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Live at Max's Kansas City

 
Album Review: Live at Max's Kansas City

Review

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. Fun for fans, but 1969: Velvet Underground Live is a much stronger document of this band's on-stage prowess. ~ Mark Deming, All Music Guide

Tracks

Track TitleComposersPerformersTime
I'm Waiting for the Man Lou Reed The Velvet Underground (4:00)
Sweet Jane Lou Reed The Velvet Underground (4:52)
Lonesome Cowboy Bill Lou Reed, Sterling Morrison, Doug Yule The Velvet Underground (3:41)
Beginning to See the Light Lou Reed The Velvet Underground (5:00)
I'll Be Your Mirror Lou Reed The Velvet Underground (1:55)
Pale Blue Eyes Lou Reed The Velvet Underground (5:38)
Sunday Morning John Cale, Lou Reed The Velvet Underground (2:43)
New Age Lou Reed The Velvet Underground (5:58)
Femme Fatale Lou Reed The Velvet Underground (2:29)
After Hours Lou Reed The Velvet Underground (2:05)

Credits

Lou Reed (Guitar), Lou Reed (Guitar (Rhythm)), Lou Reed (Keyboards), Lou Reed (Vocals), The Velvet Underground (Main Performer), Geoffrey Haslam (Editing), Geoffrey Haslam (Production Supervisor), Mark Meyerson (Liner Notes), Mark Meyerson (Coordination), Sterling Morrison (Guitar), Sterling Morrison (Guitar (Rhythm)), Billy Yule (Drums), Doug Yule (Bass), Doug Yule (Guitar), Doug Yule (Drums), Doug Yule (Keyboards), Doug Yule (Vocals), Richard Mantel (Art Direction), Richard Mantel (Design), Fred Lombardi (Photography), Doug Johnson (Illustrations), Brigid Polk (Engineer)
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Wikipedia: Live at Max's Kansas City
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Live at Max's Kansas City
Live album by The Velvet Underground
Released May 30, 1972 (1972-05-30)
Recorded August 23, 1970 (1970-08-23) at Max's Kansas City, New York City, New York, United States
Genre Rock
Length 38:21
Language English
Label Cotillion
Producer The Velvet Underground
Professional reviews
The Velvet Underground chronology
Loaded
(1970)
Live at Max's Kansas City
(1972)
Squeeze
(1973)

Live at Max's Kansas City is a live album by The Velvet Underground. It was originally released on May 30, 1972 by Cotillion, a subsidiary label of Atlantic Records.

Contents

About the album

The Velvet Underground signed a two-album deal with Atlantic in late 1969 and released their fourth studio album, Loaded, in September 1970. By the time of its release, however, singer/guitarist/main songwriter Lou Reed had left. The band soldiered on with bassist Doug Yule moving to vocals and guitar and Walter Powers being drafted in to play bass guitar.

This line-up did a tour of the United States and Canada promoting Loaded. As the band still had a contract for another album, they wrote and played new songs eventually to be included on the new album. Atlantic, however, had lost faith in the band's commercial prospects and, wanting to cut their losses after the disappointing chart showings of Loaded, decided to release an archive live recording instead.

The tapes that would later become Live at Max's Kansas City were recorded on August 23, 1970, by Andy Warhol associate Brigid Polk on a portable cassette recorder. At the same time the band were recording Loaded, The Velvet Underground held a nine-week engagement (June 24 – August 28, 1970) at New York nightclub Max's Kansas City, playing two sets a night. Polk recorded almost everything happening around her at the time, and this happened to include her attendance of the last concert that Lou Reed played with The Velvet Underground. She recorded both the early and the late set. Later that year, Atlantic A&R employee Danny Fields heard the tapes and submitted them to his superiors, who accepted the recordings and in 1972 decided to make an album out of them.

Originally, Live at Max's Kansas City was a single album distillation of both sets re-sequenced and edited by Lou Reed and Atlantic staff producer Geoff Haslam to reflect the band's loud and quiet sides, respectively. On August 3, 2004, Warner Music re-issue label Rhino Records released a two-CD Deluxe Edition that contains both sets in their entirety in their original running order. The songs were recorded on a mono recorder using a simple ferro musicassette in a small venue, resulting in tape hiss and an audience often drowning out the more quiet bits of music.

Author Jim Carroll can be heard speaking on the album, ordering drinks and inquiring about drugs between songs. He was with Polk that night and so sat close to the mic.

Track listing

All tracks written by Lou Reed except as indicated.

Side one
  1. "I'm Waiting for the Man" – 4:00
  2. "Sweet Jane" – 4:52
  3. "Lonesome Cowboy Bill" – 3:41
  4. "Beginning to See the Light" – 5:00
Side two
  1. "I'll Be Your Mirror" – 1:55
  2. "Pale Blue Eyes" – 5:38
  3. "Sunday Morning" (Reed, John Cale) – 2:43
  4. "New Age" – 5:58
  5. "Femme Fatale" – 2:29
  6. "After Hours" – 2:05

2004 reissue edition

Disc one
  1. "I'm Waiting for the Man" – 5:50
  2. "White Light/White Heat" – 6:07
  3. "I'm Set Free" – 5:33
  4. "Sweet Jane" (Version 1) – 6:18
  5. "Lonesome Cowboy Bill" (Version 1) – 4:41
  6. "New Age" – 6:44
  7. "Beginning to See the Light" – 5:40
Disc two
  1. "Who Loves the Sun" – 2:17
  2. "Sweet Jane" (Version 2) – 5:58
  3. "I'll Be Your Mirror" – 3:02
  4. "Pale Blue Eyes" – 7:10
  5. "Candy Says" – 5:48
  6. "Sunday Morning" (Reed, Cale) – 3:48
  7. "After Hours" – 2:50
  8. "Femme Fatale" – 4:07
  9. "Some Kinda Love" – 11:22
  10. "Lonesome Cowboy Bill" (Version 2) – 5:00
  11. Atlantic release promo (hidden track) – 0:49

Personnel

External links


 
 

 

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Album Review. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved.  Read more
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