Tag Archives: New York

Lou Reed profile

lou-reed

One chord is fine. Two chords are pushing it. Three chords and you’re into jazz.
~Lou Reed

I think that everything happens for a reason, everything happens when it’s going to happen.
~Lou Reed

…he’s often cited as punk’s most important ancestor. It’s often overlooked, though, that he’s equally skilled at celebrating romantic joy, and rock & roll itself, as he is at depicting harrowing urban realities.
~Richie Unterberger

Patti Smith inducts Velvet Underground Rock and Roll Hall of Fame 1996:

Sweet Jane (@ Letterman 1993):

Wikipedia:

Birth name Lewis Allan Reed
Born March 2, 1942 (age 71)
Brooklyn, New York
United States
Genres Rock, experimental rock, art rock, protopunk, noise music, drone music, psychedelic rock, folk rock, glam rock, blue-eyed soul, spoken word
Occupations Musician, songwriter, producer, photographer
Instruments Vocals, guitar, ostrich guitar, bass, synthesizer, keyboards, piano, harmonica, drums, percussion
Years active 1964–present
Labels Matador, MGM, RCA, Sire, Reprise, Warner Bros.
Associated acts The Velvet Underground, John Cale, Nico,David Bowie, The Killers, Mick Ronson, Gorillaz, Laurie Anderson, Peter Gabriel, Metallica, Metric
Website www.loureed.com

Lewis Allan “Lou” Reed (born March 2, 1942) is an American rock musician, songwriter, and photographer. He is best known as guitarist, vocalist, and principal songwriter of The Velvet Underground, and for his solo career, which has spanned several decades. Though the Velvet Underground were a commercial failure in the late 1960s, the group has gained a considerable cult following in the years since its demise and has gone on to become one of the most widely cited and influential bands of the era. As the Velvet Underground’s principal songwriter, Reed wrote about subjects of personal experience that rarely had been examined so openly in rock and roll, including sexuality and drug culture.

The-Velvet-Underground

After his departure from the group, Reed began a solo career in 1971. He had a hit the following year with “Walk on the Wild Side”, although he subsequently lacked the mainstream commercial success its chart status seemed to indicate. Reed’s work as a solo artist frustrated critics wishing for a return of the Velvet Underground. In 1975, Reed released a double album of feedback loops, Metal Machine Music, upon which he later commented, “No one is supposed to be able to do a thing like that and survive.”

lou reed

A Walk On The Wild Side (Live at Farm Aid 1985):

 Album of the day:

New York (1989)

lou reed newyork

Other March 02:

Continue reading Lou Reed profile

Blood On The Tracks – 4th Recording Session

On the 3th recording session for Blood On The Tracks on September 18th, Dylan only tried 2 takes on Buckets of Rain. The 4th recording session (on  September 19, 1974) was a way more important story….

Here are some quotes, facts & music….

If any of Dylan’s record albums deserve to be singled out as a “masterpiece” (and I’ve avoided this because how can one leave out ‘Blonde On Blonde’? ‘Highway 61 Revisited’? ‘Hard Rain’?), it is the one that most successfully combines conscious, deliberate creation (composition) with spontaneous expression (performance) – 1974’s ‘Blood On The Tracks’
~Paul Williams (Performing Artist 74-86)

..Dylan.. succeeded in producing an album that stoked up his genius quotient nearly ten years after he was thought to have left it by the roadside. And he had done it by reinventing his whole approach to language. Gone were the surrealistic turns of phrase on Blonde On Blonde, gone was the ‘wild mercury sound’ surrounding those mystical words. In their place was a uniformity of mood, a coherence of sound, and an unmistakable maturity to the voice…. He had never sung better.
~Clinton Heylin (Behind The Shades)

 

Albums involved:

ALBUM Release date CODE
Blood On The Tracks 1975-01-17 BOTT
Biograph 1985-11-07 BIO
The Bootleg Series Volumes 1–3
(Rare & Unreleased) 1961-1991
1991-03-26 TBS1-3
Blood On The Tracks – Test pressing  Nov 74  BOTT-TP
Jerry Maguire – Soundtrack 1996-12-10 JMS

Studio A, A & R Recording, New York City, New York
September 19, 1974, 7 pm-03am

Produced by Bob Dylan
Engineers: Phil Ramone & Glenn Berger (“Phil & Lenn”)

  1. Up To Me
  2. Up To Me
  3. Buckets Of Rain
  4. Buckets Of Rain
  5. Buckets Of Rain
  6. Buckets Of Rain – BOTT & BOTT-TP
    Life is sad
    Life is a bust
    All you can do is do what you must
  7. If You See Her, Say Hello – BOTT-TP
  8. Up To Me
  9. Up To Me
  10. Up To Me
  11. Meet Me In The Morning
  12. Meet Me In The Morning
  13. Buckets Of Rain
  14. Tangled Up In Blue
  15. Tangled Up In Blue
  16. Tangled Up In Blue – BOTT-TP (or 15)
  17. Simple Twist Of Fate
  18. Simple Twist Of Fate
  19. Simple Twist Of Fate – BOTT & BOTT-TP
    ‘Simple Twist of Fate’ is another absolutely extraordinary performance. Where ‘Tangled Up In Blue’ is bright, bouncy, jangly, ‘Simple Twist Of Fate’ is soft and warm and mournful. Dylan’s voice is.. gentle and rounded.
    ~Paul Williams (Performing Artist 74-86)
  20. Up To Me
  21. Up To Me – BIO
    In its own way ‘Up To Me’ is as masterful an achievement as ‘Tangled Up In Blue’, using much the same technique to create a well-crafted juxtaposition of ‘what I know to be the truth’ and what ‘I’m projecting’.
    ~Clinton Heylin (Still On The Road)
  22. Idiot Wind
  23. Idiot Wind
  24. Idiot Wind
  25. Idiot Wind – TBS1-3
  26. You’re A Big Girl Now
  27. Meet Me In The Morning
  28. Meet Me In The Morning
  29. Meet Me In The Morning
  30. Meet Me In The Morning
  31. Meet Me In The Morning
  32. Meet Me In The Morning
  33. Tangled Up In Blue
  34. Tangled Up In Blue
  35. Tangled Up In Blue

“[The real] wonder is in the spaces, in what the artist’s left out of his painting. To me, that has always been the key to Dylan’s art. To state things plainly is the function of journalism; but Dylan sings a more fugitive song: allusive, symbolic, full of imagery and ellipses, and by leaving things out, he allows us the grand privilege of creating along with him. His song becomes our song because we live in those spaces. If we listen, if we work at it, we fill up the mystery, we expand and inhabit the work of art. It is the most democratic form of creation”
~Peter Hamill (liner notes to BOTT)

 

Musicians: 

  • Bob Dylan (guitar, vocal)
  • Tony Brown (bass)

Related articles @ JV:

References:

-Egil

Blood On The Tracks – Second Recording Session


Bob Dylan’s second recording session for Blood On The Tracks continued on  September 17, 1974. Another important day in the studio.

Here are some quotes, facts & music….

We cut the entire album in one day like that. Now that blew my mind. I was 19-years-old and trying to learn how to make art. The style of the time was set by guys I was working with like Paul Simon, who would take weeks recording a guitar part only to throw it away. I thought that was the way one was supposed to do it: one note at a time and a year to make an album. Dylan cut the whole thing in six hours on a Monday night. I was confused. It was like the floor, barely built under my young soul, was being ripped apart, board by board.
Then Dylan came back in on Tuesday, and recorded most of the album again.
~Glenn Berger (Bob Dylan’s Blood On The Tracks: The Untold Story)

Albums involved:

ALBUM Release date CODE
Blood On The Tracks 1975-01-17 BOTT
Biograph 1985-11-07 BIO
Blood On The Tracks – Test pressing  Nov 74  BOTT-TP
Jerry Maguire – Soundtrack 1996-12-10 JMS

 

Studio A, A & R Recording, New York City, New York
September 17, 1974, 7 pm-01am

Produced by Bob Dylan
Engineers: Phil Ramone & Glenn Berger (“Phil & Lenn”)

  1. You’re A Big Girl Now
  2. You’re A Big Girl Now – BIO & BOTT-TP
    You’re A Big Girl Now was pain personified, that pain remaining red raw when he cut the exquisite New York version originally intended for the album (only released ten years later, on Biograph).
    ~Clinton Heylin (from “Still On The Road”)

    Dylan complains in the Biograph notes about “stupid and misleading jerks” (i.e. critics) who have suggested this song is “about my wife”.
    ~Paul Williams (Performing Artist 1974-86) 

  3. Tangled Up In Blue
  4. Unidentified Song
  5. Blues
  6. You’re Gonna Make Me Lonesome When You Go
  7. Shelter From The Storm – JMS
    This first run-through on the seventeenth has no bass accompaniment, possibly because he was showing Brown the song.  Taking a pause to work on other songs, he only returned to ‘Shelter’ later the same evening, wisely deciding the sixth verse added very little to the song.
    ~Clinton Heylin (from “Still On The Road”)

  8. Shelter From The Storm
  9. Buckets Of Rain
  10. Tangled Up In Blue
  11. Buckets Of Rain
  12. Shelter From The Storm
  13. Shelter From The Storm
  14. Shelter From The Storm – BOTT & BOTT-TP
    That word-perfect fifth take survived all the reconfigurations the album underwent, emerging as on of it’s real highlights. And though Dylan went on to perform it a number of different ways – almost always effectively – the nature of the song remained fixed. ~Clinton Heylin (from “Still On The Road”)
  15. You’re Gonna Make Me Lonesome When You Go
  16. You’re Gonna Make Me Lonesome When You Go – BOTT & BOTT-TP

Musicians: 

  • Bob Dylan (guitar, vocal)
  • Tony Brown (bass)
  • Paul Griffin (organ)

Related posts on JV:

References:

-Egil