Ain't nothing like real thing: Live takes of songs superior to the studio version

"Folsom Prison Blues" is one of the legendary Johnny Cash's signature songs. He recorded the track in 1955, and two years later, it appeared on his debut album Johnny Cash with His Hot and Blue Guitar! He recorded and released the beloved track as part of his At Folsom Prison (1968) live album more than a decade later. The live version was a No. 1 country hit, cracked the top 40 on the U.S. Billboard Hot 100, and won Cash a Grammy for Best Country Vocal Performance, Male.

As Dead fans are well aware, pretty much any of the band's songs are better when played live. The ultimate jam band, the Grateful Dead made its mark as a truly special live outfit. It might not be easy to pick just one Dead tune that's better live than the original studio recording, but "St. Stephen" should be near the top of the list. 

The Allman Brothers At Fillmore East is up there with the greatest live records of all time. The undisputed highlight of the album is the 22-plus minute "Whipping Post." It took up the entire final side of the original LP version of the album, but it's good to the last second. In studio form, it checked in at a solid 5 minutes, 17 seconds on the band's eponymous 1969 debut record. But the famed live version is the way the song should be heard.

One of the greatest songs of all time earned that moniker, thanks to the superb version on Marley's Live! album. That came one year after it was included on the Wailers' Natty Dread album. The live performance, recorded at London's Lyceum Theatre, is arguably Marley's most well-known tune. Since it was released live, "No Woman, No Cry" is one of those songs that even casual rock fans recognize and celebrate.

In all honesty, the Alive! series of albums made just about any Kiss track sound better than the studio takes. "Strutter," the opening cut off the band's eponymous 1974 debut, should be at the top of the list. On that record, it's straightforward glam rock without the bombast found on the Alive! album. The production value of the live record is much better than that of the original.

When "Rock and Roll All Nite" was released as a studio single from Dressed to Kill in April 1975, it peaked at No. 68 on the Billboard Hot 100 in the United States. When the version from Alive! was released later that year, it became a top-15 hit for the group in early 1976. On top of that, the song ultimately became the most recognizable tune from the Kiss catalog and a rock anthem spanning generations.

A classic live offering from the praised Wings over America album. "Maybe I'm Amazed" was a solo hit for Paul McCartney, and the studio version is worthy of praise. However, the track is even more emotional and powerful in a live setting. This performance from the 1976 triple LP is an example of why McCartney — and Wings as a collective at the time — is such a phenomenal live act.

When the studio version of "Turn the Page" came out in 1973, it was never a charted hit for Bob Seger. Like others on this list, however, the song became a signature tune when part of a live record. Seger's performance of the track on 1976's Live Bullet became the preferred listening option for fans.

There's not a live album that has defined a recording artist's career more than 1976's Frampton Comes Alive! Following middling degrees of success with his first four studio records, Frampton enjoyed breakout success with this live gem. The album spawned three top-15 hits, starting with "Show Me the Way," which was initially released in studio form one year earlier. The live version reached No. 6 on the United States Billboard Hot 100.

Another massively popular single from Frampton Comes Alive!, "Baby, I Love Your Way" peaked at No. 12 on the Hot 100. Of the three hits off that stellar live record, this one probably holds the most weight and popularity when it comes to the studio version. Yet, like the others, the most prominent take of the song is the live performance, which has been a staple of classic rock radio for decades.

Say what one will about the overall shoddiness of Frampton Comes Alive! But "Do You Feel Like We Do" is a great rock song when played live. Arguably a better overall listening experience than the other two hits from the album. Now, the live versions clocks in at 14 minutes and 15 seconds, a marathon effort compared to the six-plus minute studio recording.

When the original studio version came out on REO's third album in 1973, Mike Murphy was handling lead vocals, but it was always a song that seemed better when played live and with Kevin Cronin on vocals. With the latter on the mic for the version of "Ridin' the Storm Out" off 1977's Live: You Get What You Play For, the track became a classic rock staple. Following the siren-like intro and Cronin's yell of "last song, people," the band delivers one of the great live rock efforts from start to finish. 

Much like the three aforementioned Frampton songs, "I Want You to Want Me" was essentially a middling track when Cheap Trick's acclaimed In Color album came out in 1977. However, the song was popular in Japan, thus opening the door for the band to record Cheap Trick at Budokan. The version off one of the great live albums ever made reached No. 7 on the Billboard Hot 100 and is the group's signature song. It's also found its place in pop culture, too.

It's a great multi-harmonic song that even presents some a cappella opportunities. The Eagles' version tends to stand above the rest. Found on the band's acclaimed Eagles Live from 1980. It's a master class in five-part harmony singing by a group that has always been at its best when playing in front of a live audience. Another special musical moment between Don Henley and Glenn Frey, too.

Now, the studio version of this Iron Maiden classic is just fine. However, it took a back seat in its own popularity to the killer live version from 1985's Live After Death album — arguably the best live metal record of all time. It showcases vocalist Bruce Dickinson at his very best, and the double-guitar attack of Dave Murray and Adrian Smith is even more powerful in front of a raucous crowd.

"Tenth Avenue Freeze-Out" has been a long-time favorite for fans of The Boss, especially since it refers to Springsteen's relationship with late saxophone legend and E Streeter Clarence Clemons. The song's popularity grew thanks to its live renditions, which tend to be much longer than the 3-minute, 11-second running time from Born to Run. One of the best live takes can be found on the exceptional Live/1975-85 box set.

"Bullet the Blue Sky" gets lost in the shuffle of the overall greatness of The Joshua Tree album. It's not listless or anything, but it's one of those songs that gets a boost when performed live. So, one year later, as part of the Rattle and Hum movie and soundtrack, the live version of the track was one of the project's highlights. Bono's sermon at the end of the live take is another memorable Rattle and Hum moment.

"Seek and Destroy" is a Metallica favorite from the Kill 'Em All (1983), and since the release of that album, it's been a staple of the band's high-energy live show. Usually played at the end of a set or part of the encore, "Seek and Destroy" is enjoyable live and a highlight of those concerts. This version from the all-encompassing Live Shıt: Binge & Purge release is one example of the punch the song packs in a live setting.

Like the Grateful Dead, Phish has always been a jam band. The group is at its best in a live setting. "Bouncing Around the Room" is one of Phish's more popular tracks. In its studio form, off 1990's Lawn Boy, it's a serviceable listen, but to experience the true joy the song brings, catch it in a live setting. Like on the stellar A Live One (1995), a great album for those who have never seen Phish in an environment where they're born to excel. 

"Silver Springs" was Stevie Nicks' answer to ex-Lindsey Buckingham's "Go Your Own Way," but it didn't make the cut on the Rumours album. However, it found a home as the B-side to the Buckingham smash. "Silver Springs" eventually enjoyed success through The Dance, the band's live reunion concert from the late 1990s. "Silver Springs" is a song made to be played live, especially with the passion and tension that Nicks and Buckingham shared during this performance.

The anthem of the 2010s and a staple during college sporting events, "Seven Nation Army" is solid in studio form on 2003's smash Elephant. Yet, when played live, the song reaches another level. Passionate, heart-pounding, an experience unlike any other in music. On 2010's Under Great White Northern Lights Canadian tour documentary and soundtrack, fans can enjoy that live experience without having to take out a mortgage to see the band play live.