Showdown: Live Versions

Time for another Showdown and this time, it's not video game related!
Last time I did a Showdown post, I covered songs that had been rerecorded by the same artist and, if you hadn't guessed by the title already, this time I'm looking at live versions of songs compared to the studio original.
It's fairly common knowledge that studio versions tend to be better than live versions when you're listening to the songs casually. However, even though most live versions are only awesome when you're there at the gig witnessing the band truly bringing the thunder to their well loved material, some are so incredible that they actually surpass the quality of the studio versions and become known as the greater track overall. I'll be discussing the studio and live versions of some of those songs along with a few I've thrown in that aren't as well known.
Whilst some live performances from random gigs throughout history may have been out of this world and easily trounce the originals, I'll only be counting songs from live albums that have been officially released to make it easier for you to find should you wish to listen along as you read. For the first time in a Showdown post, I've included a Spotify playlist link at the bottom of this post to make it easier for you to enjoy the music. As for the format of this post, it'll stay the same but I'll make a note of the albums (studio and live) I'm writing about in each round.
Right, let's get started!

ROUND ONE: "I Want You To Want Me" - Cheap Trick
Original (In Color) - Arguably the band's signature song and a fine piece of Bubblegum Pop Rock. It showcases the band's ability to take influence from The Beatles and still sound like their own entity but if we're being honest, it's a bit wet. It might have a catchy rhythm and all but fuck me, that guitar solo is just pathetic, isn't it? Fortunately the rest of the album has enough belters to make up for this one but how well did this song translate into a live Rock show?
Live Version (At Budokan) - Now THIS is what the song should've been. Chugging guitar throughout, a faster tempo, prominent bass and a proper set of guitar solos. The differences are small but the transformation is hugely effective, making this a perfect example of how to go off book with your live performance and make the song better instead of pissing off all the fans who just wanted to hear you play your best tracks without getting cute.
VERDICT - It has to be the Live Version, doesn't it? I mean, there's no way you can listen to the original and call it the superior version after hearing the band absolutely crush it at Budokan...ohhhh, that's where the name of the live album comes from!

ROUND TWO: "Old Man" - Neil Young
Original (Harvest) - I wouldn't call myself a fan of Neil Young by any stretch but damn, I love this song. Definitely one of Neil Young's strongest tracks and it deserves to be more well known than pretty much every other song of his you hear on the radio. The only part of the song I would consider weak would be the backing vocalists, as they're unnecessary in this recording. Everything else has a purpose and adds to the song in some way but the backing vocals arguably ruin what would've been an otherwise perfect mix.
Live Version (Live At Massey Hall 1971) - Fun fact, this live version actually came out before the studio version so I guess this is technically the original, huh...or rather the live at the BBC version is. Anyway, I chose this track to compare because I'd heard this is an excellent performance (even if it does start with Neil moaning at someone). I'm inclined to halfway agree with that sentiment, as Neil's playing is spot on and his vocals are far more passionate than they come across in the studio version. However, because it's part of an acoustic set, it's missing the crucial ingredient that the other instruments would've provided.
VERDICT - It's a tough call but ultimately, I'm going to give it to the Original. Vocally, the live version is superior but musically (where it counts, in my opinion), it comes as close as it can but doesn't reach the mark. If I could splice this version with one that has piano, bass and drums, I think I'd have the perfect "Old Man", as the casting agent said to the director.

ROUND THREE: "Lazy" - Deep Purple
Original (Machine Head) - A fan favourite and a great example of how fucking amazing Jon Lord & Richie Blackmore were. Deep Purple are mostly known for Hard Rock or a bit of Prog but this Bluesy number off one of their biggest albums shows each member of the Mk II band at their peak...well, except Ian Gillan. Presumably he was out having a crafty fag for the first half of this track but everyone else brings it. This song's definitely grown on me over time and whilst it's still not one of my favourite Deep Purple tracks, it's easily one of their strongest.
Live Version (Made In Japan) - Another popular live album from Asia that stands toe to toe with the band's studio material. The track length may exceed ten minutes and the first minute of that is what I assume to be the band trying to connect to dial-up Internet using a buggered fax machine and an amp BUT once the band stop tossing about and start to play the song, it becomes something special. With beefed up performances from each band member, this version is often considered the superior of the two, even if they do get bored towards the end and piss about for a bit.
VERDICT - I'm going against popular opinion here and siding with the Original. Whilst the live version has some excellent performances, I can't be doing with what's basically the band jerking off when there's a perfectly suitable and catchy studio version available. However, I can imagine the Made In Japan performance was fucking incredible to watch live.

ROUND FOUR: "Folsom Prison Blues" - Johnny Cash
Original (With His Hot And Blue Guitar) - Carrying on the Blues theme with this short number from Johnny Cash, many people will know this song due to the line about the man in Reno. They might also confuse it for "I Walk The Line" as they both have a similar guitar melody. Personally, I prefer this track's music and lyrics but it's a little too slow and basic for me to truly enjoy. Still, compared to other examples of Blues from the decade, this is a great song.
Live Version (At Folsom Prison) - I think the overall performance at the prison is more notable than this actual recording but as far as live versions go, this is pretty decent. Again, the tempo is sped up and musically the solos are a bit more energetic but otherwise, it's practically just the same as the studio version. Oh, and you know how the prisoners all cheer during the Reno bit? Yeah, that didn't happen. It was added afterwards. Still, makes for a good moment in the song.
VERDICT - If you couldn't tell, I'm not really gushing over either of them but it's a clear win for the Live Version here. I decide the victor mostly based on which version I'd rather listen to and if I could only choose one for the rest of my life, I think I'd get the most out of the one recorded at Folsom Prison...oohhhhhh, I just got the name for this album as well!

ROUND FIVE: "Rock And Roll All Nite" - KISS
Original (Dressed To Kill) - Considering this song was released in the mid-70s, can we really call this a Hard Rock track? It sounds more like Classic Rock to me, especially when compared to songs like "Hotter Than Hell" and "Detroit Rock City". Anyway, it's the band's signature song and it's dumb, in a word. It has a great guitar riff but it's built around the same sentiment that the Beastie Boys made fun of in "(You Gotta) Fight For Your Right (To Party!)". When the fucking Beastie Boys are giving you shit, you know you need to rethink things.
Live Version (Alive!) - As far as live versions go, this is damn near identical to the studio version except for one key difference; an added guitar solo. Once you listen to this version, you won't be able to enjoy the original again without feeling like it's missing something. It just fits in so perfectly and gives the song that much needed kick. In fact, it's what the WaveGroup Sound based their cover on for Guitar Hero 3: Legends Of Rock (discussed in this blog post).
VERDICT - Obviously the Live Version. If you could edit out the sound of the audience (the single biggest problem with live recordings), you'd have a pretty damn good Hard Rock song right there. With the sound of cheering still in, it's just good.

ROUND SIX: "Young Man Blues" - The Who
Original (The House That Track Built) - This is the second song on this list where the studio "original" isn't actually the original version of this song. It was included on a compilation album about four years after the live album this came from was released and since then has been featured on a Tommy deluxe reissue and on Odds And Sods as a shitty alternative recording. Most people probably don't even know that the studio version exists but I reckon everyone who's heard it knows that it's a bit fucking weak.
Live Version (Live At Leeds) - Possibly the best example of an awesome recording aided by Keith Moon going apeshit on drums and definitely the superior version of the song. Added guitar solos, a tempo that suits the rhythm, more passion in the vocals and some fine bass playing from John Entwistle too. If not the greatest live recording in this list then definitely top three. Shame I've yet to hear another live version of a song by The Who that didn't make me want to self harm.
VERDICT - Weren't you reading? Live Version takes the win. The only positive thing I'll say about the studio version is that there's some guitar playing during the vocals that sounds alright but other than that, it's live all the way!

ROUND SEVEN: "Sunday Bloody Sunday" - U2
Original (War) - I like U2 on occasion but sadly, this song doesn't make my cut. There's something about The Edge's guitar playing that annoys me and Bono's whining voice doesn't help and since this song is largely just the same guitar and bass riffs on a cycle, it doesn't do much to please me. However, for fans of U2, it's probably their most U2ish song and a good example of the band's songwriting capabilities; they weren't about flashy solos or power, they just wanted to make what they considered good music.
Live Version (Under A Blood Red Sky) - This recording is regarded as one of the best live versions of a song and what I want to know is what the fuck was everyone else listening to? It's all over the fucking place! Larry Mullen and Adam Clayton sound completely out of sync on drums and bass and they come across like a high school band that didn't practise enough before their big show. If I liked the song, I might have a better reception of this track but as it stands, this sounds like absolute tosh to me. At least Bono still sounds like Bono, although it's debatable whether or not that's something that should be praised.
VERDICT - I don't like either track but it's definitely going to the Original here. An absolute mess of a recording with inconsistent drums that may or may not change tempo throughout. In order to know for certain, I'd have to listen to the live recording again and I need some fucking time after hearing it once.

ROUND EIGHT: "Free Bird" - Lynyrd Skynyrd
Original ((Pronounced 'Leh-'Nerd 'Skin-'Nerd)) - I don't really need to say anything about this, do I? We all know the song, we all know that the solo is amazing and every time I mention it on this blog, I have to say the same things about the song over and over again. It's an awesome song, even if the slower first half does get a bit dull when you've heard all the other Southern Rock epics out there.
Live Version (One More From The Road) - I've discussed this entire live album before and still think it's one of the best collections of music out there for anyone who likes Skynyrd's music. Every song on it's great to listen to but the track everyone agrees stands out is their 13-minute rendition of "Free Bird". Apparently, this what stoked the flames for the trope of everyone shouting "FREE BIRD!" at live shows, since Ronnie Van Zant asks the crowd what song they'd like to hear before they break into it. It's a fucking fantastic performance too with possibly the greatest big rock ending to any song ever recorded.
VERDICT - Jesus, this is tricky. The original is like stonehenge; it's an artifact that will stand the test of time and probably still be around longer than anything released today. However, that live version is spectacular and I still get chills when I listen to their big finale. I'd like to give the win to both on this one occasion but if I have to pick a winner, I'm going with the Original. The lead into the main riff during the solo is brilliant and whilst the outro on the live version may be superior, the lengthy ballad section at the start goes on just a bit too long for me (cut to about 6:27 for the good bit).

ROUND NINE: "Whipping Post" - The Allman Brothers Band
Original (The Allman Brothers Band) - Southern Rock followed by more Southern Rock, that's just how I roll. It's hardly the most famous Allman Brothers Band track but it was one of their first big songs. It starts off with an ominous bass riff before introducing a Wild West guitar riff that still remains one of their best contributions to music alongside "Jessica" and the solo in "Blue Sky". It's a Bluesy Southern Rock number but it's still pretty damn good.
Live Version (At Filmore East) - Buckle up, boys. If you thought the last live version was long, you ain't heard nothing yet! This rendition of "Whipping Post", despite having a faster tempo, clocks in at over 23 minutes long. Whilst this is an impressive feat for any live band, the tragic fallacy is that people assume this is an incredible live version of a song when really it's a pretty poor version compared to the original. Sure, the first half or so is great but then the band run out of steam and start jerking each other off for a while without knowing when to bloody end. This is one of those few times where faster tempos can make a song worse (see also "Hocus Pocus" - Focus).
VERDICT - An easier decision this time; Original takes the win again. Granted the solos in the live version are something every Rock fan needs to toughen up and listen to all the way through at least once (even if they can probably stop around the ten minute mark), I know which track I'd rather listen to again. It's a shame The Allman Brothers Band couldn't bring this fretting fury to the studio but at least they managed to capture their raw talent at Filmore East.

ROUND TEN: "Do You Feel Like We Do" - Peter Frampton
Original (Frampton's Camel) - Did you know a studio version of this song existed? You'd think it was another "Young Man Blues" what with all the hype around the live version but we'll get onto that in a bit. The studio original is noticeably slower and obviously lacks the middle talkbox section, instead introducing the outro solo a lot earlier. It's actually quite a decent tune and I'd recommend checking it out if you've only heard the live version.
Live Version (Frampton Comes Alive) - Another looooong live song but luckily, this is just 13 minutes as well. Regarded as possibly the most famous live recording on this list, a large portion of this song is dedicated to the credits jam between Frampton and "Buck-Man" on the keyboards before they eventually break into the glorious outro solo. Some people consider "Show Me The Way" to be the better live recording off the album but there's always something to be said for the last song on a band's live album. They've fed off the crowd's energy and now they're ready to release it one last time, hence "Do You Feel Like We Do".
VERDICT - I feel like both deserve some recognition here too but the win's going to the Live Version for taking the material provided in the song and using it more effectively than the studio original. If I could speed up the original just a little bit, I'd probably prefer that version but goddamn, Frampton needed to come alive in the studio that fateful day...OOOHHHHHH, now I get the album name, it's because the Allman Brothers recorded At Filmore East! Fuck, that one took a while to sink in.


Well it's been an educational blog post for some but was there anything I missed? Did I fail to include an even greater example of where the live recording was greater than the studio version or have I absolutely fucking nailed it, once again? Let me know in the comments or via Twitter.

As promised, here's the Spotify playlist for this post and I apologise if any of the verdicts were spoiled for you in scrolling down to the bottom of this post.

Showdown: Cover Versions

It's taken me a long time to write this post, even though it's incredibly basic in principle. Last time I wrote a Showdown post, I was weighing up the tracks on Whitesnake's Purple Album against the Deep Purple originals. I had planned on writing more Showdown posts between now and then but never really knew what to write about. However, after hearing a decent Rock cover version of a new Pop song last night, I had an idea.
In this first post of (hopefully) quite a few, I'll be looking at select cover versions and comparing them to the originals in the Showdown format. Instead of just throwing in a bunch of random covers that I prefer/hate, I've decided to limit my choices either to iconic tracks that have lesser known but equally strong covers OR popular songs that are actually covers of originals most people might not even know about.
Since I wrote about non-Rock songs last week, I'll be limiting this post just to Rock/Metal songs and covers. If I get around to writing another of these in the future, I'll include Pop and other non-Rock genres then. Also, if it isn't obvious, I'll be discussing the original, then the cover, then my verdict on which is better. Time to get this fight started!

ROUND ONE: You Really Got Me
The Kinks - One of this band's signature songs and a damn good one at that. It's considered to be one of the earliest "Hard Rock" tracks in existence but regardless of whether you think it's Hard Rock, Garage Rock or just plain old Rock, it's a hell of a song. Heavy guitar riff (for the 60's), catchy chorus AND verse, fitting solo, all in the space of just over 2 minutes.
Van Halen - A solid cover with great vocals from David Lee Roth that helped propel the band to success when promoting their debut album. By and large, it's a pretty faithful cover except for a couple of differences after the second chorus. Eddie Van Halen beefs up the guitar solo to include more tapping and after he's finished, the final verse is a bit of a comedown with softer drums and no guitar melody. Considering it's only a short song, you shouldn't really need to slow things down in the middle.
VERDICT - An easy decision for me but honestly, both songs are good. However, the comedown in the Van Halen cover sort of spoils it for me. I like a song that can keep things consistent from start to finish without needing a breather in the middle so I'm awarding this win to The Kinks.

ROUND TWO: Blinded By The Light
Bruce Springsteen - I've made my thoughts on Bruce Springsteen perfectly clear on the blog before but this song isn't completely terrible. His voice doesn't sound as bloated as it usually does but I'm still not in love with the track. It sounds like too much of a cruise ship performance for me to really enjoy it, although I do prefer Bruce's original lyrics in the chorus.
Manfred Mann's Earth Band - It might be about as faithful as a pissed up Italian whose wife is away for the weekend but this is the version everyone knows, and with fairly good reason. "Wrapped up like a douche" confusion aside, it's a catchy little number that's easily more memorable than the original, thanks to the soft chorus after building up through the verses. This band took a mediocre cover and made it special, which is always the sign of a good cover, regardless of your opinion of how good either song actually is.
VERDICT - Bruce was always going to lose this one in my books but at least here, I can back up my prejudice against this rubbish vocalist. The lyrics might be better in the original but practically the entire song is better to listen to during the cover, so Manfred Mann's Earth Band win this one hands down.

ROUND THREE: Hurt
Nine Inch Nails - Up until the last episode of Rick And Morty season 2, I wasn't really feeling this song. It's a slow burner but definitely rewarding if you sit and properly listen to it, although the minute of static noise at the end kind of stops this song from being one you want to listen to all the way through repeatedly. Still, the vocals are dripping in the amount of self-loathing that a song like this deserves. A powerful tune by a band I normally wouldn't care for.
Johnny Cash - Can we count Country music in this post, since it's technically not Rock? Ah whatever, it's close enough. There's been confusion in the past about whether this was the original or not but the pain behind the song is still there, albeit having moved from anger to depression. It might be less powerful than the original when it comes to the instruments that are used but it's equally as powerful when it comes to how the song actually sounds.
VERDICT - Tough one, this. They're both excellent in their own right and I would recommend both songs. However, since the Johnny Cash cover doesn't have the wasted minute at the end, I'm awarding the win to Johnny Cash this round. Maybe some of you will prefer the NIN original because of that minute where you get to just sit and reflect but for me personally, I'd rather spend that time listening to something new. Also, whilst I'm on the subject of great Johnny Cash covers, do give his rendition of "Cat's In The Cradle" - Harry Chapin a listen!

ROUND FOUR: Paranoid
Black Sabbath - An iconic Metal (or Rock, depending on your genre qualifications) song that is easily recognisable and arguably overplayed in comparison to other Black Sabbath tracks. I've always found the solo a bit dodgy on this recording, not because of the notes that are played but rather the actual sound of Iommi's guitar playing. It's also quite a flat song once you're used to other Rock tracks of the same decade so whilst I loved it when I first heard it, it's definitely one that's lost magic over time.
Megadeth - There are a couple of covers of this song but I've chosen Megadeth because it's one of the first covers I heard of this track. The tempo's a little faster, the guitar's a little heavier and the vocals are a lot better. I can't say I regard Ozzy's vocals highly but Dave Mustaine's just seem to fit better with this song. The only flaw in this track is the ending, which gets a little silly and ruins what I would've otherwise called a perfect cover.
VERDICT - Purists will no doubt find a million ways in which the Black Sabbath version trumps any and every cover but I would much rather listen to the cover in almost any given situation over the original. I still like the original but if I had to choose a winner, it'd be Megadeth.

ROUND FIVE: Knockin' On Heaven's Door
Bob Dylan - A song that's been covered an inordinate amount of times by a variety of artists but ultimately, this recording is the source. Bob Dylan's soft, soulful song about a sheriff hanging up his guns has a poignant quality to it that I've yet to hear in any other cover. It really does sound like the swan song of a man who's reached the end of the line and is ready to accept his fate. Not only is it a fantastic track where Bob Dylan actually sings instead of whines but it's one that really shouldn't have been covered to a lesser degree by any band, especially not these fuckknuckles...
Guns N' Roses - Gone is the sombre tranquillity from the original, gone are the simple guitar melodies or battle-fatigued vocals and gone is any shred of quality that Bob Dylan's recording had. Rather than perform a song with the emotion it deserves, Axl decided to shout and mewl all the way through it whilst Slash enjoys an unnecessarily long jerk-off sesh as the band make this song all about fucking them. Listening to this again to prepare for this post has made me hate Axl even more than I did before, as I bet it was him who wanted to cover/ruin this track in the first place.
VERDICT - Do I even need to say it? Some of you might think I chose this track just to have a dig at GNR but I reckon I could choose any cover of this song, whether it's Eric Clapton's shitty Reggae version or Avril Lavigne's stripped-back B-side, and still give the win to Bob Dylan. However, that being said, I will rarely miss the opportunity to stab and twist the knife into Axl Rose's vocal work.

ROUND SIX: Baby, Please Don't Go
Big Joe Williams - A Blues song from the 1930's, Big Joe Williams' original is stripped back and lacking in any kind of power but that's to be expected, really. It's still a decent Blues song but combine the poor recording quality with the basic structure and it's unlikely to strike a chord with you, unless you're a Blues fanatic. Again, this track has been covered a hell of a lot and most covers will probably be better than the original so in a complete contrast to the last example, I've decided to pick a cover that didn't make me want to punch the vocalist.
Aerosmith - The added bass, drums and additional guitar melodies really make this track. The driving rhythm and fast pace give it an edge that Big Joe never could've pulled off with a nine-stringed guitar and his foot. Perhaps the aggression in the vocals doesn't fit to perfection with the lyrics but this is definitely a song for a more contemporary Rock audience. Blues fanatic or not, you have to love that bass though.
VERDICT - I'm not a massive fan of old Blues songs as they do little to captivate me but even if I did like the original, I'd have to be crazy to not award this to Aerosmith for a top quality cover.

ROUND SEVEN: Can't Find My Way Home
Blind Faith - Maybe this isn't a notable Rock song but it's been covered more times than a piss-stain on a white carpet and I still love it as much as I did when I first heard it. Everything about it is simple yet so, so effective. However, it's the vocals that really shine here, although the high pitch might put some listeners off. Luckily, I'm not one of those listeners and this song will always hold a special place for me. For this comparison, I've picked a cover that does something...a little different with the cover.
Black Label Society - Whilst I like a few of this band's heavier songs off the same album, this cover feels inappropriate. It starts off well with strings and piano but when Zakk Wylde sounds like he does, I'm not sure why they chose to cover a song that requires delicate vocals. Not only that but towards the end, Zakk decides to turn it into slosh by mindlessly shredding all over the fucking place. If Zakk was feeling a little insecure about his skills and wanted everyone to know that he's a shit-hot guitarist, he should've picked a different song to whack it out to.
VERDICT - A poor choice of cover for BLS, although it could've worked if Zakk Wylde stuck to the piano like a good boy. There are a few bands who have covered this song that may have stood a better chance than the one I chose (such as Styx and Stuffy Shmitt) but Blind Faith definitely trump Black Label Society on this one.

ROUND EIGHT: Born To Be Wild
Steppenwolf - A solid driving anthem and another contender for the earliest "Hard Rock" track in existence but it's also had its fair share of covers over the years. Crunching guitar riffs and a short but strong chorus are usually what make these songs stand out, and that's certainly the case with this easy rider too. It's just a shame the track fades out during what sounds like a good solo too.
The Cult - Why the fuck did they slow the tempo down? Maybe they wanted it to sound more like one of their songs but if that were the case, surely they would've played at their standard 140 bpm instead of fucking about with the song. Also, is it me or does Ian Astbury sound like he's taking the piss with his vocals on this one? I love him as a vocalist and the Electric album is definitely in my good books but this cover really brings both him and the album down.
VERDICT - If someone were to write a book about how to record a good cover version, Rule #1 should be "Don't cover Born To Be Wild or Gimme Some Lovin" as I've never heard a solid cover of either of those two tracks, and The Cult's recording should act as a black flag for any other bands who think they can get away with a shitpoor/experimental cover of an iconic song. Steppenwolf all the way here.

ROUND NINE: Hanging On The Telephone
The Nerves - I feel like this should be common knowledge by now but the version of this song you probably know is actually a cover of a track by The Nerves. As far as the music, structure and vocals goes, it's all pretty sound. There's nothing really wrong with the song but it's all just a bit flat, if you ask me. There's nothing about it that stands out if you've heard the cover as it's pretty much just the same verse/chorus over and over until the end. Good effort but I can see why the Blondie cover is the preferred track.
Blondie - A perfect example of how someone has taken a song and made it their own. Blondie's cover adds a few extra instruments and a brief middle-eight that spices things up a tad. Overall, it's a short and punchy tune that's faithful to the original in all the places that count and different enough to make it better to listen to.
VERDICT - Opinion is a deciding factor for most of these songs but when a track is improved by a tidy solo or perhaps more fitting instruments, it's not exactly a difficult decision to make. Blondie may not be a fantastic band outside of their well known Rock singles but they easily win this round.

ROUND TEN: Summertime Blues
Eddie Cochran - Time to end on another Blues Rock track and what better than another short number that's had a string of covers. The bizarre thing about this song is that I've never heard a cover which keeps the same tempo as the original which, in my opinion, make this song enjoyable. The bouncing rhythm, low vocals and clean guitar riff without any complications make this a great gem from the 50's, which is something you won't hear me say that often.
Rush - Yep, Rush are one of the bands who have covered this one. I was tempted to use the more well known covers by either The Who and Blue Cheer but to be honest, they all make the same mistake in going overboard with the heavy riffing and slowing down the tempo so it's irrelevant as to which one I compare with the original. I suppose I should add "Summertime Blues" to the list of songs that no band should ever cover, if this is the standard.
VERDICT - Please let me know if a band has recorded a truly faithful cover of this track, as I'd be willing to give it a shot. Until that date, it's fair to say Eddie Cochran will always be superior.


If you have any covers that you recommend over the originals that I've listed in this post, let me know. I'll probably return to cover versions in a Showdown post sometime in the future although I'll happily welcome recommendations of tracks to listen to for that as well.