This is the same material as released on the albums “Rock’n’Roll Animal” and “Lou Reed Live” and from the recordings of the same tour. Although the band are as tight as they were on the seventies albums, The bonus tracks on Rock’n’Roll Animal were originally withheld because Lou wasn’t completely satisfied with his vocal performance . It’s a worthwhile addition to Lou’s live collection. Recorded a few weeks before what was to become the classic that is the ‘Rock ‘n’ Roll Animal’ album . It’s a slightly different ordered set, but tight and immensely powerful. Lou’s voice is indeed ‘strained’ to put it politely, but it doesn’t detract too much, and I can’t stop playing this album. A great curiosity I guess, but one well worth acquiring. I loved this era of Lou’s career for all it’s perceived faults, and I loved this band One of rock’s greatest bands.
Lou Reed – vocals, guitar; Steve Hunter – guitar; Dick Wagner -guitar; Ray Colcord – organ; Prakash John – bass; Pentti Glan – drums
https://www.youtube.com/watch?v=ar3k4eP4LJY
This set, recorded at Loew’s Palace Concert Theater in Providence a week prior to the classic live album recording, captures this moment in time when Reed was creating emotionally honest musical turbulence on stage.
This recording begins with the band developing the soon-to-be classic opening jam for “Sweet Jane” that would eventually come to define the sound and creativity of this band. However here it is utilized as a prelude to “Vicious” instead. This opening jam clearly points the way toward the sound Reed fans would soon experience on his live Rock & Roll Animal album. The ambiguous “How Do You Think It Feels,” “Caroline Says 1” and “Lady Day,” all from the “Berlin” album follow in sneering style. Despite the first and third of these being incomplete, it is tantalizing to hear these musicians beginning to tackle the Berlin material. A tough, undulating “I’m Waiting For The Man” is up next, with this propulsive rhythm section taking this classic Velvets song to another level.
Following some tuning, the group eases into “Heroin,” and audible applause of recognition is heard from the audience. Every group added their own dimensions to this song and this band is no exception. One of the key elements is Ray Colcord, whose organ work greatly enhances the rush feeling following the verses leading into each jam sequence. Although all of the preceding material is engaging, “Heroin” finds the band fully hitting their stride and features an inspired vocal from Reed. The cascading flow of music from this band engulfs the lyrics as Reed battles his way through the highs and lows of addiction.
From here on out, most of the songs segue directly from one to the other. Upon the conclusion of the last frenzied rush in “Heroin,” where the group is fully cooking away, an incredibly abrupt transition occurs, where they suddenly ease into the opening bars of “Sweet Jane.” Both “Sweet Jane” and the “Satellite of Love” that follows, are incomplete, but the latter song is particularly interesting here. While “Satellite” was a dreamy, downright romantic ballad during the European tour leg earlier in the year, here the song has become far more forceful and upon it’s conclusion another remarkable transition occurs, as the band skillfully drops into the opening bars of “Walk On The Wild Side.” This segue is so well done that Reed can clearly be heard spontaneously exclaiming “Perfect! Alright!” to his band members. Also of note here is the wonderful bass work of new recruit Prakash John and the entire band providing background vocals much like the album arrangement. Certainly one of Reed’s most fully realized character studies, this is followed by another in the form of “Oh Jim.” Clocking in at nearly 12 minutes, “Oh Jim” gradually ratchets up the tension before blazing into a searing jam featuring plenty of great call and response guitar work from Hunter and Wagner. Another skillful segue occurs out of “Oh Jim” as the band transitions into the lurching beat of “Sad Song.” Once again, Reed cannot contain his elation and he exclaims “Beautiful!” as they begin. This is another great example of this band in top form, with fine vocal arrangements and the guitarists playing unison leads that couldn’t possibly be tighter. Just as a brief organ interlude from Colcord ends this number, the group immediately launches into the set closer, “White Light / White Heat.” This classic Velvets number is taken at a fast clip, with both guitarists reinforcing the chugging rhythm section. Colcord serves up a frantic electric piano solo, in addition to playing organ here, adding a whole new dimension to this song. This is a blazing conclusion to an extraordinary sequence that leaves the audience wanting more. Reed and the band return for an encore of “Rock And Roll.” A strong rendition all around, this features a highly engaged instrumental rave-up at the end and a standout contribution from Prakash John, whose bass is very prominent in the mix. A downright awesome performance, this number becomes an anthem for the only thing that can save Reed’s life: rock and roll.
In retrospect, 1973 was a year of massive growth for Lou Reed and certainly a critical step in his approach to live performing. Regardless of how the shows on this tour were perceived at the time, something important was clearly going on here. The melding of Reed’s unique brand of decadent, literate music with a big arena rock sound would eventually reach the masses in a way The Velvet Underground never could. The strange contrast between Reed’s detached, blasé vocals and the hard rocking professionalism of his backup band is the essence of its appeal.
The Fat Angel Sings 