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Track Listings
| 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 | |||
See all 11 tracks on this disc
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
It seems appropriate that rocker-muse Bebe Buell once wrote and sang, "Cut my teeth at Max's Kansas City/My soul is pure rock." It was the original rock'n'roll club, with drag queens, actors, hit singers and underground hits in the same room. It had Andy Warhol, Mick Jagger and then-waittress Debbie Harry hanging out in the same place.
Alas, there hasn't really been a place like Max's Kansas City since. So it seems appropriate that a momentous rock occasion took place there: Lou Reed did his final show with the Velvet Underground. Fortunately, a pal named Brigid Polk taped the whole thing, and this "legitimate bootleg" is a rough-cut little slice of what that night was all about.
It opens with drums being clattered, instruments being tested, and a lot of background chatter. Then Reed offers a dignified intro ("you're allowed to dance, in case you don't know"), before launching into several songs that are primarily from "Loaded" and "White Light/White Heat," with stage chatter between songs.
Apparently Reed unexpectedly changed the second set (on the second disc), including material from the "Nico days," early in the band's existance, including a spare, stripped-down version of "I'll Be Your Mirror," a gentle "Candy Says," a suitably hungover-sounding "Sunday Morning," and the way-too-long "Some Kinda Love."
The album is bootleg quality, especially since they didn't have digital recording then, and Polk used a tape. So it's very fuzzy around the edges, a little incoherent here and there; "Femme Fatale" is downright murky. But it's all in remarkably good shape when one considers that it is from 1970.
And to some degree, its rough quality can be seen as a blessing. People like me -- who were born way after Max's Kansas City faded away -- can get a brief taste of what the nightlife at Max's was like, when fashion, art and pop all collided. So the background voices and clattery tuneups just add to the "you are there" quality.
It's also noteworthy because the songs included are among their best, and because Reed delivers them with so much emotion. There's a certain poignancy to his introduction when one realizes that it would be his last show with the Velvets. And it gives a bit of extra oomph to certain songs like "I'll Be Your Mirror."
"Live At Max's Kansas City" is not the best-quality live album there is. But it is a small slice of the psychedelic nightlife for anyone who wasn't lucky enough to actually go there.
Alas, there hasn't really been a place like Max's Kansas City since. So it seems appropriate that a momentous rock occasion took place there: Lou Reed did his final show with the Velvet Underground. Fortunately, a pal named Brigid Polk taped the whole thing, and this "legitimate bootleg" is a rough-cut little slice of what that night was all about.
It opens with drums being clattered, instruments being tested, and a lot of background chatter. Then Reed offers a dignified intro ("you're allowed to dance, in case you don't know"), before launching into several songs that are primarily from "Loaded" and "White Light/White Heat," with stage chatter between songs.
Apparently Reed unexpectedly changed the second set (on the second disc), including material from the "Nico days," early in the band's existance, including a spare, stripped-down version of "I'll Be Your Mirror," a gentle "Candy Says," a suitably hungover-sounding "Sunday Morning," and the way-too-long "Some Kinda Love."
The album is bootleg quality, especially since they didn't have digital recording then, and Polk used a tape. So it's very fuzzy around the edges, a little incoherent here and there; "Femme Fatale" is downright murky. But it's all in remarkably good shape when one considers that it is from 1970.
And to some degree, its rough quality can be seen as a blessing. People like me -- who were born way after Max's Kansas City faded away -- can get a brief taste of what the nightlife at Max's was like, when fashion, art and pop all collided. So the background voices and clattery tuneups just add to the "you are there" quality.
It's also noteworthy because the songs included are among their best, and because Reed delivers them with so much emotion. There's a certain poignancy to his introduction when one realizes that it would be his last show with the Velvets. And it gives a bit of extra oomph to certain songs like "I'll Be Your Mirror."
"Live At Max's Kansas City" is not the best-quality live album there is. But it is a small slice of the psychedelic nightlife for anyone who wasn't lucky enough to actually go there.
1 of 1 people found the following review helpful
Format:Audio CD
As a huge Velvet's fan, i must confess that I always leant more towards the first 3 albums with Mo Tucker's metronomic backbeat helping take these, already highly original songs, further away from the sound of your typical mainstream rock act. Sadly, she's off popping kids out so we get Doug Yule's brother gamely attempting to get as many drum fills in each song as possible. The rhythm was always in the guitars before, but this is different. That said, this is still a valuable document of a big night in Velvet's history (Lou's last..) and many of the versions here out do the "Loaded" album versions on the later songs in my opinion.
And the crowd talking is hilarious.
And the crowd talking is hilarious.
5 of 7 people found the following review helpful
Format:Audio CD
This is a real must for VU addicts. Some very funky stuff - brilliant version of New Age (what is that guitar bit about at the end? It's cooler than you or I can ever hope to be.) - all live - and no, it does not detract. If at first you are not convinced, listen again. It's more evidence they were the coolest band ever to wear shades.
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Most Recent Customer Reviews
for lou reed fanatics only
I saw this 'Live At Max's Kansas City' film on TV a long time ago, I thought it was great so I bought the CD recently; it did nothing for me, it sounded flat and lifeless, funny... Read more
Published 16 months ago by Philip Fletcher
The Greatest Band Of All Time? Maybe. But not on this.
If is the middle word in life, man. If The Velvet Underground had sold merely handfuls of records, if Lou Reed had never hit solo stardom, if they had just faded to obscurity then... Read more
Published on 29 Jun 2007 by Mr. M. A. Reed
Nothing new
It is of course a great album as we already knew. One of my favorite albums of the velvet underground. on this new release there are only 5 new songs, including candy says. Read more
Published on 30 Oct 2004 by Stan Peter Janssen
Frustrating & Brilliant
This is a chance to hear brilliant renditions of great songs in poor fidelity. The sound sucks, but they are rocking. Obviously the further Reed moved from Cale the rockier he got. Read more
Published on 24 Sep 2000
Buy this and go to the gig.
As a Velvets fan of many years now I bought this album as it was in the bargain bin at woolworths. If you put this on, pour yourself a double pernod and light a Marlboro you are at... Read more
Published on 21 Jun 2000 by james.gervaise-brazier@turner.com
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