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The Velvet Underground - Live at Maxs Kansas City (2016) Remastered [email protected] Beolab1700
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The Velvet Underground - Live At Max's Kansas City (Remastered)
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Artist...............: The Velvet Underground
Album................: Live At Max's Kansas City (Remastered)
Genre................: Rock
Year.................: 2016
Codec................: LAME 3.99
Version..............: MPEG 1 Layer III
Quality..............: Insane, (avg. bitrate: 320kbps)
Channels.............: Joint Stereo / 44100 hz
Tags.................: ID3 v1.1, ID3 v2.3
Information..........:
Posted by............: Beolab1700 on 27/01/2016
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Tracklisting
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5 tracks have been added for this newly-remastered reissue on Rhino.
1. I’m Waiting for the Man [04:43]
2. White Light White Heat [05:15]
3. I’m Set Free [06:26]
4. Sweet Jane [06:17]
5. Lonesome Cowboy Bill [04:19]
6. New Age [06:38]
7. Beginning to See the Light [05:41]
8. I’ll Be Your Mirror [03:26]
9. Pale Blue Eyes [06:00]
10. Candy Says [05:49]
11. Sunday Morning [03:38]
12. After Hours [02:57]
13. Femme Fatale [03:09]
14. Some Kinda Love [11:02]
15. Lonesome Cowboy Bill (Version 2) [04:16]
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There’s a certain amount of disagreement among Velvet Underground scholars regarding whether or not this album, recorded by Andy Warhol associate and longtime fan Brigid Polk on a portable cassette recorder on August 23, 1970, does in fact document Lou Reed’s final appearance with the VU.
If this wasn’t his last stand with the group, it was certainly close to the end of the line, and while the performance is technically strong, it isn’t especially inspired, with Reed sounding more than a bit weary. (At this point, the band was near the end of a three-month residency at Max’s, doing recording sessions for Loaded during the day, a schedule that would tax most performers.) The absence of Maureen Tucker on drums (who was pregnant and sitting out the Max’s shows) makes an even bigger difference; the replacement of her steady, tribal pulse in favor of Billy Yule’s busy, sometimes sloppy style does these songs no favors. But there are a few lovely moments, including rare live performances of “After Hours” and “Sunday Morning,” and Reed and Sterling Morrison lock guitars with their usual authority on “Waiting for the Man” and “Beginning to See the Light.” The audio quality isn’t great, but given the circumstances it’s better than you might expect (it’s OK by the standards of an early-’70s bootleg), though historical merit seems to be more the issue than high fidelity. And yes, that really is Jim Carroll ordering double Pernods and asking about the availability of Tuinal between songs.
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