RIP Lou Reed

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It was picked up on by a lot media outlets and hasn't been debunked anywhere. Azzerad is a well regarded critic, I don't think his blog would ghost write reviews from high profile musicians. Also, I love the idea of Lou Reed staying current with hip hop mixtape circuit.
 
When I heard this yesterday, I thought of my good friend from high school. He had "saved himself" as a concert virgin for Lou. So when we could go see Lou at the Roxy, three of us went up there to see him. I don't remember when it was, or even what songs were played, but my friend was in heaven.

And all day yesterday, the song that this news put into my head was the Modern Lovers' Roadrunner.
 
I don't think it was ghost writing either. But I think he had a bit of help from someone, maybe if just Google :wink: No way he got that Beenie Man right on his own. That wasn't even remotely a song played outside the 90s dancehall scene, really. I suppose he might have heard it on one of a few compilations in the years since, of course.

I really like that he listened to the album and wrote a review on it, even if he did have to source some stuff. That's what good writers do anyways. :up:
 
After reading Laz's recommendation earlier in the thread, I listened to The Blue Mask this morning. It was exactly the album I needed to hear. The sound of the album is so spare and natural (except for the fretless bass, of course, a tone that always drives me up the wall) that it suits his songwriting perfectly. My House is haunting and beautiful, an awesome opener. The title track is absolutely terrifying.

Not my favorite of his solo output, but not too far from it either. It's a great look into his mindset from that period, and honestly one of the better midlife crisis records I've ever heard.
 
bollox said:
The fact that he was sharp enough to put in that level of research is still impressive. Hell, that's more than I can say about most music critics today.
Click to expand...

Oh, absolutely. In the Beenie example I have no doubt he probably recognized his voice and maybe even faintly remembered hearing that track one night and looked it up. Good catch on his part. Stopped short of mentioning Capelton too but hey he gets props from this dancehall fan! ;)

PS Yeah Wild Side was probably my first Lou Reed track also.

When I was in my teens we kinda thought this was a bit wack:

http://www.youtube.com/watch?v=uMxyIs8MkmU

:lol:


He had another song `I Wanna Be Black` I think that was a bit cringeworthy also

Overall a brilliant brilliant guy though however conflicted. RIP.
 
tumblr_mvd00aIDVc1qz6f9yo3_500.jpg
 
LemonMelon said:
After reading Laz's recommendation earlier in the thread, I listened to The Blue Mask this morning. It was exactly the album I needed to hear. The sound of the album is so spare and natural (except for the fretless bass, of course, a tone that always drives me up the wall) that it suits his songwriting perfectly. My House is haunting and beautiful, an awesome opener. The title track is absolutely terrifying.

Not my favorite of his solo output, but not too far from it either. It's a great look into his mindset from that period, and honestly one of the better midlife crisis records I've ever heard.
Click to expand...

:up::up:
 
Anyone else got any popular bands doing Lou Reed covers to share? Don't feel like bothering with the original material.
 
Real talk though, I had my 8,000th listen to VU&N today and was just as enthralled as all the other listens. I'm really only familiar with VU, none of Reed's solo output. Gonna have to remedy that with the recommendations in this thread.
 
Imperor said:
Anyone else got any popular bands doing Lou Reed covers to share? Don't feel like bothering with the original material.
Click to expand...

No, but I have my own feelings to share re: Velvet Underground and Nico:


Of the many impressive facets of the Velvet Underground's debut, perhaps the most impressive of all is how completely undated it sounds. While those who followed in the VU's footsteps often sounded retro -- often purposefully so -- this gritty, thirty-five year-old creation seems not to have aged a day.

Polydor's latest double-disc reissue collects both the mono and stereo mixes of the original album, digitally remastered, and adds contemporaneous singles and a quintet of VU-powered tracks from Nico's subsequent "Chelsea Girl" album. The package is enveloped in a foldout digipack (with or without peelable banana artwork), with a thick booklet that includes newly penned liner notes from Dave Thompson, photos, song lyrics and recording credits.

Of particular interest to U.S. buyers is the mono album mix, previously available only outside the U.S. This is the band's vision of the album, later remixed into stereo by MGM staff producer (and, at the time, Simon & Garfunkel producer) Tom Wilson. The mono version is tougher, and in the opinion of the band's label at the time, too limiting for American audiences (both for its intensity, and for the US's burgeoning interest in stereo). The difference in atmosphere is a terrific lesson in how mixing affects an album, and how visceral mono recordings can be.

The bonus tracks include five sides waxed by Nico with the original lineup of the Velvet Underground for her solo debut. Recorded in April 1967, they followed the band's original recording dates by exactly a year (the VU debut, recorded in April 1966, did not see release until March of the following year). The songs, from Reed, Cale and Sterling Morrison are rendered lightly, with strings and flutes (apparently much to Nico's displeasure), a minimum of Reed's guitar, and no drums. The VU's more ferocious and dissonant side really only turns up on "It Was a Pleasure Then." Combining these sides with the original album provides a nice opportunity to listen to the original VU lineup's entire ouevre.

The singles offer a chance to hear "All Tomorrow's Parties" shaved down from it's original 5:58 to a 45's worth of 2:49. Less radically, the single release of "I'll Be Your Mirror" resolves with a chord, rather than a fade as on the album. Even more minor is the two seconds of what seems to be engineer's chatter (announcing the tape roll) that precedes the single release of "Sunday Morning." The fetishism of collecting these minute differences seems like a natural fit for VU fans.

Those looking to hear this watershed album for the first time will likely be just as happy with the single-disc 1996 reissue. For those who've loved (and lived) this album over the last thirty-five years, the opportunity to view it from a new angle shouldn't be passed up.
 
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