Posts Tagged ‘Lou Reed’

THIS WEEKS ESSENTIAL NEW RELEASES 17th June 2016

Posted: June 19, 2016 in CLASSIC ALBUMS, MUSIC, THIS WEEKS ESSENTIAL PURCHASES
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Couple With Records

Image of Case / Lang / Veirs - Case / Lang / Veirs

Case/Lang/Veers – case/lang/veers CD/LP+MP3 (ANTI-Records)

case/lang/veirs = Neko Case, k.d. lang, and Laura Veirs. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. Several years ago K.D. Lang sent an email to Neko Case and Laura Veirs on a whim. It read simply, “I think we should make a record together.” Though the three musicians were barely more than acquaintances “Laura and I both responded immediately,” recalls Case. “There was no question.”

But now there is an answer. ‘case/lang/veirs,’ a new album by three phenomenal, self-driven artists. ‘case/lang/veirs’ features fourteen new, original songs written by the artists over a period of two-and-a-half years. It was recorded in Portland, OR where lang and Veirs both live, and produced by Tucker Martine with the group. Sessions commenced in lang’s loft with a view of Mount St. Helens, and in Veirs‘ dining room and backyard studio.
Full of stunning harmonies and spellbinding rhythms, ‘case/lang/veirs‘ draws inspiration from alluring, mysterious subjects: a supermoon, the tumbledown story of 70s singer Judee Sill, and the “best kept secret” in Silver Lake, to name but three.

Image of Radiohead - A Moon Shaped Pool

RADIOHEAD – A Moon Shaped Pool

Radiohead’s ninth LP proper sees them once again couple with mega-producer Nigel Godrich. Together they have created possibly the band’s most coherent record of their whole career.  Some of these songs date well back in time and that coupled with the accessibility of comeback single Burn The Witch and their recent  dare-I-say fan-pleasing set-lists suggest a group finally comfortable in their own skin, embracing all that they really are.  So you do still get electronica, but less of the fractured kind. Sure, Thom still sings of alienation, doubt and paranoia, but  in the most beautiful way imaginable. These songs  build and build, swept into shape by Johnny Greenwood’s London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It’s heavy, (let’s face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too.

Image of Low Anthem - Eyeland

Low Anthem – Eyeland CD (Razor & Tie)

The Low Anthem are not only musical artists, they live their lives as art. The band creates constantly for themselves and others in their home base, The Columbus Theater in Providence, Rhode Island. This new release is the return from an extraordinary five-year journey with Eyeland, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, Eyeland began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”

The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. Eyeland proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, Eyeland is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

Image of Mitski - Puberty 2

Mitski – Puberty 2 CD/LP/Cassette (Dead Oceans)

“Mitski Miyawaki is only 25 years old, but she’s already on her fourth album, and she’s developed an emotional vocabulary light years beyond almost anyone else working right now. With her new Puberty 2, Mitski has made one of the year’s best indie rock albums: An auteurist piece of profound, personal lo-fi music that finds sharp ways to say serious things. The album veers in different stylistic directions, but it’s also cohesive enough to get lost in.”  [Limited white color vinyl copies also available.]

WEAVES – WEAVES

Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Bloc Party, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. Think a mix of an angry Micachu fronting the Pixies or a punky Tune-yards with brilliant flashes of melody.
LP – Neon Pink LP with download code.

THE CULT OF DOM KELLER – GOODBYE TO THE LIGHT

12″ coloured vinyl. TCODK – a four-piece from the Midlands – make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It’s probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne.

LOU REED –  WALTZING MATILDA (LOVE HAS GONE AWAY)

Third in the series of Lou Reed live Concert albums these two shows taken from the 1978 Street Hassle Tour. Features in depth liner notes by author Dick Porter, Unseen photographs in the 12-page booklet plus deluxe album cover packaging. Includes classic tracks   Walk On The Wild Side & Satellite of Love from the iconic Transformer album as well as Velvet Underground tracks Sweet Jane & Rock N Roll and introducing the just shy of 13 minute brutal Street Hassle. Disc One Cleveland Music hall Ohio 26th April 1978.

Re-Issue

David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars [Reissue/1972] 2xLP (Rhino/Parlophone)
David Bowie – Live Santa Monica ’72 [Reissue/1973] 2xLP (Rhino/Parlophone)
HQ-180gm vinyl reissues now available.

LOU REED – ” The RCA & Arista Album Collection – 17CD box set “

Posted: May 18, 2016 in CLASSIC ALBUMS, MUSIC
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Lou Reed’s last project was to work on remastering and representing his RCA and Arista albums. This work was completed shortly before his death in 2013 and this 17 CD box “The RCA & Arista Album Collection” is the result.

This autumn, Sony’s Legacy Recordings will issue The RCA & Arista Album Collection, This Lou Reed 17CD box set that features all his solo albums of the 1970s and early eighties remastered under the “direct personal supervision” of the American rock musician shortly before his death – his last project.

This anthology starts with 1972’s Lou Reed and takes in essential titles such as Transformer and Berlin. In total 16 albums feature in this collection including Lou Reed Live Take No Prisoners from 1978 which is a two-CD set.

Laurie Anderson, Lou Reed’s wife and partner for twenty-one years said “Lou put his heart into remastering these records. They are not smoothed out. Sometimes remastering revealed their details and roughness in the most exciting ways. They leap out at you with their original energy.

“I also love the rare images and the great selection of Lou’s words about his music in this collection. Lou was a superb analyst and sharp critic and the interview excerpts bring back his crazy sense of humour, his generosity and his big view of the world and the meaning of music. Anyone who has loved Lou’s music will be so happy to have this. I’m really grateful to Sony for putting this one out.”

Unusually for Sony ‘album collection’ sets, this is a large format, 12″ x 12″ deluxe box and includes an 80-page hardbound book capturing images of memorabilia from Lou’s personal archives, rare photos and artwork and interviews. The box also comes with five 8″ x 10″ prints and a facsimile reproduction of a rare RCA promotional poster (598mm x 572mm). Strangely this set omits “Lou Reed Live”, the companion album to “Rock ‘n’ Roll Animal” (which Is included), basically the other half of the same concert. The album was released in 1975, so should be there. Also where is “Live In Italy” from the 1983 “Legendary Hearts” tour released in 1984 between “Legendary Hearts” and “New Sensations”. To says it’s Lou’s final project and a gathering of his RCA and Arista (and back to RCA) work, why miss out two live albums, especially as this set DOES include 2 other live albums? Not complete and inexplicable really. They have included the “play it once at your peril “Metal Machine Music””, but why miss those other very listenable live albums?

The RCA & Arista Album Collection will be issued on 7 October 2016.

More photos and details here > http://bit.ly/lrnbs_sde

 

loureed_arista_spread

 

LOU REED – THE RCA & ARISTA ALBUM COLLECTION

  • 1. Lou Reed (April 1972)
  • 2. Transformer (November 1972)
  • 3. Berlin (July 1973)
  • 4. Rock n Roll Animal (live – February 1974)
  • 5. Sally Can’t Dance (August 1974)
  • 6. Metal Machine Music (July 1975)
  • 7. Coney Island Baby (December 1975)
  • 8. Rock and Roll Heart (October 1976)
  • 9. Street Hassle (February 1978)
  • 10. Lou Reed Live  Take No Prisoners (2 CDs – November 1978)
  • 11. The Bells (April 1979)
  • 12. Growing Up in Public (April 1980)
  • 13. The Blue Mask (February 1982)
  • 14. Legendary Hearts (March 1983)
  • 15. New Sensations (April 1984)
  • 16. Mistrial (June 1986)

LOU REED – ” Transmission Impossible ” (3 x CD BOXED SET) New York 71, Roxy LA 76, Albury, Australia 1977

Posted: January 1, 2016 in MUSIC
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After quitting the Velvet Underground in August 1970, Lou Reed took a job at his father’s tax accounting firm. In 1971 he signed a recording contract with RCA Records and recorded his first solo album in London with top session musicians including Steve Howe and Rick Wakeman. The album, Lou Reed, contained smoothly produced versions of unreleased Velvet Underground songs, some of which had originally been recorded by the Velvets for Loaded but shelved. The record was largely overlooked by most music critics and it did not sell well. In December 72, Reed released Transformer. David Bowie and Mick Ronson co-produced the album and it introduced Reed to a wider audience, especially in the UK. The hit single Walk On The Wild Side was an ironic yet affectionate salute to the misfits and hustlers who once surrounded Andy Warhol. When first introduced to Reed’s music, Bowie had said: “I had never heard anything quite like it. It was a revelation to me. It was from this period, just after the album s release, that Reed performed in front of a small invited audience in New York s Ultrasound Studios, where he played a blistering set made up of Transformer s best cuts, a handful of Velvets classics, the title track of his next record Berlin, and a single cut from his debut. Broadcast live by WLIR FM, the show marked the point at which Lou had returned from the chaos of the final days of the Velvets and the underwhelming reaction to his first solo album – and he was right on target to begin a dynamic solo-career. By the start of 1976 Lou had released a further three studio albums and two live ones, including the dark Berlin in 1973, and two in 1974 – his most successful albums to date – Sally Can t Dance and the live Rock N Roll Animal, made up almost exclusively of Velvets material. Another live album came in March 75, (albeit containing further tracks from the same 1972 concert) and in July Reed put out his most controversial record, the much panned Metal Machine Music, of which Rolling Stone magazine said: it sounds like the tubular groaning of a galactic refrigerator and is as displeasing to experience as a night in a bus terminal.” However, as is so often the case, in later years certain quarters re-assessed the album and saw it as the impetus for industrial and modern electronic music. Coney Island Baby came in January 1976, a rather more traditional rock record, and in October that year Rock & Roll Heart was Reed s first album for Arista, after label boss Clive Davis saved Lou from bankruptcy. It was shortly after the release of this well received work, his seventh solo effort, that he performed at Los Angeles Roxy Theatre where the entire show was broadcast by local FM radio. Featuring four tracks from his Arista debut, along with classics from his past records, the show is as electric a performance as Lou ever gave. The backing from esteemed jazz trumpeter Don Cherry (father of Neneh) provided for a unique jazzy sound which was a new style for Reed. In early 1978 came Street Hassle, sometimes referred to as Reed s punk album with its searing and droning title track, as well as the first studio recording of the Velvets song We re Gonna Have A Real Good Time Together (a Velvet Underground live version had appeared three years before on the 1969 Live record). All Music called the album raw, wounded, and unapologetically difficult, Street Hassle isn’t the masterpiece Reed was shooting for, but it’s still among the most powerful and compelling albums he released during the 1970s, and too personal and affecting to ignore.” By November Lou and band were touring the Far East and Australia and played the The Regent Theatre in Albury on 1st November 77. Once again, the show was broadcast and the results of that transmission can be heard on this set as the final disc. So, three excellent shows

LOU REED – ” Berlin: Live At St. Ann’s Warehouse “

Posted: January 1, 2016 in CLASSIC ALBUMS, MUSIC
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Lou Reed Live Set of the album “Berlin” 

Lou Reed’s controversial concept album Berlin – his third solo outing after the break up of The Velvet Underground – first saw the light of day in 1973 and was almost universally denounced. Rock bible Rolling Stone declared it a career-finishing ”disaster” that was so bad it merited perpetrating ”physical vengeance” on its creator before signing off with ”Goodbye, Lou”. Hardly surprising, then, that Lou Reed should have stepped away from the work and ignored for so long, only returning to it in 2006 to resurrect it in a 30-date tour that has already spawned a DVD (directed by Julian Schnabel) and now this live recording, taken from two nights in mid-December that year at St Ann’s Warehouse in Brooklyn, New York.

Critical appreciation of Berlin has been building since its damned and doomed debut, and in this super-charged performance, complete with 30-piece band and 12-strong choir, it’s easy to hear and appreciate why. As a concept, the piece still suffers from its own flawed ambition. Whatever else it is, Berlin is not a rock opera, or any sort of opera, for that matter. Yes, there’s a narrative – two drug-addled lovers take a lethal walk on the German capital’s wild side – but the structure supporting it is so loose and the songs so arbitrarily connected that calling it an opera is nothing more than a fanciful affectation.

But there are magnificent moments contained within that bare comparison with the best of Reed’s solo work. Equally, there are some excruciating moments, too, not least an horrendously awful take on The Bed.

While it lacks the clinical studio intensity of the original, this live performance carves its own muscular drama and dark poetry out of Reed’s dystopian lyrics and coruscating music, the latter helped by the return of original collaborator Steve Hunter on electric guitar. Reed himself remains his timeless self: dour, po-faced, emotionally underplayed and vocally colourless but acutely acerbic and astringent.

Three other songs – Candy Says, in a duet with Antony ‘And The Johnsons’ Hegarty; Rock Minuet from Reed’s 2000 long-player Ecstasy; and Sweet Jane from the Velvet’s fourth album, Loaded – are offered as encores, cleverly if a little too subtly attempting to re-thread Berlin back into a wider context.

LOU REED – ” Lou Reed / The Sire Years ” Complete Albums box / 10CD set

Posted: January 1, 2016 in CLASSIC ALBUMS, MUSIC
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Lou Reed / The Sire Years: Complete Albums box / 10CD set

Lou Reed / The Sire Years: Complete Albums box / 10CD set, Rhino are to release a new Lou Reed CD box set that collects the eight albums released on the Sire label during a period that spanning almost a quarter of a century.

The Sire Years: Complete Albums box kicks off with 1989’s spectacular New York album, and the rather underrated follow-up Magic and Loss. Sandwiched in between is Songs For Drella, Reed’s collaboration with Velvet Underground mucker John Cale.

That trio is the rock solid foundation for a set which also includes the last two ‘proper’ studio outings (Set the Twilight Reeling and Ecstasy) but also takes in Perfect Night in London – Reed’s acoustic live album recorded during the Meltdown ’97 festival – and the two-disc version of The Raven. Another live album, Animal Serenade (also double disc) completes the box set.

The Sire Years: Complete Albums is packaged in a clamshell box and is good value at under £3 per disc. No remastering for this set – it uses the most recent masterings available and no bonus tracks.

If you are looking to explore Reed’s solo work of this era, but aren’t interested in live material (and can live without The Raven) then the five-CD Original Album Series set highlighted here might be a better option. And it’s about 50 percent cheaper in terms of per-disc price. The packaging will be inferior though.

The Sire Years: Complete Albums is released on 30th October 2015.

LOU REED – ” Demos ” from 1970

Posted: January 1, 2016 in MUSIC
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There are Lou Reed acoustic demos, recorded in 1970 shortly after he left the Velvet Underground and moved back to Coney Island to live with his parents. There’s a lot of analysis and information on these demos; search and you shall discover.

Fall 1970:
1. I’m So Free 0:00
2. I Can’t Stand It 2:05
3. Walk and Talk It 4:44

Winter 1970:
4. Going Down 7:38
5. Ride Into the Sun 10:24
6. I’m Sticking With You 12:49
7. Lisa Says 15:05
8. Kill Our Sons (aka Kill Your Sons) 19:31
9. Lonely Saturday Night (aka Goodnight Ladies) 22:44
10. So in Love 24:08
11. She’s My Best Friend 26:15
12. Looking Through the Eyes of Love (aka Oh Jim) 29:05

“So in Love” is exclusive, here. A song never revisited.

LOU REED – ” American Poet ” Hampstead New York 26th December 1972

Posted: January 1, 2016 in CLASSIC ALBUMS, MUSIC
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A live radio broadcast from Ultrasonic Recording Studios–first transmitted on New York’s WLIR FM–American Poet boasts excellent sound quality, frenetically high-tensile rock accompaniment from his then backing group The Tots, awesomely passionate versions of “Heroin”, “White Light” and “Rock and Roll” and an interview in which Lou Reed talks–with typical verbal economy–about Mick Ronson (“he’s naughty”), David Bowie (“empathy… [audience giggles]… no, not in that way”) and the Velvet Underground’s Doug Yule (“Dead, I hope”). Icy of demeanour, fiery of rock & roll heart, this is the Ziggy-esque leather-and-eyeliner Lou Reed, returning to home soil on the back of his recently released second solo album–the Bowie/Ronson produced (and influenced) Transformer.

This Solo concert of Lou Reed 1972 in New York, titled American Poet became a sought after bootleg ,quite possibly the best Lou Reed (unofficially released) live album of the lot. Unlike the excessive ‘Rock n Roll Animal’ and ‘Take No Prisoners’ ‘American Poet’ strips Lou’s sound down to reveal what lies at the heart of his music. The mixture of Velvet Underground and solo material here reveals Lou to be a first rate songwriter and his crisp and clear vocal style shows him to be a fine vocalist also.

The versions available here are all very strong. I particuarly love Lou’s slowed down version of ‘I’m Waiting For My Man’ and also ‘Berlin’. I’ve never heard ‘Berlin’ sound so good.

It was recorded in 1972 around the time of the release of ‘Transformer’ and was only available in bootleg form up to more recent years.
Shortly after his separation from the Velvet Underground and immediately after the completion of his second solo album “Transformer”. Contained in the middle of this CD is also a short radio interview with Lou Reed, which doesn’t disturb at all, but fits in very well. Lou Reed is at his best. Obviously he never plays a song twice in the same way, which makes his live albums very interesting. In my opinion each song on this CD is excellent, and I don’t want to highlight any one of them especially.

‘American Poet’ does perhaps lack some of the technical proficiency musically that can be found on Lou’s later live albums but it does reveal the core of his musical talent to a much greater degree.

Lou-Reed_1972

The day after Christmas, December of 1972: Lou Reed and band (The Tots) in Hempstead, NY, recording live for radio at Ultrasonic Recording Studio. Recorded just a month after the release of Transformer, the set finds Lou Reed pulling from the new record, riffing on five Velvets tracks and the penultimate “Berlin” – the track that would title his next release six months later.

Tracklist
White Light White Heat
Vicious
I’m Waiting For The Man
Walk It Talk It
Sweet Jane
Heroin
Satellite of Love
Walk On the Wild Side
I’m So Free
Berlin
Rock N Roll

LOU REED – ” Live On Later With Jools Holland “

Posted: January 1, 2016 in MUSIC
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Lou Reed performs Sweet Jane on Later… with Jools Holland in 2000.

Lou Reed performs Perfect Day with Antony Hegarty, on Later… with Jools Holland in 2003.

Lou Reed & Metallica – White Light/White Heat on Later… with Jools Holland in 2011, the British television program. Where he performed “Iced Honey” their recent collaborative album, Lulu, and the Velvet Underground‘s “White Light/White Heat”

The ‘Loutallica’ experience marches on with both acts entertaining the crowd of the UK based show ‘Later…With Jools Holland.’ Their performance included the original track ‘Iced Honey’ from their recent ‘Lulu’ release and a cover of the Velvet Underground tune ‘White Light/White Heat.’

Prompted by the Rock and Roll Hall of Fame 25th Anniversary Concert where Metallica and Lou Reed both performed in 2009, the two forces spoke about potentially working together on a future project and ‘Lulu’ was conceived.

With ‘Lulu’ receiving mixed reviews Metallica fans don’t really seem to be fully embracing this experimental amalgamation between the two iconic sounds, but that doesn’t seem to be slowing them down any.

‘Lulu’ sold only 13,000 copies in the United States in its first week of release.

JIM CARROLL with LOU REED – ” People Who Died ” 25th September 1984 – Capitol Theatre Passiac New Jersey

Posted: January 1, 2016 in MUSIC
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Lou Reed – People Who Died – Jim Carroll
Recorded Live: 9/25/1984 – Capitol Theatre – Passaic, NJ

In my life, no one has captured what it was like being raised Catholic better than Jim Carroll. Not Bruce, not Jack, not Billy Joel…Jim Carroll. He wrote great poetry, that should never be forgotten. There was so much anger to lose yourself in that song that it just made sense to play and scream it out on repeat over and over . So if for some odd reason you have not memorized his songs and poems over the years…this is for you  ……..

Jim Carroll was born to a working-class family of Irish descent, and grew up on New York City’s Lower East Side, and when he was about eleven (in the sixth grade) his family moved north to Upper Manhattan where he attended Good Shepherd School. He was taught by the LaSalle Christian Brothers, and his brother in the sixth grade noted that he could write and encouraged him to do so. In fall 1963, he entered public school, but was soon awarded a scholarship to the elite Trinity School from 1964–1968.

Apart from being interested in writing, Carroll was an all-star basketball player throughout his grade school and high school career. He entered the “Biddy League” at age 13 and participated in the National High School All Star Game in 1966. During this time, Jim Carroll was living a double life as a heroin addict who prostituted himself to afford his habit but he was also writing poems and attending poetry workshops at  the St. Mark’s Poetry Project.

In 1978, Carroll published The Basketball Diaries, an autobiographical book concerning his life as a teenager in New York City and its hard drug culture. The Basketball Diaries was an edited collection of the diaries he kept between the ages of twelve and sixteen, detailing his sexual experiences, high school basketball career, and his addiction to heroin, which began when he was 13.

jimcarroll

In 1987, Carroll wrote a second memoir entitled Forced Entries: The Downtown Diaries 1971–1973, continuing his autobiography into his early adulthood in the New York City music and art scene as well as his struggle to kick his drug habit.

After working as a musician, Jim Carroll returned to writing full-time in the mid-1980s and began to appear regularly on the spoken word circuit. Starting in 1991, Carroll performed readings from his then-in-progress first novel, The Petting Zoo

https://www.youtube.com/watch?v=QPNqojbyIDk

In 1978, after he moved to California to get a fresh start since kicking his heroin addiction, Carroll formed The Jim Carroll Band, a New Wave/punk rock group, with encouragement from Patti Smith, with whom he once shared an apartment in New York City, along with Robert Mapplethorpe. The band was originally called Amsterdam, and was based in the San Francisco Bay Area. The musicians were Steve Linsley (bass), Wayne Woods (drums), Brian Linsley and Terrell Winn (guitars). They released a single “People Who Died”, from their 1980 debut album, Catholic Boy. The album featured contributions from Allen Lanier and Bobby Keys. In 1982 the song appeared in E.T. the Extra-Terrestrial, from which Carroll received royalties until his death in 2009.

The song also appeared in the 1985 Kim Richards vehicle Tuff Turf starring James Spader and Robert Downey Jr., which also featured a cameo appearance by the band, as well as 2004’s Dawn of the Dead. It was featured in the 1995 film The Basketball Diaries (based on Jim Carroll’s autobiography), and was covered by John Cale on his Antártida soundtrack. A condensed, 2-minute, version of the song was made into an animated music video by Daniel D. Cooper, an independent filmmaker/animator, in 2010. The song’s title was based on a poem by Ted Berrigan. Later albums were Dry Dreams (1982) and I Write Your Name (1983), both with contributions from Lenny Kaye and Paul Sanchez. Carroll also collaborated with musicians Lou Reed, Blue Öyster Cult, Boz Scaggs, Ray Manzarek of The Doors, Pearl Jam, Electric Light Orchestra and Rancid. –

Jim Carroll, 60, died of a heart attack at his Manhattan home on September 11th, 2009. He was reportedly working at his desk when he died.

LOU REED – ” Thinking Of Another Place ” Civic Theatre, Akron, Ohio, 23rd October 1976

Posted: January 1, 2016 in CLASSIC ALBUMS, MUSIC
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Finally back in print!  Second classic live performance from Lou Reed (first being American Poet), this one totally unreleased and not bootlegged before combining key classic tracks from his previous solo albums ‘Transformer’ , ‘Berlin’, ‘Sally Can’t Dance’ and ‘Coney Island baby’.  Presented in full colour glossy deluxe gatefold sleeve with shots of Lou Reed from the tour and liner notes by Nina Antonia.

Finally back in print! Second classic live performance from Lou Reed on Easy Action (the first being American Poet (EARS012)), this one is totally unreleased and not bootlegged before, combining key classic tracks from his previous solo albums Transformer, Berlin, Sally Can’t Dance and Coney Island Baby. This is an FM Radio broadcast from Lou Reed’s 1976 Rock N Roll Heart Tour fully restored and remastered in 2006, presented in full colour glossy deluxe gatefold sleeve with shots of Lou Reed from the tour and liner notes by Nina Antonia. Rock and Roll Heart was the seventh album by Lou Reed, released in 1976. It was his first album for Arista Records after record mogul Clive Davis reportedly rescued him from bankruptcy. ‘A Sheltered Life’ (included in this set) dates back to 1967, when the Velvet Underground recorded a demo of it (available on Peel Slowly and See). Lou’s band Michael Fonfara – keyboards, Bruce Yaw – bass, Marty Fogel – sax, Michael Suchorsky drums. Recorded at the Civic Theatre, Akron, Ohio, October 23rd, 1976

https://www.youtube.com/watch?v=f_VtYBqf7fo

Lou is on fine vocal form and is actually SINGING, instead of his usual trick of just reciting his lyrics, my fave track has to be the run through “The Kids”, this version is at times very nasty and visceral and splenetic in its rage, but also tender. This would have been a great show to have witnessed in America’s home of Rubber and Tyres. Plus, the back cover also states this was licensened from Lou’s own Sister Ray Enterprises Production Company. So all in all it is a fine snapshot of a night where Lou was focussed and on fire and burning with real passion.

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