I saw Kiss on 'The Dick Clark Show' in, like, 1980 or something, and 'Kiss Alive!' was the first record of theirs I had.
It's hard sometimes to capture magic when it comes to live records.
I've been a huge Gregg Allman fan since first hearing the Brothers' live 'Fillmore' album.
I was always the Doubting Thomas of the bunch, and I don't think I was convinced about the Allman Brothers until 'Fillmore East' hit - that one removed all doubt!
Well actually, we are working on the live album from the shows in Japan. I'm trying to get that finished.
It'll be basically a live album, but it will also include songs, Judas Priest songs, the audience have never heard before, because we felt we wanted to give the kids something else, something they haven't already bought.
A weird thing about Gossip that I've always said: 'If I weren't in this band, I would never listen to it.' But I would go see it. It's a band you would go see that you don't necessarily listen to. We've always wanted to do a live album because personally, I think we're a way better band live than on record.
If there's ever a live record that deserved to be mixed in surround sound, it's 'Frampton Comes Alive.'
I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.
That's why I've never made a live album - I can't bear listening to myself!
I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients. I love hip hop.
Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.
You know, we have a long history of covering different periods of this band's development with a live record... a sort of live thing that would be done for three or four records, and that was the intention with this particular package.
I remember one of the first albums I got was an album called 'Thin Lizzy: Live and Dangerous.'
My dad still hasn't heard 'I Love My Dad,' and I'm sure he'll say something like, 'It's good, but I love your version of 'Little Drummer Boy'!' My dad loves my live albums - he's obsessed with the live version of 'Little Drummer Boy' for some reason.
'Rock n' Roll Animal,' the live album, is one of the greatest live albums out there. It was a huge influence on me.
This was the rule that I had when we made 'Frampton Comes Alive!': being known as a live performer, I'm not going to go into the studio and overdub.
When I was in London I found house music and techno, and I love that s - t. It's my go-to music. It's the closest for me to the old funk of James Brown and the repetitive dance music that I like from the soul music. I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients.
Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.
A live album is a no-brainer.
Let's just cut a live record with three microphones in four days and talk about lizards and aliens. If I had taken that idea to even an independent label, I don't see a label out there that would've said, 'Oh yeah, that sounds great. We know how to market this.'
Well the way I ended up with my own record is that I did this concert at Wesleyan University. It was just one night and we had no thought of making a record.
With The Allman Brothers, we made two studio records that were OK, but the first really great album was the live one, 'At Fillmore East.' We were a live band, and it's one of the reasons we were able to stick around for 45 years.
All of these reissues were not authorized by me, I do not endorse them, the live album was put out without my permission, and I've not seen a dime at this point, either.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn't quite have if it comes out on a live album or is just a part of your show, you know.
