Eight 1990s live albums that badly fail to capture the magic

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I’ve been a dedicated fan of heavy metal music for the better part of three decades now, and I’ve come across my fair share of live albums that left me underwhelmed. Two such disappointments from my past are Anthrax’s “Live: The Island Years” and Guns N’ Roses’ “Live Era ’87-’93.”

During the 1970s, live albums experienced significant growth with numerous exceptional examples being produced. This decade holds a strong contention for the title of best live album era. The 1980s continued this trend, and by the 1990s, we were still witnessing many impressive live albums being released. However, it’s important to note that there were also several subpar live albums from this period.

In simpler terms, a live album may not resonate with everyone, including myself, if it fails to convey the authentic energy and unique elements of a live performance. Merely reproducing the same studio versions or treating it as an obligation or money-making opportunity falls short of the mark for me. Instead, I long for the essence of the concert experience to be preserved on the album, allowing me to relive the magic.

Unfortunately, the 1990s were marked by an excessive number of live albums that failed to provide a satisfying listening experience. Here is a list of eight such albums from the 1990s, each with its own set of reasons for falling short and failing to captivate listeners as they should.

Eight live 1990s albums without the magic

INXS – Live Baby Live

In the 1990s, it was common for live albums to be accompanied by a video or DVD of the concert or tour. This situation applied here as well, with both the album and video being sourced from a July 1991 performance at Wembley Stadium in London. However, this live album is so similar to its studio counterpart that one may question the significance of the difference.

The album fails to capture INXS’s signature live intensity. While they were known for bringing that excitement on stage, it feels lacking in this recording. It’s still an enjoyable listen, and likely a fantastic performance at the concert, but the connection between listener and music is not fully realized when listening to the album.

As a fan, I believe the DVD release is the better option in this scenario. When you watch a live performance on DVD, you get to experience the visual aspect of it all, making it easier to follow along and perhaps even gaining a deeper understanding. However, an album can’t quite capture the magic of a live gig. The sound seems to have vanished in this instance.

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Two live 1990s albums best avoided

Judas Priest – ‘98 Live Meltdown 1998

In 1998, I eagerly awaited the release of Judas Priest’s live album ’98 Live Meltdown’. This wasn’t just any album, but a follow-up to their long-awaited studio release, Jugulator. After a seven-year hiatus since Painkiller, fans were thrilled when Jugulator dropped in October 1997. It introduced a new era with a heavier sound and the arrival of Tim ‘Ripper’ Owens as the new lead vocalist. The anticipation was palpable, and before we knew it, this live album was out in September of the same year. Maybe they rushed things a bit too much.

The album features an abundance of their top tunes with a solid playlist. Owens possesses an excellent voice, yet he falls short of Halford’s caliber, inviting comparisons. Despite Owens’ freshness and newfound enthusiasm, the rest of the band seems unable to keep up. Their performance feels tired and past their prime in certain areas of this album. Consequently, this album may be a significant disappointment, even for devoted fans of the band.

King Crimson – THRaKaTTaK 

A live album made up solely of instrumental improvisations from your tours might seem an unusual choice. While witnessing such moments at a concert can add to the experience, listening to an entire album of these segments may feel disjointed for some listeners. Fortunately, it’s not a double-length recording.

In 1996, following their “Thrakattak” tour, the band put out an album that leaves one questioning its intended audience. Contrary to expectations, this record doesn’t capture the essence of their live shows with its heavy emphasis on improvisation. Some devoted fans have voiced strong criticism, labeling it a disappointing imitation. As a representation of their concerts, it falls short and may be best avoided.

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A double miss from Genesis

By 1992, Genesis had transformed significantly from their progressive rock roots into a pop rock band. Critics often viewed this period as being dominated by Phil Collins and his accompanying musicians. Debate ensues over whether the post-Peter Gabriel Genesis was as exceptional as its earlier incarnation. The contrast between the two was evident during their 1992 “We Can’t Dance Tour,” which highlighted the distinction in their live album recordings.

Genesis – Live – The Way We Walk, Volume One: The Shorts

Initially, there was an album released in November 1992, which was recorded during the tour and consisted mainly of shorter songs. These tunes often gained popularity as singles, even in later years. The audio quality is excellent, and the live renditions are commendable as well.

I have a concern about this: The songs closely follow their original versions in the recordings, lacking the unique elements and surprises that make a live performance or album special. Additionally, the crowd noise appears subdued and fails to enhance the experience by contributing significantly to the event’s atmosphere.

Genesis – Live – The Way We Walk, Volume Two: The Longs

In the second album of this tour, we find longer tracks. These tunes are more reminiscent of their progressive-rock roots and open with a powerful 1970s-inspired medley. Essentially, this medley consists of compacted versions of these long songs into one extended piece.

The album with the longer songs came out after the release of the shorter tracks, not as a two-disc set. This marketing strategy seems more like an attempt at selling separately what could have been a cohesive whole. If those are the complete versions of the songs, listeners would prefer having them all in one place. However, it’s worth noting that during live performances, the medley was not included, perhaps as a balance between paying homage to the past and keeping the focus on newer material.

The drum solo in this album deserved more prominence during live performances than it was given in the recording. Many listeners might not find drum solos particularly engaging, preferably enjoying them for a brief moment only. Including one as a six-minute feature towards the end of the album may not yield a favorable outcome. This demonstrates that there are instances where what works well on stage doesn’t necessarily translate effectively to recordings.

When following the shorts and longs method with music from different tour nights, it can create an inconsistent flow between the albums. Since each album selectively includes and excludes songs, listeners may perceive a fragmented listening experience.

For true fans, this might be worthwhile, but even they may find cause for disappointment. The experience is reduced to a collection of tunes with some cheers thrown in. Unfortunately, it fails to captivate me enough to become a repeatedly played album.

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Anthrax – Live: The Island Years

When an artist openly expresses dislike for one of their band’s albums and advises fans against purchasing it, there’s often a valid explanation. In other words, it’s a warning sign that the album may not be up to par.

Scott Ian of Anthrax held a different perspective towards their 1994 live album. In truth, the band had minimal involvement in its creation. The album was essentially compiled by their record label to meet contractual obligations with Island Records. Included were tracks from a 1991 home video soundtrack, “Live Noize,” and some recordings from a college radio broadcast in 1992.

I’ve been a dedicated fan of this band for decades, and I have to admit that their latest album left me feeling a bit perplexed. The tracklisting presents an unusual combination of tunes, with an overemphasis on collaborations between the band members instead of showcasing their standout hits. It’s a puzzling decision, as I believe fans like myself crave hearing the iconic songs that made us fall in love with the band in the first place.

As a longtime fan of heavy metal music, I’ve been following Anthrax since their early days. Having collected most of their studio albums, I was excited to get my hands on their first live album. However, upon listening to it, I couldn’t help but be disappointed.

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Guns N’ Roses – Live Era ’87-’93

During this double live album’s recording period, Guns N’ Roses experienced their most successful years. This stretch includes their breakout debut album “Appetite For Destruction” and the massive turnouts on their two-year-long Use Your Illusion tour. Slash performed his last show with the band during this tour’s final stop in Argentina, which took place in July 1993. This marked a significant ending to an era for Guns N’ Roses.

You might anticipate an impressive live album representing this timeframe. However, it falls short of your expectations. The song selection could be improved as fan favorites such as “Live And Let Die” are missing, and there are more acoustic numbers than you’d typically find in a top-tier rock act like Guns N’ Roses.

During the interludes between songs, Axl Rose’s behavior can be grating and leaves you yearning for him to resume singing. However, when he does perform, his live vocals don’t compare favorably to the studio recordings. Slash has voiced his criticism of the album, pointing out its imperfections and lack of polish. While the album may capture their prime years, it falls short in delivering their top-notch live music experience. It’s disappointing as it had the potential to be an exceptional release.

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Nirvana  – From The Muddy Banks Of The Wishkah

I find this live album, made up of various recordings from diverse locations and spanning several years, not to my liking on a personal level. It’s quite dissimilar from Nirvana’s earlier “MTV Unplugged in New York” album. However, given its nature as an authentic representation of the band live, it holds significant appeal for those seeking a more raw and genuine Nirvana experience.

Initially, the two were intended to issue an unplugged album along with another live recording as a pair. However, after Cobain’s passing and the ensuing sadness, they found it impossible to put everything together at that moment. The unplugged album was eventually released in November 1994, while “From The Muddy Banks Of The Wishkah” came out separately with only a few shared songs in October 1996.

I’ve been to my fair share of live concerts over the years, and let me tell you, there’s something truly magical about being in the crowd, feeling the energy of the music and the connection with other fans. But sometimes, you come across a performance that’s a bit rough around the edges. And I’m here to warn you, dear reader, that such an experience awaits if you decide to listen to this particular live recording.

There’s a divided reaction among listeners when it comes to this album, just as there was with their unplugged record. Despite selling nearly 13 million copies and being a massive success with the release of their MTV album, some critics still harshly criticize it. On the other hand, From The Muddy Banks Of The Wishkah sold around 2 million copies globally and is less favored among fans. The true test lies in whether you continue to listen to it occasionally or opt for other Nirvana albums instead.

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2024-07-22 13:01