When discussing half-remembered post-grunge hits with my friend Dustin a few nights back (this happens more often than you would think), he argued that any greatest hits album released by the Pennsylvania quartet Live should simply contain a copy of the group’s 1994 album Throwing Copper inside. And, you know, I have to completely agree with that, and I think most everyone else would, too. Sorry, “Pain Lies on the Riverside”.
Oh, Live: stridently passionate, humorlessly sincere, and insufferably portentous, the band always had a habit of crossing the mark into becoming unbearably overwrought. Around before grunge had even penetrated popular consciousness, the members of Live were in fact ardent devotees of R.E.M., injecting their spiritually-tinged college rock with U2-sized bluster and self-importance as well as the occasional questionable white-funk bass lick. Forgive Pearl Jam, everyone: it was really Live who paved the way for Creed. Yet for one album the group managed to dial back its most grating tics, beef up the hook-per-song ratio, and turn out one of the most consistent rock albums of the ‘90s. Live coasted for a long time upon the goodwill generated by Throwing Copper—allowing the ensemble to vex rock radio with the likes of the leaden “Lakini’s Juice” and the atrocious Tricky team-up “Simple Creed”—yet the band’s second album holds up today better than you would expect, in large part due to the presence of industrial-strength hits “Selling the Drama”, “I Alone”, “Lightning Crashes”, and “All Over You”.