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LOU REED LIVE - HOFSTRA PLAYHOUSE - APRIL 30, 1975 - TICKET

$ 105.6

Availability: 100 in stock
  • Original/Reproduction: Original
  • Country/Region of Manufacture: United States
  • Industry: Music
  • Artist/Band: Velvet Underground
  • Genre: Rock & Pop
  • All returns accepted: ReturnsNotAccepted
  • Modified Item: No

    Description

    LOU REED LIVE - HOFSTRA PLAYHOUSE - APRIL 30, 1975 TICKET.
    Lou Reed Live is a live album by Lou Reed, released in 1975. It was recorded at the same concert as Rock 'n' Roll Animal ; on December 21, 1973, at Howard Stein's Academy of Music in New York. It features three songs from Transformer, one song from The Velvet Underground & Nico (Reed's former band's debut album) and two songs from Berlin. Between this album and the remastered Rock 'n' Roll Animal, the entire show has been released, albeit in a different order than the original concert setlist.
    Perhaps the fact that Lou Reed’s curious career continues is more important than what he does with it at this particular stage. Had he accomplished nothing else, his work with the Velvet Underground in the late Sixties would assure him a place in anyone’s rock & roll pantheon; those remarkable songs still serve as an articulate aural nightmare of men and women caught in the beauty and terror of sexual, street and drug paranoia, unwilling or unable to move. The message is that urban life is tough stuff — it will kill you; Reed, the poet of destruction, knows it but never looks away and somehow finds holiness as well as perversity in both his sinners and his quest.
    Since leaving the Underground for a solo career at RCA, Reed’s star has shone very brightly commercially, less so artistically. Lou Reed, his first RCA LP, had strong songs, inept production. Transformer, excellently produced by David Bowie, brought Reed an AM radio hit, “Walk on the Wild Side,” but the paucity of much of the rest of the material was alarming. Berlin, unforgettable in many ways (not all of them good), has probably been underrated but was certainly not helped by the pretentiousness of the rock-opera/”masterpiece” ad campaign or Bob Ezrin’s soap-opera, cast-of-thousands overproduction. Sally Can’t Dance had one brilliant song: “Ennui.”