Live at Max's Kansas City [Deluxe Edition]

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Editorial Reviews

Barnes & Noble - David Sprague
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 ...
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Editorial Reviews

Barnes & Noble - David Sprague
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.
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: 8/3/2004
  • Label: Atlantic
  • UPC: 081227809324
  • Catalog Number: 78093
  • Sales rank: 67,051

Tracks

Disc 1
  1. 1 I’m Waiting For The Man
  2. 2 White Light White Heat
  3. 3 I’m Set Free
  4. 4 Sweet Jane
  5. 5 Lonesome Cowboy Bill
  6. 6 New Age
  7. 7 Beginning To See The Light
Disc 2
  1. 1 Who Loves The Sun
  2. 2 Sweet Jane
  3. 3 I’ll Be Your Mirror
  4. 4 Pale Blue Eyes
  5. 5 Candy Says
  6. 6 Sunday Morning
  7. 7 After Hours
  8. 8 Femme Fatale
  9. 9 Some Kinda Love
  10. 10 Lonesome Cowboy Bill
  11. 11 Atlantic Release Promo
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Album Credits

Performance Credits
The 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
Dan Hersch Remastering
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
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Absolutely Fantastic! One of the best albums I've ever owned!

    This album is a must for any Velvet fan, or anyone looking for a great album, period. I think that this album is definitely the best out of all of the other live Velvet stuff. The best thing about these recordings is that they capture the entire atmosphere of Max's Kansas City, not to mention the Velvet Underground's wonderful and sincere performances. "I'm Set Free" and "Sunday Morning" are particularly beautiful. I can't say enough good things about this album, or how much enjoyment I have gotten from it. It's perfect.

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Sort by: Showing 1 Customer Reviews