Live and let live.
Some songs and artists are just better live.
photo by Xavier Bardosa, retrieved from Wikimedia Commons.
Oftentimes we think of a song’s studio recording as flawless: the product of hundreds of takes and as perfect as perfectly recorded can be. But sometimes that isn’t the case. Sometimes a live performance brings a song to life in a way that the original could never. What follows are ten of my favorite live renditions of songs that exemplify this perfectly—the studio version may be stellar, but the live performance ascends to a world all its own.
1. “Aneurysm” (Nirvana) — Live At Del Mar Fairgrounds, CA, December 28, 1991
Somehow, this live performance is so powerful that the studio version feels empty by comparison. The amped-up and unhinged nature of the Del Mar version gives “Aneurysm” a faster, more urgent feel. That feel really allows Dave Grohl to show off his drumming chops more consistently throughout the song. Cobain’s live vocals are naturally a bit raw, but his gritty, raspy tone lends itself especially well to this more stripped-back live rendition with less backing vocals. Nirvana feels at their best when they aren’t quite flawless, but instead bringing a wild and unbridled energy—and this rendition is exactly that.
2. “Stairway To Heaven” (Heart) — Live At the Kennedy Center Honors
This one is a remarkably faithful adaptation of the original, but it kicks things up a notch and brings the vision of the song to the reality it deserves. With Jason Bonham behind the kit wearing his father’s signature bowler hat, the drums feel more present than the surprisingly tame and understated approach in the studio. I’m a fan of the more active, stop-and-go-filled drumming Jason brings to the live verses; it feels more bouncy and less restrained, adding some extra energy back into the song before just its final act. There’s also something more ethereal about Nancy Wilson’s live vocals when compared to Robert Plant’s in the studio and, if such a thing is possible, it feels like Wilson has more juice as she belts her heart out (no pun intended). Plant takes center stage in the studio version (aside from a brief moment for the guitar solo), whereas in the live version the different components meld together more fluidly, making “Stairway” feel more complete. Performed theatrically with a gospel choir and an amount of extravagance fitting of the lyrics which the original fails to live up to, Heart’s cover is much more in line with a rock opera a la Bohemian Rhapsody. This is not just rock and roll, this is a religious experience.
3. “Whipping Post” (The Allman Brothers Band) — Live at the Fillmore East, 1971
Fillmore East really puts Duane, Dickey, and the band’s improvisation chops on full display. They seamlessly rode the groove for 20 minutes, presenting an absolute clinic of what they do best: just jam forever and generate unbeatable feelings. The faster, more shuffle-y drums and increased overdrive on the guitars give the live version some well-needed punch. There’s a new sense of urgency shown through the beat and the two guitars bouncing off one another. Of course, each solo between verses and choruses takes on different phrasing in the live version, but that jamming is a trademark of the Allman Brothers Band’s brand of improvisation-laden solos and jams. Gregg Allman’s vocals are a bit more in between beats and not as controlled as in the studio, but it’s still a neat vocal performance, especially considering the tour de force that was their Fillmore East shows. The only real qualm I have with this version is the huge departure from the studio recording at moments in the middle; the jamming the band offers is phenomenal, but it is definitely a different song. I would say it’s a better song, but definitely more of an acquired taste for the not jam-inclined. More a fine aged bottle of wine than a crowd-pleasing cocktail.
4. “While My Guitar Gently Weeps” (Dhani Harrison, Jeff Lynne, Prince, Steve Winwood & Tom Petty) — Rock and Roll Hall of Fame, Vol 8: 2004-2005
For the Rock and Roll Hall of Fame induction of George Harrison and Prince, an ensemble cast came together to perform a live Beatles cover which just blew the original out of the water in every aspect. The cast of rock and roll legends take turns with lead vocals, creating such memorable flow between the verses and choruses through a unique variance in the textures and tones of their voices. The live ensemble vocals are more full as well; the Beatles’ harmonies are excellent but feel much mellower by comparison. The guitars also fill significantly more space in the live version. While Clapton’s “minimalist” approach is well done in the studio version, Prince just blows the house down with his playing. If you want the meaning of flow state, this is it. Prince is one with the guitar. He does not get enough mainstream credit for how gifted a guitarist he is, and nothing shows that off quite like this performance. Greatness is expected from Clapton in the studio version, but Prince’s blistering lines take this song from amazing to straight-up legendary.
5. “My Back Pages” (Bob Dylan, Roger McGuinn, Tom Petty, Neil Young, Eric Clapton & George Harrison) — Live 10/16/1992
Maybe more so than any other entry on this list, the studio version of “My Back Pages” just feels absolutely bare compared to the live rendition. The main appeal of Dylan is, of course, his stellar (Nobel-winning) songwriting prowess. And while that is present in the original lyrics, the live version feels so much more full of life. It reminds the listener that, while the original is a classic, the live redux has many more facets. The original lacks drums completely, and like Dylan’s general vibe, feels very much like Dylan plodding on sans rhythm—just pure feeling, but not much energy. Dylan’s guitar and vocals are not quite on beat with one another—neither remarkable, really just serving as a vessel for his one-of-a-kind songwriting. The live version, on the other hand, is front-to-back more vibrant, technically tighter, and a more worthy showing of the soul contained in Dylan’s expertly-penned masterpiece. Clapton’s solos are punchy without doing too much and everyone carries their weight vocally. I even think Dylan’s singing on his guest verse is better than any vocal chops he showed in the original. Some things really do get that much better with age.
6. “Signs” (Tesla) — Five Man Acoustical Jam
For an acoustic cover (albeit by a hard rock group), this rocks way harder than it should, and is undoubtedly a worthy successor to Five Man Electrical Band’s original. This stripped-down version makes up for complexity with its raw energy, killer harmonies, and effortless tempo shifts that keep things interesting; not to mention the killer crowd. The live vocals carry significantly more energy and reflect the feel of a campfire jam session, making the studio version sound jarring yet disappointingly tame. The studio version has some fun nuance with keys in the background along with more proficient guitar chops, yet it simply doesn’t make any substantial effort to make the song memorable. The live version, on the other hand, makes that promise and delivers.
7. “I Want You to Want Me” (Cheap Trick) — Live at Budokan
There’s a reason the live version of “I Want You to Want Me” has replaced the studio recording in the rock and roll zeitgeist: it just surpasses the original in every facet, making Cheap Trick’s original a distant (and forgettable) second-place. The vocals in the studio just feel too soft and laid back, causing them to often feel overshadowed by the constant-paced instrumental. In the studio version, there are no real transitions; it feels like 3 minutes of the same notes with a unique guitar lick thrown in every once in a while. And even the original guitar solo was a bit too mellow for my taste. The studio version sounds like it should be played at a bar or a saloon—just a little bouncy but ultimately underwhelming. The live version feels much more like the guitar and vocals complimenting each other, flowing while the drums play a supporting role. The live vocals also have significantly more juice than in the studio (and sound even more flawless live). Plus, the faster tempo benefits the vocals…and honestly the entire song. The new tempo also makes the breakdown in the last minute even more powerful before going into the outro—just perfection.
8. “Star Spangled Banner” (Jimi Hendrix) — Live At Woodstock
This might be treason to suggest as an American—but come on, do I really need to explain why? This is three and a half minutes of pure, badass, American rock and roll. The freedom to rock on full display. A face-melting swagger ripples through the crowd that brims with energy at the peak of the anti-Vietnam War sentiment. Are there quite a few interludes of fuzz, bends, and artistic license between parts of the original melody? Yes. But is this quite possibly the coolest homage to our great country that music has ever produced? Also yes.
9. “Trouble in Mind” (Larkin Poe) — Audiotree Live
This performance is a prime example of how a song being less polished can sometimes be a good thing. Sometimes you have to let the music flow naturally. In the studio version, the synth and distorted vocals sound immediately off beat, grating, and metallic; it feels like something straight out of a jersey commercial on ESPN. The vocal harmonies that are present feel unnecessary and add no real flavor to the song, and the drums—which are supposed to dictate the flow of a song—just plod along the whole way through adding nothing, not once pausing to give space or emphasis for any note or lyric. Even the bass feels synthetic, like someone with no experience made a rock song in GarageBand. I’m being quite critical of this studio version mostly because I think that the live version is such a marked improvement. It doesn’t even come close. Leaning back and slightly slowing the tempo completely transforms the song. The shuffling drum and bass combo of the live version feels worlds more natural. And drum fills now emphasize a few areas while mostly being quite understated. The vocal harmonies are not frequent but are subtly complementary in the best way. Plus, the slide guitar acts as a second way of harmonizing that also intertwines with the guitar, whose added richness breathes new life into the groove. The live vocals feel crisper yet more passionate and far less manufactured, the hallmark of a band that is somehow even better live.
10. “Superstition” (Stevie Ray Vaughan) — Live Alive
This may be my guitarist bias (and love for Stevie Ray) showing, but adding his irresistibly funky wah-pedal and palm-muting to the fold brings so much more texture and nuance to an already-timeless groove. It’s a pretty faithful rendition of the original (more organ than harpsichord on the keys), albeit with a bit of extra flair from Vaughan's wicked rhythms on the guitar. Vaughn’s Texas drawl is definitely a bit rougher than Wonder’s silky-smooth pipes, but the extra grit he offers is just as memorable. Of course, Vaughan ends things with a flashy, groovy-as-all-hell solo—deep within the pocket. Vaughan’s version is a bit quicker than the original, but I think his spectacular rhythm play makes up for that; the perceived tempo feels nearly identical. The one critique I have is that Vaughan’s version lacks the funky horns Wonder’s does, instead filling the space with guitar and organ. It’s different, but oh my does it work. Vaughn does what he does best without overshadowing what makes Wonder’s original great—improving without rearranging—and a tight as hell ending to boot.
Bonus: “My Hero” (Foo Fighters ft. Shane Hawkins) — Taylor Hawkins Tribute Concert
If watching this performance doesn’t make you absolutely bawl then you’re heartless. It isn’t substantively different from the original in any real way, but this performance presents a moment. This is the only entry on the list where nothing but watching the performance can possibly do it justice. Nothing I say here can come anywhere close. You simply need to watch it yourself.
edited by Amishi Gupta.
cover photo by Xavier Bardosa, retrieved from Wikimedia Commons.