Would you be offended if I waved my genitals in your brother’s direction in a mocking manner? For he is a Foole.
I think the last FM show we saw was in 2009 as well. Looking forward to the new tour.
I much prefer the energized live version of the Kinks’ “Destroyer” (from their album The Road).
Go here to listen to the album copy of “Dam* Right” from my most favorite singer James Otto and here to listen to him sing it live. 
God bless you and him always!!!
Holly
Journey’s “Greatest Hits Live” is a mixed bag. “Wheel in the Sky” is awesome but “Separate Ways” not so much. I think it’s the background singer.
Down Under - Colin Hay
BTW if you ever get a chance to see him live, DO NOT miss it. A+++ show. Why this guy isn’t more famous I will never understand.
The Jam were my childhood heroes and for anyone interested in finding out whether they could cut it live I’d point them in the direction of “Dig the new breed” a collection of live hits. Brilliant.
Standout tracks being “it’s too bad” “set the house ablaze” and “Ghosts”…actually all of them are great. “That’s Entertainment” is probably the one track that, live, most eclipses the studio incarnation. Very raw, very sparse. Fits the subject matter just perfectly.
“Oh Atlanta” by Little Feat
Fleetwood Mac’s “The Green Manalishi (With a Two-Pronged Crown)” from their “Live at the Boston Tea Party” box set.
“Life During Wartime” by Talking Heads
If I am not mistaken, it is because such unorthodox methods were used during their studio sessions.
I am fonder of the studio stuff because of familiarity alone. It is hard to hear the live stuff, and not want to hear the albums… but I am sure it is just because I am used to it.
Also, I guess I am the only person in the world who prefers the studio version of I Want You To Want Me.
Yeah, from what little I know about it, Martin Hannett (who produced Unknown Pleasures), had interesting ideas for shaping the Joy Division sound, which were quite different from what Joy Division band members were envisioning. There’s a few legendary stories (I don’t know how true they are) out there, like him forcing Stephen Morris (drummer) to take apart his drumset and put it back together with toilet parts, or have him play the drums on the roof or fire escape, or things like that. He was very particular about having the drums recorded very clean with minimal bleed-through, and would sometimes have Morris record each drum part individually to get the cleanest sound possible (and process it afterwards). This is also a strange way to drum and, I think, is responsible a bit for the mechanical (is that the right word?) feel for some of those drum parts. By that, I mean, those drums don’t really “swing” or “groove” in the usual way–they are kind of cold sounding, electronic, and part of it is the sound, and part of it the way they were recorded.
Wait, there’s a studio version of that song?
This. The only version I think I’ve ever heard was Bodukan.
I prefer David Gilmour’s live version to the Pompeii version.