Half-Speed Mastering is an elaborate process whereby the source and the turntable on the disc cutting lathe are run at 16 2/3 R.P.M. The result is a record that is capable of extremely clean and un-forced high-frequency response as well as a detailed and solid stereo image. These half-speed masters of three classic albums were all cut by Miles Showell, the Mastering Engineer at the world famous Abbey Road Studios. Each album is pressed onto 180 gram heavyweight vinyl and includes a download card. The Who’s Live at Leeds, regarded by many music critics as the best live rock album of all time was released in May 1970. Having decided to record a live album two dates were arranged, one at the University of Leeds on the 14 February 1970 and the other a day later at Hull City Hall. Because of some technical issues with the Hull recording the Leeds show became the one released as the live album. Although the set at Leeds featured 33 songs only six appeared on the original 1970 vinyl release including a 14 minute version of My Generation, when remixed and released on CD in 1995 the track count increased to 14. Thirty years after the albums original release a 2CD Deluxe Edition was released featuring all 33 tracks, however, they did not feature in the running order they were performed with the complete Tommy taking up the whole of CD2. The Deluxe Edition Vinyl 3 LP set release now feature all 33 tracks in the order they were played by The Who at Leeds University back on Valentine’s Day 1970. There are only a handful of genuinely seminal live albums, but the Who's Live at Leeds is undoubtedly one. Recorded in the comparatively intimate environs of the University refectory, Leeds, in February 1970, the two-hour-plus show was heavily truncated and clocked in at a mere 38 minutes upon it's release as an album later the same year. Despite this, the album's six tracks showcased the thermonuclear dynamics that established the who as the best live rock band in the world. Throughout the proceedings, The Who's blitzkrieg barrage is propelled by the octopus limbed Keith Moon-the-loon and John Entwistle's elasticated, dc10-booming bass, topped with Pete Townsend's tumultuous windmilled power chords and Roger Daltrey's howl.