Imagine a bass performance so groundbreaking, it leaves one of rock’s most legendary bassists in awe. Geddy Lee, the mastermind behind Rush’s iconic sound, once declared John Entwistle’s bass work on Live at Leeds as ‘unsurpassable’—a statement that’s as bold as it is rare coming from a musician of his caliber. But what makes this performance so unforgettable? And why does it still resonate with fans and musicians alike decades later?
Geddy Lee’s journey into the world of rock is a tale of inspiration and emulation. Growing up, he was captivated by the likes of Chris Squire from Yes, Jack Bruce of Cream, and the psychedelic sounds of Procol Harum. ‘I learned to play bass by emulating Jack Bruce and others like him,’ Lee revealed in the 1993 book Bass Heroes. Yet, it was John Entwistle of The Who who became his musical north star. Lee’s introduction to Entwistle, like many others, began with the explosive energy of ‘My Generation.’ ‘I’d head to Sam The Record Man to get my music,’ he recalled in a 2016 interview with Team Rock. ‘That’s where I picked up 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 album 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 their 1969 rock opera Tommy, which cemented their status as one of the greatest live acts in rock history. But here’s where it gets controversial: The Who were uneasy with Tommy being labeled as ‘high art’ by their manager, Kit Lambert. They wanted their live performances to stand on equal footing with the album’s grandeur.
The road to Live at Leeds wasn’t without its hurdles. Initially, the band planned to compile recordings from earlier U.S. concerts, but Townshend, unwilling to sift through hours of tapes, vetoed the idea. In a move he later called ‘one of the stupidest decisions of my life,’ he even asked their sound engineer, Bob Pridden, to destroy the recordings. Undeterred, the band scheduled two shows specifically for the live album. Technical issues plagued their Hull performance, leaving the Leeds show as the chosen one. It opened with Entwistle’s ‘Heaven and Hell,’ setting the stage for a bass performance that would forever influence Geddy Lee.
‘John Entwistle’s bass work on Live at Leeds is unsurpassable,’ Lee exclaimed. ‘He was an absolute influence on me.’ On the album, ‘My Generation’ is transformed into a 15-minute epic, complete with improvisations and a medley featuring snippets of ‘See Me, Feel Me’ and ‘Sparks’ from Tommy. Another highlight is their rendition of Eddie Cochran’s ‘Summertime Blues,’ which Lee admits he’s ‘a big fan of.’ Rush even covered the song, largely inspired by The Who’s version.
The Who’s take on ‘Summertime Blues’ is a masterclass in reinvention. They swapped Cochran’s original for power chords, a key change, and Entwistle’s deep bass vocals, delivering lines like, ‘Like to help you son, but you’re too young to vote.’ This bold reinterpretation showcases their ability to make classics their own.
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. ‘No matter what they do, Pete Townshend’s writing has always been at the very top of his craft,’ Lee asserted. ‘It’s the quintessential combination of heavy and melodic.’ Yet, across The Who’s vast discography, Live at Leeds remains Lee’s favorite. ‘Even today, it sounds so alive—it’s a real piece of that era,’ he said. ‘It’s raw, like a bootleg. That was their attitude: ‘Here it is.’
But here’s the question that’ll spark debate: Is Live at Leeds truly the pinnacle of live rock albums, or is its legendary status overhyped? And while we’re at it, who do you think deserves the title of the most influential bassist in rock history? Entwistle, Lee, or someone else entirely? Let’s hear your thoughts in the comments!
