10 Live Versions Of Songs That Are Better than the Original

“Rock and Roll All Nite” (1975), KISS

“Alive!” (1975)

Yes, it may be true that KISS’ “Alive!” was heavily doctored in the studio to achieve the best possible sonic outcome, but does that fact lessen its cultural impact? The LP actually helped save the group, which had, up until that point, not been reflecting their live reputation with comparable album sales. “Alive!” changed all that, and effectively made live versions of studio songs like “Rock and Roll All Nite” staples, not only within KISS’ concert set, but also concerning their future legacy. The performances captured (and assisted) here on “Alive!” ensured that KISS’ best musical foot was always put forward, effectively allowing them to continue on down their path to becoming “the hottest band in the world.”

“No Woman, No Cry” (1974), Bob Marley and the Wailers

“Live!” (1975)

The chances are probably pretty good that most casual fans of Bob Marley and the Wailers know this live version of “No Woman, No Cry” better than the studio cut included on Marley’s “Natty Dread” LP from 1974. That’s because the “Live!” album from 1975 managed to capture Bob Marley and the Wailers’ kinetic energy on stage and distill it into an audial essence. Of course, it also helped that this live version of “No Woman, No Cry” was released as a single, with its subsequent radio play further ingraining the song into the public consciousness. Bob Marley’s legacy as a reggae legend may be secure, but it was live performances like this one that helped carve it into the history books.

“Tenth Avenue Freeze-Out” (1975), Bruce Springsteen

“Live 1975-85” Box Set (1986)

One of the aspects about seeing an artist live, particularly one of the caliber of Bruce Springsteen, is the chance to hear established studio songs in a looser and more relaxed setting. The studio version of “Tenth Avenue Freeze-Out” from Springsteen’s “Born to Run” LP is fairly short, but this just makes it more exciting checking out other live performances from The Boss’ classic era. The version of “Tenth Avenue Freeze-Out” included on Springsteen’s 1986 box set collection, “Live 1975-85”, is a slightly extended cut that makes the most out of Bruce’s on-stage relationship with his saxophonist, Clarence Clemons. It’s great stuff.

“Both Sides, Now” (1966), Joni Mitchell

“Miles of Aisles” (1974)

Joni Mitchell’s love of jazz music was explored thoroughly within the Canadian singer/songwriter’s diverse discography. This live album from 1974 was released during the early years of Mitchell’s incorporation of this approach, and this allowed for older songs like “Both Sides, Now” to sparkle with new and vibrant colors. The L.A. Express were Mitchell’s backup band during this era, and their jazz fusion chops were clearly felt on “Miles of Aisles.” Their instrumentation allowed for Mitchell’s vocals to spread out along the musical meter, particularly on the verses. This loose and energetic feeling really captivates, and essentially makes “Both Sides, Now” sound brand spankin’ new.

“Seven Bridges Road” (1969), Steve Young

“Eagles Live” (1980), Eagles

It reads like a textbook, really; a schematic on how to achieve perfect vocal harmonies in the live setting. And yes, it’s been attested that the live version of “Seven Bridges Road” present on “Eagles Live” retains an arrangement that was swiped from The Monkees’ Michael Nesmith and Iain Matthews’ 1973 version. This live adaptation wasn’t properly credited by any Eagles members until Glenn Frey addressed the issues within the liner notes of a “Greatest Hits” package. Now, does this take away from how “Seven Bridges Road” works on “Eagles Live?” Not really, but it does remind us of a certain “Dude’s” opinion on the matter.

“Show Me the Way” (1975), Peter Frampton

“Frampton Comes Alive!” (1976)

Single, double and even triple live albums were big business back in the 1970s, but there’s perhaps no example of this medium that was as monumental to a musician’s career as “Frampton Comes Alive!” from 1976. The former Humble Pie guitarist had released four studio LPs prior to this point in his career. Can you recall the last time you heard the studio version of “Show Me the Way?” “Frampton Comes Alive!” contained the definitive versions of not only this tune, but others like “Baby I Love Your Way” and “Do You Feel Like We Do,” all of which essentially replaced the studio albums in the collections of fans.

“Turn the Page” (1973), Bob Seger & The Silver Bullet Band

“Live’ Bullet” (1976)

The career of Bob Seger was one that explored everything from raw garage rock to soul-searching acoustic Americana over the course of a multi-decade discography. The studio version of Seger’s “Turn the Page” wasn’t released as a single back in ‘73, but that didn’t stop the tune from being famously covered by artists such as Metallica. Fans of The Silver Bullet Band will likely point to this live version from 1976 as the turning point that made “Turn the Page” a hit, thanks to the atmosphere at play. “‘Live’ Bullet” feels surprisingly intimate for a ‘70s rock live album, embracing the audience and pulling them close, as Seger sings this song of the road, its perils, and its consequences.

“Maybe I’m Amazed” (1970), Paul McCartney

“Wings Over America” (1976)

Sometimes, it takes a little while for a song to become a hit. “Maybe I’m Amazed” wasn’t initially released as a single back when it was included on Paul McCartney’s first solo LP. It took until the former Beatle started a new band, Wings, that a live version of “Maybe I’m Amazed” took flight towards the pop charts. The studio version featured McCartney performing all of the instruments, whereas the cut on “Wings Over America” feels comparatively fuller, and with a stronger band dynamic. This allowed for “Maybe I’m Amazed” to reach its full potential as one of Paul McCartney’s most defining solo tunes.

“I Want You to Want Me” (1977), Cheap Trick

“Cheap Trick at Budokan” (1978)

Cheap Trick may have formed in Rockford, Illinois, but it took a trip to Tokyo, Japan to make them superstars. “I Want You to Want Me” didn’t do much business when it was released as a single from Cheap Trick’s second album, “In Color.” The band found a rapturous reception overseas, however, and the resulting live album, “Cheap Trick at Budokan,” took cobbled-together audio sources and created magic. The crowd noise is what really turns this version of “I Want You to Want Me” from “good” to “great,” as frontman Robin Zander enjoys a back-and-forth with a very receptive Japanese audience. The rest, as they say, is history.

“Folsom Prison Blues” (1955), Johnny Cash

“At Folsom Prison” (1968)

It was the album that helped signify a new era for country music legend Johnny Cash, while also revitalizing one of The Man in Black’s signature songs for a new generation. The original studio collaboration with arranger Gordon Jenkins was released as a single in 1955, while also being included on Cash’s debut solo LP in ‘57. Some fans might point to this live version recorded within the actual walls of California’s Folsom State Prison as being even better, however, thanks largely to the energy captured on tape. The backing of his wife June Carter, Carl Perkins, and the Tennessee Three really fill everything out here, while Cash himself sounds in great form, bringing down the house on this tune.

Have you ever been to a concert where an artist took a song you loved to a new level? Shout out your favorite memory in the comments!