, corri ad ascoltarlo! E mi raccomando, fai un po' di mulinello come fa Pete, perché fa bene al corpo e allo spirito.
Review by Matthijs van der Lee (sputnikmusic) (5 stars)
Review Summary: The live record by which all others must be judged.
When The Who played Leeds University on February 14, 1970, something magical happened. Or at least, this is what many rock fans choose to believe. More than 40 years after its initial release, Live at Leeds is still often cited as the pivotal rock ‘n roll live album. Originally a 6-song LP, its earliest version was already well-capable of displaying the band’s unrivalled energy on stage, but was later expanded into two different editions to include more of the set, which included an entire performance of Tommy. The full rock opera is only available on the deluxe edition, and while it is undeniably great, Leeds’ well-filled single disc take contains all the essence of its genius. By this time it may have become a cliché to write, but Live at Leeds was The Who at their peak and a defining moment in popular music. At the time, it rocked harder and better than everything else.
Even in their early days, The Who became notorious for their rebellious behaviour on stage (smashing of the guitars, etc.), which contrasted sharply with the more innocent sound of their recordings in the second half of the 60’s. Tommy proved to be the single most important step in their claim to fame, massively increasing demand for the band, that achieved an increasingly powerful stage presence. In 1970, there was no more pop for this little group. Live at Leeds is a pure-blooded fury of rock music that just isn’t played this way anymore. As for The Who, they quite effectively proved to be the best live band ever.
Setting the tone is the classic Entwistle tune Heaven and Hell, which’ explosive entry and straightforward, highly amusing lyrics, sung with gusto in an on-and-off unison between John and Daltrey, may already have convinced you this is the greatest live record ever in just a minute’s time. With forceful immediacy, rock’s greatest rhythm section (R.I.P.) is making very damn clear they’re more than a mere drive behind the sound. That bass seems a force of nature, never leaving the front, and Keith Moon honours his reputation as lunatic behind the kit, showing incredible pace, skill, and lasting energy throughout such a lengthy set. He’s the reason we wish this had been filmed as well.
It was also at this point that Daltrey gained his gruffer, manlier voice, perhaps the most important feature in the band’s transformation. As the lead of the sound, it is him and Townshend, who fanatically lays down chord after chord and audibly backs with his own singing, who make from the original mould of their pop singles a collection of seriously rocking tunes. Piece by piece, the renditions of I Can’t Explain, Substitute, Happy Jack and I’m a Boy are brilliant improvements. The same goes for A Quick One, While He’s Away, Townshend’s first stab at a rock opera which eventually led to Tommy. Whereas the studio version can be called sloppy and unconvincing, this superb performance wipes the dust with it, seeing the band employing different vocal roles, seamlessly switching sections, and conveying a real storytelling ability. What has made Leeds’ reputation so impeccable is that this kind of improvement wasn’t limited to a handful of songs. Nearly everything that you find here is a definitive take.
The covers, out of the older rock and roll archives, also remain an integral part of the record. Live covers, especially those of well-known songs, can be typically great but rarely add anything to the original, or the concert, for that matter. With the Who and these four, things couldn’t be any different. They were all given an electrifying, firm 1970 update, the band completely making them their own. Mose Allison’s Young Man Blues and Johnny Kidd’s Shakin’ All Over developed into loud and inspiring jams indeed.
That same excellent jamming takes place during the final stage of Live at Leeds. If the roaring opening and equally impressive middle part didn’t blow you away enough already, The Who finished rocking the place with a 16-minute My Generation, growing into a medley with themes from Tommy, and perfectly slow-building closer Magic Bus, including two mighty fine harmonica solos leading into that final finale. And when the last seconds fade away, you realize how hard The Who rocked Leeds that fateful day. Then you realize how hard they’ve just been rocking you, and that this deserves every bit of exaggerated praise and worship it may have received. You have not heard it? Then you have not truly heard The Who. Live at Leeds is the live record by which all others must be judged.
On top of the sky is a place where you go if you've done nothing wrong/
If you've done nothing wrong.
And down in the ground is a place where you go if you've been a bad boy/
If you've been a bad boy.
Why can't we have eternal life/
And never die/Never die?
In the place up above you grow feather wings and you fly round and round/
With a harp singing hymns.
And down in the ground you grow horns and a tail and you carry a fork/
And moan and wail.
Why can't we have eternal life/And never die/
R.I.P. Keith Moon (1946 – 1978)
R.I.P. John Entwistle ( 1944 – 2002)
Recensione Christian Verzeletti (mescalina)
Che cosa rende speciale un album dal vivo a distanza di più di trent´anni? E soprattutto che cosa lo rende ancora degno di essere ristampato e acquistato? Non basta l´importanza storica, cosa di cui oggi ci si stanca alla svelta e su cui si preferisce soprassedere volentieri. Non basta nemmeno l´aggiunta del set di "Tommy", eseguito quasi per intero.
Il vero motivo che continua a tenere in fermento questo live è la vitalità estrema che scaturisce dalle sue tracce, registrate come un bootleg, senza sovraincisioni, con suoni in presa diretta, rumori e dialoghi col pubblico. Pur restaurato nel suono, il disco è uno dei pochissimi da cui si può percepire l´energia di un vero concerto. E questo ne giustifica prima la ristampa del 1995, con l´aggiunta di tracce inedite, e ora una nuova edizione deluxe che propone tutta quella serata di un piccolo show universitario agli inizi del 1970.
Commuove sentire Daltrey introdurre e spiegare ogni canzone, parlare con i presenti e presentare "Tommy" col nome di "Thomas", come un pargolo a cui si deve tutta l´attenzione possibile.
Nonostante la devastante animalità che in alcuni punti gli Who raggiungono sul palco, questo disco va ascoltato a fondo per coglierne le sfumature psichedeliche, le improvvisazioni di "Heaven and hell" e le evoluzioni ritmiche di Keith Moon nel medley di "Substitute" e “Happy Jack”. Ancora prima di arrivare a "Tommy" si può ascoltare il primo tentativo di rock opera con "A quick one while he’s away", una strabiliante serie di passaggi dal rock alla coralità attraverso una successione di marcette. La voce di Daltrey spazia dalla foga r&b a tonalità celesti in "Fortune teller" e nella cascata di arpeggi di "Tatoo", creando i presupposti per le successive contaminazioni tra musical, prog e rock.
Gli anni 60 si erano appena conclusi e gli Who erano uno dei gruppi più innovativi e coraggiosi, capaci di riff trascinanti, tempi in levare, distorsioni e deviazioni liriche che avrebbero offerto spunti a quello che poi sarebbe diventato il progressive rock.
A questo proposito "Tommy", che all´epoca era una sorta di vangelo giovanile, è emblematico della direzione presa da buona parte del rock negli anni 70: accenni di classica, intermezzi da opera, overture tutto a fermentare in canzoni pop rese abrasive dal suono di chitarre elettriche. Una traccia come "I’m free" serve poi a spiegare i debiti di Eddie Vedder e a chiarire le origini di quel furore apparentemente moderno che porta il nome di "grunge". Se ancora non vi basta ci sono sempre una “My generation” di quindici minuti quasi metal e un “Magic bus” che fa diventare un mantra i ritmi alla Bo Diddley.
"Live at Leeds" non ha ancora smesso di stupire e di scuotersi di dosso la polvere del tempo che passa.
Rewiew by GREIL MARCUS (RollingStone)
Songs: "Young Man Blues," "Substitute," "The Summertime Blues," "Shaking All Over," "My Generation," et al, & "Magic Bus." Audience participation minimal.
For America the Who's live album comes out at just that time when, commercially, it is most appropriate; that is, after the band has finally escaped from its status as a critic's darling to satisfy the half-formed intellectual yearnings of an American record-buying public. We shouldn't fool ourselves: a good part of the appeal of Tommy was its claim to profundity, a claim that was hardly lost on the hundreds of thousands who bought it (and who bought Led Zeppelin to satisfy other sorts of needs), and a claim which had no need of legitimizing verbiage from attendant writers to help it along. Writers felt compelled to write about Tommy – but for some reason it wasn't at all fun to read about, most likely because the ideas were clear enough. Tommy was an album of ideas first and foremost; on record, it didn't have much value as rock and roll.
So the Who made it, commercially. It was time to document themselves on record, and of course the only way to do that was to release a live album (because the Who, up until now, have equaled The Who On Stage). The problem was that they'd been trying to do that for at least two years without coming up with anything that sounded good enough to spring on the public – and before Tommy, they were at that point where a bad album with a lot of hype could have killed their commercial potential.
After Tommy it wasn't so risky and it was time for it. They did a gig at a college in England, recorded it, dug it, and came up with The Who Live At Leeds. Peter Townshend, who is the best critic of rock and roll in the world (his two interviews in Rolling Stone, at any rate, are the most brilliant and provocative dissertations on what rock and roll is, how it works, and what it's for that I've ever read), packaged the record in such a way as to heighten its function as a document (included are a lyric sheet for "My Generation" in Townshend's own hand, rejection slips from record companies and cancellations of gigs, old pay sheets, a great poster from the Marquee Club in London, circa about 1964, a receipt for smoke-bombs, a line-up for a strings-and-flute band called Brian Carroll and the Playboys affixed to a few lines from Tommy . . . wonderful stuff). Townshend also arranged the cover in such a way as to satirize, take advantage of the commercial potential of, and avoid – bootlegging. It's a tour-de-force of the rock and roll imagination.
The music itself is not nearly so fine. It has aged, and while the time for the album is right, the time for the music has passed, for the band, and perhaps for us as well. The Who on stage, in the first place, were the product of Townshend's mind, his emotions, and his desires; and now those desires have been mostly fulfilled, at least within the context originally set up for their expression. Thus, on several cuts, we find the Who curiously disguised as Led Zeppelin (and not just Daltrey either). It might make a good joke in the telling but it sure pales in the listening. "My Generation," once a cataclysm (the real "Young Man's Blues," a song that in its prime made the number that begins the LP irrelevant), was recorded too late. It's no longer necessary or, perhaps, save at rare moments, not captured here, possible for the Who to speak this piece; but what genius it was for Townshend to make the primal teenager sing with a stutter!
The fact that put-downs-because-they-get-around have changed to praise in the New York Times can't help but turn the music in odd directions. "My Generation" is listed here with a running time of 14:27, but with this take it's a few minutes of the old anthem and nearly a dozen of a medley from Tommy and other bits of sound. In the abstract, it all sounds good to me, but for all who found their way into its frenzy, "My Generation" was an event, on record and on stage. The first time I saw it happen I was honestly scared. It's tame here. There is a lot of good music around these days – but very few events. We used to mark time by records – "a few months after Rubber Soul" – but the music is a little weaker and the rest of the world is a great deal stronger. It's a couple of months since Kent, now.
The two cuts that break off the album like the Who-classics they are may well be the songs the band has played for the longest time every gig for years: "The Summertime Blues" and "Shaking All Over." Perhaps because Townshend didn't write them they have changed – in spirit – the least. These songs still play the same role with the audience that they always did, which isn't true for "My Generation," These songs, simple, perfect, and in the case of "Summertime Blues," universal, still uphold the same values when they go down between the Who and a crowd and those values are still valid. The absurd doesn't go out of date. Townshend found Eddie Cochran's song, or it was given to him on some half-forgotten tour ten years ago – it might be the reason the whole Who extravaganza got off the ground in the first place – and it's the grammar-book of his rock and roll language. The Who found a way to play it on their terms, let it form their identity, and since they didn't create it there was never any need to reject it. Their performance here is glorious.
The rest of the album is good music.
The Who Live was not simply music, or "show," but something a great deal more than the sum of its obvious parts. You understood it viscerally and carried that understanding around like a catch-phrase of the shared private mind of a generation. That isn't here on this record, because it does seem as if the Who recorded a memory of the past and ended up with what was left over in the present.
The album is a document, as it ought to be: the formal commercial end of the first great stage of their great career. With all the ordinary milestones behind them, thanks to their vision and their sound, we and they arrive, with a Led Zeppelin joke on one side and the crunch of the Who on the other, at that point where Peter Townshend and his band will begin to translate the Seventies into rock and roll. It's a language that seems to speak most clearly when it stutters, after all.
100 GREATEST ARTISTS (RollingStone)
The Who began as spectacle. They became spectacular. Early on, the band was in pure demolition mode; later, on albums like Tommy and Quadrophenia, it coupled that raw energy with precision and desire to complete musical experiments on a grand scale. They asked, "What were the limits of rock & roll? Could the power of music actually change the way you feel?" Pete Townshend demanded that there be spiritual value in music. They were an incredible band whose main songwriter happened to be on a quest for reason and harmony in his life. He shared that journey with the listener, becoming an inspiration for others to seek out their own path. They did all this while also being in the Guinness Book of World Records as the world's loudest band.
Presumptuously, I speak for all Who fans when I say being a fan of the Who has incalculably enriched my life. What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to. In the beginning they took on an arrogance when, as Pete says, "We were actually a very ordinary group." As they became accomplished, this attitude stuck. Therein lies the thread to future punks. They wanted to be louder, so they had Jim Marshall invent the 100-watt amp. Needed more volume, so they began stacking them. It is said that some of the first guitar feedback ever to make it to record was on "Anyway, Anyhow, Anywhere," in 1965. The Who told stories within the confines of a song and, over the course of an entire album, pushed boundaries. How big of a story could be told? And how would it transmit (pre-video screens, etc.) to a large crowd? Smash the instruments? Keith Moon said they wanted to grab the audience by the balls. Pete countered that like the German auto-destructive movement, where they made sculpture that would collapse and buildings that would explode, it was high art.
I was around nine when a baby sitter snuck Who's Next onto the turntable. The parents were gone. The windows shook. The shelves were rattling. Rock & roll. That began an exploration into music that had soul, rebellion, aggression, affection. Destruction. And this was all Who music. There was the mid-Sixties maximum- R&B period, mini-operas, Woodstock, solo records. Imagine, as a kid, stumbling upon the locomotive that is Live at Leeds. "Hi, my name is Eddie. I'm 10 years old and I'm getting my fucking mind blown!" The Who on record were dynamic. Roger Daltrey's delivery allowed vulnerability without weakness; doubt and confusion, but no plea for sympathy. (You should hear Roger's vocal on a song called "Lubie [Come Back Home]," a bonus track from the reissue of their first album, The Who Sings My Generation. It's top-gear.)
The Who quite possibly remain the greatest live band ever. Even the list-driven punk legend and music historian Johnny Ramone agreed with me on this. You can't explain Keith Moon or his playing. John Entwistle was an enigma unto himself, another virtuoso musical oddity. Roger turned his mic into a weapon, seemingly in self-defense. All the while, Pete was leaping into the rafters wielding a Seventies Gibson Les Paul, which happens to be a stunningly heavy guitar. As a live group, they created momentum, and they seemed to be released by the ritual of their playing. (Check out "A Quick One While He's Away," from the Rolling Stones' Rock and Roll Circus.)
A few years ago in Chicago, I saw Pete wring notes out of his guitar like a mechanic squeezing oil from a rag. I watched as the guitar became a living being, one getting its body bashed and its neck strangled. As Pete set it down, I swear I sensed relief coming from that guitar. A Stratocaster with sweat on it. The guitar's sweat.
John and Keith made the Who what they were. Roger was the rock. And at this point, Pete has been through and survived more than anyone in rock royalty. Perhaps even beyond Keith Richards, who was actually guilty of most things he was accused of.
The songwriter-listener relationship grows deeper after all the years. Pete saw that a celebrity in rock is charged by the audience with a function, like, "You stand there and we will know ourselves." Not "You stand there and we will pay you loads of money to keep us entertained as we eat our oysters." He saw the connection could be profound. He also realized the audience may say, "When we're finished with you, we'll replace you with somebody else." For myself and so many others (including shopkeepers, foremen, professionals, bellboys, gravediggers, directors, musicians), they won't be replaced. Yes, Pete, it's true, music can change you.
100 GREATEST GUITARISTS (RollingStone)
Pete Townshend doesn't play many solos, which might be why so many people don’t realize just how good he really is. But he's so important to rock – he’s a visionary musician who really lit the whole thing up. His rhythm-guitar playing is extremely exciting and aggressive – he's a savage player, in a way. He has a wonderful, fluid physicality with the guitar that you don't see often, and his playing is very much a reflection of who he is as a person – a very intense guy. He's like the original punk, the first one to destroy a guitar onstage – a breathtaking statement at that point in time. But he's also a very articulate, literate person. He listens to a lot of jazz, and he told me that's what he'd really like to be doing. On "Substitute" you can hear the influence of Miles Davis' modal approach in the way his chords move against the open D string. He was using feedback early, which I think was influenced by European avant-garde music like Stockhausen – an art-school thing. The big ringing chords he used in the Who were so musically smart when you consider how busy the drumming and bass playing were in that band – it could have gotten chaotic if not for him. He more or less invented the power chord, and you can hear a sort of pre-Zeppelin thing in the Who's Sixties work. So much of this stuff came from him.
Key Tracks: "My Generation," "I Can See for Miles," "Summertime Blues"
100 GREATEST SINGERS (RollingStone)
Born March 1st, 1944
Key Tracks "My Generation," "I Can See for Miles," "Pinball Wizard," "Won't Get Fooled Again"
Influenced Ian Gillan (Deep Purple), Robin Zander, Eddie Vedder
"You don't realize how great a singer Roger Daltrey is until you try to do it yourself," says the Flaming Lips' Wayne Coyne, whose band did a Tommy medley at VH1's 2008 Rock Honors special for the Who. From the anxious stutter in "My Generation" to the glass-breaking wail that tops off "Won't Get Fooled Again," the voice of the Who is one of the most powerful instruments in hard rock. Daltrey didn't write his own lyrics, but he had an uncanny ability to adapt to whatever character songwriter Pete Townshend came up with (the vulnerable, Christlike Tommy cooing "See Me, Feel Me," the cocky thug of "Slip Kid" spitting out the words). "It's a very strange process," Daltrey says. "That's why I shut my eyes when I sing — I'm in another space, and the characters are living in me."