Live - Biography
Live began as a promising post-grunge band that delivered one of the biggest albums of 1994 and seemed set to enjoy a long and fruitful career similar to that of maybe the Foo Fighters or at least the Stone Temple Pilots. However, where those two bands were initially identified by their hard-hitting muscularity, Live's music was an R.E.M/U2 hybrid that quickly became bogged down by an overreaching ambition and overtly spiritual, often preachy lyrics. That been said, no one can argue that Live's career hasn't been long; as of this writing, the band has very recently released a new non-album single called “Forever,” the title of which might be a purposeful statement from the band about their longevity and plans for their future. And, their career has been fruitful, but not since the 90's. After blowing their top with the mega-hit “Lightning Crashes,” the band released a dark rock album that, sadly, did not rock. For their fourth album, they went back to the sentimentality of their breakthrough second LP, Throwing Copper, but they forgot to include that album's winning alternative edge. Having released their seventh and most recent album, Songs From Black Mountain, in 2006, Live are still a touring band, though the people that come to their shows now are most likely there to hear favorites like “Lightning Crashes” and “I Alone,” not “The River.”
It was York, Pennsylvania, where three middle school friends - guitarist Chad Taylor, bassist Patrick Dahlheimer and drummer Chad Gracey - formed the band First Aid. After losing in a 1988 York area talent show, the trio added Ed Kowalczyk to take over on vocal duties. Kowalcyzk gave the band a more spiritual bent (though not a Christian one) and the band renamed itself Public Affection after playing under a handful of different names. By 1989, the group had gained a devoted cult following, and released their first cassette of originals called Death of a Dictionary on their own label, Action Front. Their increased popularity found them playing more high-profile gigs, like CBGB in NewYork. Soon enough, they had inked a deal with Giant Records. The contract didn't get them anywhere, but the resulting demo did. The band were signed to MCA-offshoot Radioactive Records.
They decided to change their name, and put several possible monikers into a hat. The one that came out was Live. The band hired Talking Heads-producer Jerry Harrison to produce their debut. Mental Jewelery surfaced in 1991, and lyrically, it was deeply rooted in the writings of Jiddu Krishnamurti, an Indian philosopher. One song, “You Are the World,” was even named after one of his books. The singles “Operation Spirit (The Tyranny of Tradition)” and the U2-informed “Pain Lies on the Riverside” made the LP a success, and reviews were strong, even though Kowalczyk's tendency to preach to his audience was a bit much for some critics.
In 1994, Live returned with their commercial peak, employing an angrier sound on Throwing Copper. The album was merely treading water on the charts for a while thanks to the singles “I Alone” and the R.E.M.-influenced “Selling the Drama.” It wasn't until the band issued a third single, “Lightning Crashes,” that things really took off for them. The song, a slowly crescendoing ballad written in memory of a female classmate who was killed by a drunk driver, propelled the album to the number one spot on the Billboard 200, a year after its initial release. Two more singles, “All Over You” and “White, Discussion,” followed. When all was said and done, four of the album's songs had broken the top ten on the modern rock singles charts.
In early 1997, the group undertook the unfavorable task of putting out their follow-up to Throwing Copper. The odds of releasing another big hit were not great, but Live did what they could with Secret Samadhi (Radioactive), a dark, almost gothic set of songs penned by a pessimistic-sounding Kowalczyk. The effort sold well initially on the strength of the band's already-gained popularity and a strong first single, “Lakini's Juice,” which went to number one on the modern rock charts. The album also scored with “Freaks” and the ballad “Turn My Head,” which hit numbers 5 and 3, respectively, on the mainstream charts. Unfortunately, the album couldn't maintain a place on the charts and quickly fell from its number one spot.
In 1999, the uneven The Distance to Here (Radioactive) was released, and found Live retreating from the darkness they attempted on Secret Samadhi. Though generally seen as a better album than its predecessor, it didn't share that album's advantage of coming out right after Throwing Copper. Live could no longer depend on their former glory, which had been waning ever since “Lightning Crashes” left the charts. First single “The Dolphin's Cry” was a number 2 hit, but subsequent singles “Run to the Water” and “They Stood Up For Love” did not fare so well. Critics were happy to see Kowalczyk embracing his sunnier side, which suited the songs well. But in listening to the album, it's clear that the hooks were not what they used to be, and Live was beginning to sound more like Matchbox Twenty than R.E.M., or U2, or even the energetic band that once made Throwing Copper.
The group got slightly experimental for 2001's V (the roman numeral, not the letter), and with that album, Live forfeited their status as alternative rock's elder statesmen, whether they had intended to or not. They were now catering to a very specific audience that consisted of unwavering fans who had loved Live since Mental Jewelery or at least since Throwing Copper, and would continue to love them no matter what direction they took. The album, which combined Live's trademark sentiments with occasional rapping and a guest vocal from trip-hop artist Tricky, did reach number 22 on the Billboard 200. The singles “Overcome” and “Simple Creed” were both relatively successful. Back with Radioactive in 2003, the band hooked up with Incubus producer Jim Wirt and issued Birds of Pray, in which Kowalcyzk's spirituality leanings were more up front than ever. The LP peaked at 28 while the single, “Heaven,” placed modestly on the charts. In 2006, the band moved to Epic/Red Ink and produced their most relaxed effort ever, Songs From Black Mountain. It reached number 52 and the song “The River” was a mildly successful adult top 40 hit.
It would be difficult to argue that Live are still culturally important. At the same time, it is undeniable that Throwing Copper made an imprint on popular culture, so much so that it continues to justify the very existence of Live. If the band had never made that album, their following would be a fraction of what it is today, and they might not even exist, as record companies would have lost interest years ago. Since they did in fact make that album (the singles of which still get airplay on rock radio), fans will never stop going to Live concerts, and when Ed Kowalczyk sings “I'll stay here with you 'til the end of the storm” on “Forever,” it's not difficult to picture the legions of diehard fans who are grateful for it.
