So what prompted this train of thought? I was reading the excellent new biography by Peter Frampton. He has always been one of my favorite artists, and I have everything he has put out. He provides interesting background on most of his albums, and I played each one as I progressed through the book. While I enjoyed going back and listening, I have to confess, with the exception of a few songs, they didn't quite grab me. Until I got to Live In Detroit. He talks about how much he enjoyed playing at the old Pine Knob Amphitheater , where I saw many a show , including Peter and Robin Trower.
That cd really grabbed me, right from the beginning through the end. I kind of sat up and said " wow!" And then it hit me. Peter is a performer who just comes across so well live. Every song has such power and connection. His live material is so special. And by better, I don't mean sonically, or production wise. I just mean the overall effect of the music. Sensational. He stretches out so many songs, and his new intro's or added riffs to songs are so pleasureable.
That got me to thinking of other artists who fall into this category. One is Rory Gallagher. He always has held a special place in my heart as my first live concert, at the Boston Common, in August, 1972, opening for Fleetwood Mac and Savoy Brown. I thought he was the best of the bunch. I then acquired Rory Gallagher Live in Europe. What a great album! I have also purchased everything else he has put out. And while I enjoy his studio albums, they can't compare to his live recordings, such as Irish tour 74 or the recent Check Shirt Wizard. I love the new openings to his songs , such as Secret Agent Man, or Tattoo'd Lady. And I love the way he stretches out songs, like the end of Bullfrog Blues.
For some artists, I find it just the opposite. Robin Trower is one that comes to mind. Don't get me wrong, I love Robin Trower live. I have never seen a performer play a whole show with a smile on their face like Robin. But what I love about his studio work is the layering of the guitar. He can't replicate that in his solo shows. So when I am in the mood for Robin, I prefer his studio work.
Where to put the Allman Brothers Band? Well, I love all of their music. Certainly it was the double LAFE that broke the band, and is widely regarded as one of the best live recordings ever. But I absolutely loved their first two albums that preceeded Live. And pretty much everything else they have put out. My favorite band of all time. Actually, sometimes it is hard for me to listen to them live if I am not wearing headphones and giving the music 100 per cent of my attention. Their live music is just too strong to not pay attention!
So, what about you? What artists do you prefer to listen to live rather than in the studio? Or in the studio rather than live. And where would you put the Allmans?
The Grateful Dead are an obvious one. American Beauty is one of my favorite albums of all time, Workingman's is also a very good album. Other than that, I prefer live material by far.
Phish is also better live than in the studio.
I listen to a lot of improvisational based music - and nothing captures that better than a live recording, even if the studio albums are good. Examples are Whipping Post and IMoER on AFE. Derek's studio albums are excellent, I love the production, but Live at the GA Theater captures the energy and intensity better. Same with the Sco Mule album and Live With a Little Help From Our Friends.
Gov't Mule for sure. You really can't "get" them without seeing them IMO.
Live at Leeds made the earlier Who albums sound tiny, especially the Tommy stuff. I think The Who got better in the studio after that - or they got tamer live?
Made in Japan certainly trumps "Machine Head."
Fillmore East does overshadow the first 2 ABB albums for a good reason.
For newer bands, The Mountain Goats and Wilco are both much better live than in studio.
It’s all personal taste & what you’re in the mood to listen to - as great as Rock of Ages is it can’t top the first 2 most of the time for me, same MIJapan vs a vis In Rock, Machine Head & those, also the live Dead albums w/the 2 studio ones mentioned
now our guys, yeah, they made the stage their home - burned it down😁 - still, am partial to the studio versions generally, like BSky, Nobody Knows, the instrumentals.....most bands were equally at home on stage/in studio
Some of my favorite albums have both, like Peach, Wheels of Fire, Flowers of Evil, Where We All Belong, Headkeeper, A Step Further etc
A band like Boston wasn’t just better in the studio, they were studio only🙃 they, Zeppelin, Jimi - they used the studio in a way that they couldn’t do those songs justice onstage
@Stephen A Step Further haven't thought of that one in a while ... is that Savoy Brown, another of my favorite bands?
Absolutely peteymann54, & one of my favorite bands too - the Savoy Brown Boogie😎
how about NRBQ too, love their 1969-89 best of collection, but their live recordings I’ve heard....great stuff
What about both?
Tesla brought it in the studio & onstage
Most of the artists I have seen come across better live. But the one who is head and shoulders above the others in his live show is Bruce Springsteen. Since he's such an incredible performer, seeing him live is key and always better than his studio output. And the best part is that it can be anywhere as he brings it to every show. They asked Tom Morello, of Rage Against the Machine, what he learned from touring with Bruce. His answer: "I learned that the person who is most excited to be at a Bruce Springsteen concert...is Bruce Springsteen."
The late Buddy Bomb on drums. I have two bargain bin CDs and I can't completely appreciate just how good, fast and complex his drumming was. Buddy use to challenge Ginger Baker to a battle of the drums back in the late 60's and early 70's saying " I'd blow him off the stage but I'd also like to smoke one with him". Carmine Appice was invited back stage to meet Buddy but was reluctant to go because of Buddy's reputation but Buddy invited Carmine to share a joint with him and they had a nice chat about drumming. Buddy taught Carmine how to do a whip cream roll on the snare which Buddy said he learned from the great jazz drummers in New Orleans.
