Binging t.v. shows may be the norm in our modern world. I'm as guilty as anyone of it. However, this binging carries over into my music listening habits.
I go through periods of prolonged repeat plays of an artist or band. If they are newly discovered I pour over the back catalogue and listen in chronological order to (in my mind) track their progression. If it’s a group I'm familiar with, it's like getting reacquainted with an old friend.
At the moment I'm deep down in an Allman Brothers rabbit hole, especially the “Live at the Fillmore East” album. This classic performance made me start to wonder about the Live Album as a concept.
For some artists it basically saved their careers. K.I.S.S. - Alive is a prime example of a band I consider I absolutely don't get becoming HUGE on the back of live album sales. Despite my lack of understanding their popularity this album has legion's of fans.
My personal favourites are:
Deep Purple - Made in Japan (a total monster) and Motorhead - No Sleep ‘til Hammersmith (which entered U.K. album charts at #1!!!!). The most exciting live album in terms of ferocity and energy for me will always be The MC5 - Kick Out the Jams (1969), although technically its a 60's album it still sounds unhinged to modern ears.
Live albums were so big that certain bootlegs became as sought after and well known as the official releases. Zeppelin, Dylan, Bad Company, The Stones, Bowie, The Who all remain highly collectable.
There are live albums I haven't mentioned or omitted that will be considered by individual preference to be an absolute sin. One you may argue is obviously the greatest live album ever. This is a conversation that will rage for as long as people collect music. It's evidence that once upon a time the Live Album was indeed a major deal.
It's hard to pinpoint when this ceased to be the case. What saw the demise of the Live Album?
Certainly they could be excessive in terms of packaging. For
example Hawkwind - Space Ritual consisted of 12 fold out panels, which had to
be expensive to produce. The music also became increasingly self indulgent and
dull. Trust me, no needs to ever sit through the snore-fest of Yesongs by Yes
unless its a sponsored endurance test for charity or something.
So was it the emerging D.I.Y. Punk movement that killed the Live Album? A peeling back of the excess? It’s interesting to note the Genius Designer of the Space Ritual album cover (among others) Barnie Bubbles changed his style completely, creating minimalist artwork for the Buzzcocks. To my ears the last hurrah for the live album (at the time) may be The Ramones - It's Alive.
There appeared to be a brief rebirth in the late 80s/ early 90's with the (mainly dreadful) M.T.V. unplugged series. Its two best known and commercially successful albums are polar opposites. Nirvana unplugged is an absolute masterclass in stripped back beauty that reshaped their songs and approach. However, Eric Clapton - unplugged is the most listless, tired, uninspired, piece of crap my ears have ever been offended by. It takes real skill to take a song as full of longing and vibrancy as Layla and reduce it to the soundtrack to middle class dinner parties.
Over the last several years, the stoner/doom scene has definitely embraced the Live album again. The results are mixed. Fu Manchu - Go For It Live has been universally praised by the fans where Uncle Acid’s Slaughter On First Avenue seems to have disappeared without a trace. This is no slight on the quality of the live Uncle Acid but it begs the question is the “Statement” or “Essential” live album a relic of a past time?
The psych scene seems to be trying to revive the concept. For example Causa Sui's - Live In Copenhagen is a collection of 3 live shows packaged in a box set. Cheap it is not but it’s a hell of a statement. Earthless seems committed to the format. By my count they have issued six live albums, seven if you count the live collaboration with Heavy Blanket at Roadburn.
As always it boils down personal preference. I love a live album. I'll buy Sabbath bootlegs and the Deep Purple overseas sires are exceptional. With contemporary live albums it can go either way. As a collector the packaging can draw me in. The Levitation series certainly hits the spot. Fuzz and Slift levitation sessions are personal favourites.
Yes, you can ask who needs a live album when you can go watch a full live concert on YouTube or badly recorded fan video shot from the nose bleeds? However, what needs to be considered is how highly collectable the live album has become due to limited runs and budget...for example King Buffalo - Live At Freak Valley changes hands for over $/£100!!! So don't underestimate the power of the glory of ownership and stating “I have that on Vinyl”!
The Live Album as a Statement may be a lost art, Future generations may not hold these contemporary live albums in the same refevrence as the 70s live albums. The live album may not ever be again a career making strategy for an artist or band. What they are at best is a honest record of a band at a given moment on time. No budget or desire for fixing mistakes in the studio (yes Thin Lizzy I'm talking to you!!)...
It appears the live album ain't dead yet.
-Bobo Coen
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