Imagine a bass performance so groundbreaking, so electrifying, that it leaves an indelible mark on one of rock’s most revered bassists. Geddy Lee, the mastermind behind Rush’s iconic sound, once declared a live performance as ‘unsurpassable’—a moment that forever shaped his musical journey. But here’s where it gets intriguing: this wasn’t just any performance; it was John Entwistle’s bass mastery in The Who’s Live at Leeds that left Lee in awe. And this is the part most people miss—how a single album could become a north star for an entire generation of musicians.
Geddy Lee’s love affair with rock began with legends like Chris Squire of Yes, Jack Bruce of Cream, and the psychedelic brilliance of Procol Harum. ‘I learned to play bass by emulating Jack Bruce and others,’ Lee confessed in the 1993 book Bass Heroes. Yet, it was Entwistle’s revolutionary style in The Who that truly captivated him. Lee’s introduction to The Who, like many, started with the rebellious anthem ‘My Generation.’ ‘I’d head to Sam The Record Man to get my music fix,’ he recalled in a 2016 interview with Team Rock. ‘That’s where I snagged Live at Leeds one Saturday morning.’
Live at Leeds, recorded on Valentine’s Day 1970 at the University of Leeds Refectory, is more than just an album—it’s a time capsule. It’s the only live recording featuring The Who’s classic lineup: Entwistle on bass, Roger Daltrey on vocals, Pete Townshend on guitar, and Keith Moon on drums. Released in May 1970, it followed the monumental success of Tommy, the rock opera that cemented The Who as one of the greatest live acts in history. But here’s the twist: The Who were uneasy with Tommy being labeled as ‘high art’ by their manager, Kit Lambert. They wanted their raw, unfiltered stage energy to shine just as brightly.
Returning to England in 1969, the band planned a live album. Initially, they considered compiling recordings from U.S. concerts, but Townshend, overwhelmed by the task, rejected the idea—even asking their sound engineer, Bob Pridden, to destroy the tapes. ‘One of the stupidest decisions of my life,’ Townshend later admitted in his memoir. Undeterred, the band scheduled two shows, with Leeds becoming the chosen performance due to technical issues in Hull. Entwistle’s opening track, ‘Heaven and Hell,’ set the stage for a bass performance that Lee would forever cherish.
‘John Entwistle’s bass in ‘My Generation’—my God, it’s unsurpassable!’ Lee exclaimed. On Live at Leeds, the song transforms into a 15-minute epic, blending improvisations with snippets of ‘See Me, Feel Me’ and ‘Sparks’ from Tommy. Another highlight is their rendition of Eddie Cochran’s ‘Summertime Blues,’ which Lee adores. ‘Rush covered it largely because of their version,’ he revealed. The Who’s take on the 1958 classic is bold, featuring power chords, a key change, and Entwistle’s deep vocals on the line, ‘Like to help you son, but you’re too young to vote.’
Lee’s admiration for The Who runs deep, though he laments never seeing them perform live with Keith Moon before the drummer’s tragic death in 1978. ‘Pete Townshend’s songwriting is always top-tier,’ Lee noted. ‘It’s the perfect blend of heavy and melodic.’ Yet, across The Who’s vast discography, Live at Leeds remains Lee’s favorite. ‘It still sounds so alive,’ he said. ‘It’s raw, unpolished—like a bootleg, but intentional. That was their attitude: ‘Here it is. Take it or leave it.’
But here’s the controversial part: Is Live at Leeds truly the pinnacle of live rock albums, or is its legacy overstated? Some argue that its raw production and technical imperfections detract from its greatness, while others, like Lee, see these elements as its charm. What do you think? Is Live at Leeds an untouchable masterpiece, or is there another live album that deserves the crown? Let’s debate in the comments!
