To many people, live albums (in this case, albums that are recordings of musicians playing at a venue for a captive audience) are often dismissed as little more than collector's items for obsessive fans rather than fully-realized recordings. After all, what's the point of listening to live versions of songs that often sound better on studio albums? Quite simply, live albums are worthwhile because they document bands in a less controlled, more natural environment.

Without studio trickery to hide behind, the enthusiasm and musical competence of musicians take center stage on these live recordings. The result is not always pleasant – there are plenty of live albums from bands that poorly compare to their studio-recorded releases. Great live albums, on the other hand, are just as good or better than their studio counterparts. The following list contains five such albums.

Spiritualized – Royal Albert Hall October 10 1997

Spiritualized was arguably at the height of its power when their album Ladies and Gentlemen, We Are Floating in Space was released in 1997. This two-disc live album, recorded during Spirtualized's tour supporting the album, more than competently documents how much of a roll the band was on back then. From the opening of “Oh Happy Day,” it’s clear Spiritualized means business. Starting off slowly, all members of the band gradually play their instruments louder and more recklessly until all the players simultaneously stop, flawlessly transitioning into “Shine a Light.” The effect recalls The Beatles' “A Day in the Life,” which perhaps not-so-coincidentally has a similar rise-and-fall at its end. So it goes throughout the album – the band plays seamlessly together, making for a highly entertaining album full of triumphant highs and pensive lows. And given the high-quality of this recording, the album's not only for die-hard Spiritualized fans – those not previously familiar with Spiritualized will also find much to love about Royal Albert Hall.

Built to Spill – Live

Truth be told, if Live consisted only of Built to Spill's rendition of “Cortez the Killer,” it would probably still be on this list. The twenty minute version of Neil Young's classic is expertly covered by the band, and the lengthy jam that closes the cover is always engaging and never meandering. But even without the presence of “Cortez,” there'd still be a lot to love about Built to Spill's live album. The band tears through abbreviated versions of Perfect from Now On songs (most notably “Randy Describes Eternity”) and lengthier versions of Keep it Like a Secret songs (“Broken Chairs” rivals “Cortez” in song length). Throw in a couple other covers and the quintessential Built to Spill track “Car” and the recipe for success has been created. Few bands have done a better job of showing off their live prowess than Built to Spill on Live.

Mogwai – Government Commissions

Government Commissions might not be a live album in a traditional sense, but the songs comprising the album were all recorded live during various BBC sessions, including for the illustrious Peel Sessions. Government Commissions covers the discography of Mogwai from their early, pre-Young Team days to 2003's Happy Songs for Happy People. In true live fashion, many of the songs slightly deviate from the recorded versions. “R U Still in 2 It” drops the Aidan Moffit-aided vocals and sounds like it was somehow recorded underwater; “Like Herod” is even longer and more brutal than the original version found on Young Team. Despite the slight differences however, the collection as a whole still sounds like Mogwai through and through. It possesses excellent versions of some of their best songs, and one could easily make a case for Government Commissions being, in fact, Mogwai's most enjoyable record.

Shudder to Think – Live from Home

The other live albums in this list are documents of live performances by artists during their original run – indeed, all the other bands on the list have yet to break up. Not so with Shudder to Think. Live from Home is a recording of one of Shudder to Think's recent reunion shows, taking place more than ten years after their original breakup. Given the time the band's members spent apart from each other, it's amazing to hear how good they sound playing together on this album. They blast through complex burners like “Shake Your Halo Down” and “Hit Liquor” like they've played them a thousand times while also maintaining a certain intriguing mystique during the tension-filled “No Rm. 9, Kentucky.” Live from Home ought to silence the naysayers who claim that all reunion shows are little more than passionless ploys at quick cash grabs.

Do Make Say Think – Live at Bottom of the Hill on 2004-10-14

I'd, of course, be remiss if I didn't take this golden opportunity to plug The End and Future of Recorded Music for those who may have not yet read it. Bootlegs are sometimes great ways for fans to view no-frills snapshots of bands while they're in the throes of touring. In opposition to the previous four live albums, which are nearly perfect soundboard recordings that minimize occasionally obnoxious crowd noise, this Do Make Say Think bootleg does not always sound quite as perfect and some of the crowd noise is borderline ridiculous, especially the drug-focused dude shouting during “When Day Chokes the Night.” However, the fact that this recording was barely edited means that the bootleg is an authentic representation of their performance at San Francisco that night – and what a performance it was! The band exudes confidence throughout the night, playing through occasional mistakes like classy musicians should, and making jokes and telling stories in between some songs. Though the set as a whole is highly enjoyable, the encore stands high above the rest, with incredibly intense versions of “End of Music” and “Horns of a Rabbit.” The latter far exceeds the normal recorded version found on Winter Hymn Country Hymn Secret Hymn, and listening to it on headphones is a remarkable experience. For those skeptical of the bootleg as a suitable medium for music listening, this recording of a band in a groove ought to change their mind.