Live at Max's Kansas City [Deluxe Edition]

Live at Max's Kansas City [Deluxe Edition]

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by The Velvet Underground
     
 

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This concert album, long iconic among devotees of the legendary New York band, has drifted in and out of print over the years, and each re-release has been met with grousings about missing material and sub-bootleg sound quality. Well, at long last, both of those problems have been addressed on this newly expanded edition, which not only adds seven songs from the same… See more details below

Overview

This concert album, long iconic among devotees of the legendary New York band, has drifted in and out of print over the years, and each re-release has been met with grousings about missing material and sub-bootleg sound quality. Well, at long last, both of those problems have been addressed on this newly expanded edition, which not only adds seven songs from the same 1970 show but also upgrades the sonics to a remarkable degree. The former improvement is, without a doubt, the more important, given the knife-edge performances of newly appended tunes like "White Light/White Heat," which seethes with an intensity that points toward the Velvets' implosion not long afterward. Lou Reed, in one of his final performances with the band, exudes an oddly compelling blend of relief and resignation on both "I'm Set Free" and "Who Loves the Sun," bonus tracks that showcase the Velvets' less steely side. The expanded package also features new liner notes from surviving band members and associates, as well as several rare photos.

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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
The original 1972 release of Live at Max's Kansas City was a single LP, cobbled together from recordings that fabled Velvet Underground fan Brigid Polk made on her personal tape recorder on the night of August 23, 1970, when VU played two sets at the legendary New York club Max's Kansas City. It's long been debated whether this is actually the final date Lou Reed played with the Velvets, but there's little question that this captures the band in its final days, when Reed's interest in the band was declining and when a pregnant Maureen Tucker was on hiatus and replaced by Doug Yule's teenage brother Billy. The change in drummers is significant since Billy is a straight-ahead rock & roll drummer, far more accomplished than Tucker, and gives the band forward momentum at the expense of their long-standing mystique. It's a different, inferior band than the classic lineup of the Velvet Underground -- who are documented well on the excellent double-volume set 1969: Velvet Underground Live and the 2001 box Bootleg Series, Vol. 1 -- but they're still very good, and Live at Max's Kansas City is both enjoyable as music and a historical document of a great band at the end of the road. In other words, it's one for the fans, and it's even more so given the decidedly lo-fi, bootleg-quality of the tapes, which are, after all, amateur audience tapes, right down to prominent audience chatter between and sometimes during the songs (that it's poet
ocker Jim Carroll who's the most prominent voice makes it somewhat more interesting). If the original LP issue was one for the fans, Rhino's 2004 expanded double-CD reissue of the album is even more so since it contains more or less the entirety of the two sets, including six previously unreleased tracks, all of which are of a similar musical standard to what constituted the original album. Some of these clearly remained in the vault because of problems with the recordings -- set two opener "Who Loves the Sun" begins mid-song, while "Candy Says" has a fascinating conversation between two audience members about seeing Patton recently -- while others, such as a surging "White Light/White Heat," could have made the finished LP if there had been space. The CD gives the compilers room to roam with the entire set, and while this expanded set offers no revelations -- and the fidelity, while improved, is still bootleg-quality -- it still has the advantage of offering the entirety of a historical recording instead of the highlights, which ultimately does make it an improvement over the original, even if the music is still only of interest for fanatics.

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Product Details

Release Date:
08/03/2004
Label:
Atlantic
UPC:
0081227809324
catalogNumber:
78093
Rank:
57214

Tracks

Disc 1

  1. I’m Waiting For The Man
  2. White Light White Heat
  3. I’m Set Free
  4. Sweet Jane
  5. Lonesome Cowboy Bill
  6. New Age
  7. Beginning To See The Light

Disc 2

  1. Who Loves The Sun
  2. Sweet Jane
  3. I’ll Be Your Mirror
  4. Pale Blue Eyes
  5. Candy Says
  6. Sunday Morning
  7. After Hours
  8. Femme Fatale
  9. Some Kinda Love
  10. Lonesome Cowboy Bill
  11. Atlantic Release Promo

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Album Credits

Performance Credits

Velvet Underground   Primary Artist
Lou Reed   Rhythm Guitar,Vocals,Group Member
Sterling Morrison   Guitar,Rhythm Guitar,Group Member
Billy Yule   Drums,Group Member
Doug Yule   Bass,Vocals,Group Member

Technical Credits

John Cale   Composer
Jim Carroll   Liner Notes
Lou Reed   Composer
Jeff Gold   Material
Hugh Brown   Art Direction
Bill Inglot   Reissue Producer,Remastering
Mark Meyerson   Liner Notes
Moe Tucker   Liner Notes
Billy Yule   Liner Notes
Richard Mantel   Art Direction
Patrick Milligan   Reissue Producer
Steve Woolard   Discographical Annotation
John Hagelston   Reissue Producer
Jimmy Hole   Art Direction
Dustin Pittman   Quotes Researched & Compiled
Brigid Berlin   Liner Notes
Brigid Polk   Engineer
Danny Fields   Liner Notes
Doug Johnson   Illustrations
Daniel Hersch   Remastering

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