Velvet Underground
08-23-1970
Max's - Kansas City, MO
Media Type:
FLAC
Set 1:
1. I'm Waiting for the Man (Reed) - 4:00
2. Sweet Jane (Reed) - 4:52
3. Lonesome Cowboy Bill (Morrison/Reed/Yule) - 3:41
4. Beginning to See the Light (Reed) - 5:00
5. I'll Be Your Mirror (Reed) - 1:55
6. Pale Blue Eyes (Reed) - 5:38
7. Sunday Morning (Cale/Reed) - 2:43
8. New Age (Reed) - 5:58
9. Femme Fatale (Reed) - 2:29
10. Afterhours (Reed) - 2:05
2. Sweet Jane (Reed) - 4:52
3. Lonesome Cowboy Bill (Morrison/Reed/Yule) - 3:41
4. Beginning to See the Light (Reed) - 5:00
5. I'll Be Your Mirror (Reed) - 1:55
6. Pale Blue Eyes (Reed) - 5:38
7. Sunday Morning (Cale/Reed) - 2:43
8. New Age (Reed) - 5:58
9. Femme Fatale (Reed) - 2:29
10. Afterhours (Reed) - 2:05
Show Notes:
Lou Reed - Guitar, Guitar (Rhythm), Keyboards, Vocals
Geoffrey Haslam - Editing, Production Supervisor
Mark Meyerson - Liner Notes, Coordination
Sterling Morrison - Guitar, Guitar (Rhythm)
Billy Yule - Drums
Doug Yule - Bass, Guitar, Drums, Keyboards, Vocals
Richard Mantel - Art Direction, Design
Fred Lombardi - Photography
Doug Johnson - Illustrations
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 Tuinol between songs. Fun for fans, but 1969: Velvet Underground Live is a much stronger document of this band's onstage prowess. Mark Deming
Geoffrey Haslam - Editing, Production Supervisor
Mark Meyerson - Liner Notes, Coordination
Sterling Morrison - Guitar, Guitar (Rhythm)
Billy Yule - Drums
Doug Yule - Bass, Guitar, Drums, Keyboards, Vocals
Richard Mantel - Art Direction, Design
Fred Lombardi - Photography
Doug Johnson - Illustrations
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 Tuinol between songs. Fun for fans, but 1969: Velvet Underground Live is a much stronger document of this band's onstage prowess. Mark Deming