LIVE ALBUM RECOMMENDATIONS

As a teenager on a budget, I found live albums an easy way to collect the greatest hits of bands I loved - Rush’s Exit…Stage Left, Cheap Trick’s At Budokan, and Yes’ YesSongs were early collections I wore through repeatedly. However, many of those ‘classic rock’ live albums were pretty much the same renditions as featured on the original studio album with crowd noise. That is, the performances didn’t necessarily elevate the songs.

This opinion, of course, changed as I grew to be more discerning in the live albums I collected. James Brown At The Apollo, the great live jazz concerts by Keith Jarrett or Miles Davis’ electric 70s ensemble, Springsteen’s reworking of numbers on Live 1975-1985 or Johnny Cash At Folsom Prison all truly provide amazing insight and return fantastic listening experiences.

I was recently reflecting on which live albums had made the deepest impression on me - and as they are lesser known and a bit off-the-radar, I thought I’d briefly highlight them here. 

Tom Waits / Nighthawks At The Diner

Released: October 21, 1975

Technically, there could be arguments made regarding this being an actual live album, but I’ll count it just the same. Released as Waits’ third album - with a desire to capture his unique performance style, but without the right venue to record in - a studio in Los Angeles’ Record Plant was transformed into an intimate jazz club setting - complete with a burlesque stripper opening the show, atmospheric lighting, & a bar. As part of his initial intro, Waits dubs the space Raphael’s Silver Cloud Lounge. 
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Backed by a tight quartet of serious jazz players, the performance unfolds as part lounge act, part performance art. Tom’s delivery is manic and hilarious and touching - like a possessed street-corner beat poet.

The material ranges from the more traditional lounge-act numbers that dotted Waits’ early career. But what carries this record to the next level is his, seemingly, rapid-fire improvisation and colorful con-man speak - colorful and alive with one intriguing image after another. It really is a thing to witness and his mastery of language delivery is as stunning as any world class musician. 

In many cases, his set-up dialogue before the songs are as entertaining as the numbers themselves. Intros to “Eggs and Sausage” and “Better Off Without A Wife” are two prime examples.

All of the numbers featured are Tom Waits originals with the exception of a cover of Red Sovine’s late 60s minor hit, “Big Joe and Phantom 309” - which Waits delivers with surgical precision towards the end of the set. It matches his storytelling talents to the utmost.

If I had to pick just one, this would probably be listed as my all-time favorite live album. No matter how many times I’ve listened to it and dissected its many layers, I always feel like I pull away some new shade of appreciation.

Joe Jackson / Live 1980/86

Released: April 25, 1988

One of the main things that has always drawn me to the records of Joe Jackson is his very clear commitment to following his muse. I have found him to be one of the most complete musical explorers - always willing to completely reinvent himself musically while always maintaining such a dedication to craft. 

He has fully committed, quite comfortably, to everything from New Wave punk-pop to swing to latin rhythms to musical theater (he has even tried his hand at classical formats). The fact that he has maintained a thriving forty-plus career is a testament to his reputation as a risk taker and a brilliant songwriter. That is, when he has had hits, it seems like the world catches up to him instead of the other way around.

This fantastic live collection features songs collected from four different tours supporting different albums and the sonic approaches found within match the exciting restlessness of Jackson as an artist.

Look no further than the three completely different readings that his first hit “Is She Really Going Out With Him?” receives - from a humorously loose faithful take to a fully acapella version to a street corner accordion and acoustic ramp. Each is more enjoyable than the last.

Following suit, the album contains an intriguing collection of performances that seem to highlight each of Jackson’s many faces - from a playful extended-piano solo version of “Cancer” to the intimate and mournful reading of “Be My Number Two”. The achingly drawn-out take on one of Jackson’s most potent torch songs, “Slow Song”, builds in thoroughly complete ways - lifting the original studio version of the track to new heights. When he finally hits the intentionally delayed crest at 6:43 you feel drawn to the point of breaking (in all the most satisfying ways).

Another major highlight is the slow burn treatment given to his 80s MTV hit “Steppin’ Out”. It rolls in on dreamy waves and delivers a completely intimate take. This version seems to have stuck as it continues to be the way Jackson still performs the song live this way now. 

Varied, but still very much connected - this is a rewarding sample platter always seems to return new and exciting little discoveries.

Boogie Down Productions /

Live Hardcore Worldwide

Released: March 12, 1991

Live hip-hop albums are a rarity. 

Public Enemy’s indisputable ‘88 masterpiece, It Takes A Nation Of Millions To Hold Us Back, hinted at it with pre/post song snippets of the group in concert, but always cut to studio recordings when the songs kicked in.

Thus, I have always pointed to  Live Hardcore Worldwide as being the first fully live hip hop album - and doing thorough research to confirm, I wasn’t able to find anything suggesting otherwise.

Groundbreaking MC KRS-One definitely seems on a mission throughout. Pulled from shows in NYC, London & Paris - the performances are simply electrifying. Because of when I came across this album, I came to know many of the tracks as the definitive version of the songs - and still, to this day, feel that they clearly outshine the studio versions.

The beats are stripped down and deliver such an effective punch when serving KRS-One’s commanding MC work. When I was first exposed to this album, I had almost no knowledge of Jamaican Dance Hall traditions, but it is now clear that the DNA connections are there - with KRS-One serving as proud host, partymaster and voice of consciousness simultaneously. 

Standout tracks include “Reggae Melody (including 9mm)”, “Jack of Spades” and “My Philosophy” - but the real joy is hearing the performances work their combined magic on the crowd - especially the tracks recorded in NYC. They definitely bring heightened energy to the numbers and serve as a key piece to the success of these recordings.

I was fortunate to see a number of excellent hip hop shows in the late 80s/early 90s, but nothing (at least in my memory) came close to hitting such an elevated place.

Van Morrison / A Night In San Francisco 

Released: May 17, 1994

I have had a soft spot for Van Morrison since discovering (and being completely won-over) by both Astral Weeks and Veedon Fleece when I was in college. His albums since 1990 have been (mostly) earnest tributes (whether including songs he’s written or well-worn covers of classic) to the various stylings of rhythms & blues that are the consistent fuel of his particular fire.

The recordings on this 2-hour plus collection are, quite literally, a masterclass in the performer’s songwriting talents and life-long passions. 

Some of his biggest hits (“Moondance”, “Tupelo Honey” & “Gloria”) are at the party, but even as stunning as they are - they are far from the main attraction. What never fails to pull me in and astound me with this recording are the rich and tightly-woven textural soundscape that Van and his band creates. He skillfully combines snippets to suit the rise of infectious grooves and thoughtful valleys of soulful contemplation. Great numbers by everyone from Ray Charles, James Brown & Sonny Boy Williamson to Gene Vincent, Roy Orbison & Sam Cooke.

Your particular taste for this sort of music aside, the band is so damn talented and completely on fire, that I just can’t imagine even the most passive listener not getting completely swept-up by the talent, deft handling & convincing dedication to craft. 

Like the song list, his band for these incredible performances are as impressive as they are important to the dramatically vibrant sounds created. Georgie Fame, John Lee Hooker, Junior Wells & Jimmy Witherspoon are joined by younger musicians - Kate St John (Dream Academy), Candy Dulfer (Prince) & John Savannah (Squeeze). The instrumental prowess is simply astounding.

The entire album is a pure joy to listen to. You can hear that the musicians are having a blast and the radiation of that bouncing back from the enthusiastic audience is infectious.