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One of the most recognizable first world problems to a record collector is the conundrum of buying, or not, the live album. Partly designed to be sold at gigs so fans can actually hear the evening they attended, which they can no longer remember; only without spilling beer over themselves. Unless of course, they wish to recreate the gig at home by putting something tall in front of them so they can’t see the stage and going to the loo just before your favorite song.
The first live album was apparently Richie Valens: In Concert at Pacoima Jr. High. I’m assuming the question as to how a high school can also be junior was not addressed at the gig, although Summertime Blues were. Actually, this probably isn’t the first live album; it’s bound to be some forgotten jazz 78 that I’ll be corrected on – at length.
The live album is always a safe placeholder. Got no new songs? Release a live album. Falling out as a band because the drummer ate your salami rider (no euphemism intended)? Release a live album. It’s easier than even having to release a Greatest Hits with the enduring argument over track listing and who wrote what. The live setlist has already been argued over, so you can just bang it out.
Everyone has done it, even the Beatles, with At The Hollywood Bowl, which in the absence of effectively capturing any of the songs does at least preserve the hysteria of Beatle mania; it’s as though the sound engineer dropped his equipment into the crowd, and in fear of his own eardrums declined to rescue it. Nirvana meanwhile hit the jackpot with their 1994 Unplugged in New York which managed to remove the most interesting thing about the band i.e. that they were plugged in. However, most artists do tend to release more than one album before resorting to the cash-grab of a live album, unlike Vanilla Ice.
Mind you, live albums were always a step up from studio recordings when you were stalking your bedroom while miming into a hairbrush like Freddie Mercury spangled on Spangles*. The 80,000 crowd of the Queen live at Wembley album was strong enough to elevate your posturing even years after the event, so it’s impossible to imagine how the band felt at the time. The KLF always understood the importance of some crowd noise to imply vitality and virility at the end of songs, birthing their stadium trance concept.
So, New Order have recently released their latest live album, catchily entitled – ∑(No,12k,Lg,17Mif) New Order+ Liam Gillick: So it goes .., which will doubtlessly described as the new New Order live album by anyone asking for it in a record shop. It was recorded at the old Manchester Granada TV studio and features a 12-piece orchestra on rearranged songs. The band has been rightly praised for the setlist here, although it’s a departure from gigs where they have rolled out Joy Division’s Love Will Tear Us Apart with all the enthusiasm of someone facing ‘constructive feedback’ from their HR department.
The live album is basically buying music you already own with additional whooping over the top – and there is a rather enthusiastic wolf-whistler on So it goes…who initially adds to the atmosphere before outstaying his welcome. Despite being a long-term New Order fan, who didn’t turn their nose up as they embraced of electronics after the demise of Joy Division (besides I’m too young), I wasn’t going to buy this album, but then I went into my favorite record shop – Gatefield Sounds in Whitstable – and bought it in the spirit of saving the high street, or something. It also has Shellshock AND Subcultureon it, which stand as seriously neglected tracks and dominate in their magnificence as though making up for lost time out of the limelight. I’m not even sure what a 12 piece orchestra is, only that I want one. Thankfully the overplayed Blue Monday is also retired in favor of some tracks from 1989’s Technique, which has also been tragically forgotten by the band when playing live. There’s almost an apologetic air to these songs as they step sheepishly into the light.
You can tell that when Bernard gives thanks for them being a wonderful audience – aren’t they always – he is excluding the twat with the whistle Tourettes, and whom will doubtlessly buy this album to the delight than he might be in line for some royalties. Despite his presence, this is a rare beast, an essential live album for any fan of the Manchester band.
*a cultural reference that exposes my age.
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This post was previously published on Lifeassistanceagency.com and is republished here with permission from the author.
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