Lou Reed – Streets Of Berlin Oil Well – RSC 029 CD

Lou Reed – Streets Of Berlin
Oil Well – RSC 029 CD

1. White Light/White Heat (4:20)
2. Vicious (3:29)
3. I'm Waiting For The Man (7:04)
4. Walk And Talk It (4:07)
5. Sweet Jane (4:50)
6. Heroin (8:53)
7. Satellite Of Love (3:51)
8. Walk On The Wild Side (6:08)
9. I'm So Free (3:41)
10. Berlin (6:00)
11. Rock And Roll (5:31)
Time: 57:50

Note:
All songs by Lou Reed
"Live in Berlin, October 10, 1972"
Recorded live at the Ultrasonic Recording Studio, Hempstead, New York, December 26, 1972

Lineup:
Lou Reed – lead vocals and rhythm guitar
The Tots:
Vinny Laporta – guitar
Eddie Reynolds – guitar, backing vocals
Bobby Resigno – bass guitar
Scottie Clark – drums

This album is a digital clone of: "Hero & Heroine" - The Swingin' Pig – TSP-CD-058 and of "Sweet Jane" - Oil Well – RSC 015 CD
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended. This bootleg has been released also with an alternate front cover.
Read below for more informations!

Audio quality: 
Quality content: 

© Official released material:
This concert has been officially released as “American Poet”.
_____________________________________________________________________

American Poet Review

Sold as a bootleg until it was officially made available in 2001, American Poet is a mix of Reed’s solo material and selections from The Velvet Underground’s library of tunes. It was recorded during a 1972 show for Reed’s Transformer tour, and provides listeners with a glimpse of his remarkable live presence. Instead of crumbling under the faulty sound quality, Reed leads the band -- and the audience -- through a repeatedly fierce, enjoyable show. Weaker than those on Transformer and The Velvet Underground records, the backing vocals in American Poet often leave Reed to fill the silence behind him. Tracks like, “Sweet Jane,” “Satellite of Love,” and “Walk it Talk it” find him singing “bum bum bum” and “Sweet Jane!” in occasionally lonely choruses. This is not to say that Reed is incapable of driving the refrains. His voice is clear and confident here, with the same melodic proficiency reminiscent of The Velvet Underground’s best days.

This is also not to say that Lou Reed’s supporting band is inept. While their inability, either as performers or due to the poor recording quality, to place their voices beside Reed is somewhat disappointing, it is a Lou Reed concert -- he is (rightfully) the focus.
Musically, the band is proficient, and delivers a number of remarkable performances. In “Heroin” -- a rendition Reed calls “The Rock Version” -- the band offers an aggressive take on the hazy ’67 version. Less psychedelic than the version recorded in The Velvet Underground’s collaboration with Nico, this rendition is a straightforward, but equally moving, adaptation. The tempo swells and bursts, tension rising like blood pressure, as Reed, “[closes] in on death.”

Guitar work 
American Poet also features plenty of articulate, well-executed guitar solos that demonstrate the groups’ ability to remain together during long periods of improvisation. This is made possible by the adept Scottie Clark’s consistent percussive backbone, allowing for Bobby Resigno to explore more complex rhythms and melodies on the bass. The band retains its energy throughout the entire performance. “It’d be naughty” to leave them out. The group is comfortable, genuine, and raw -- even at first listen. The poor production value, while a detriment in some regards, aids in the album’s authenticity: it sounds like you might have recorded it. There is a level of intimacy that pervades American Poet, despite the occasional crackle of the speaker.

As with much of Lou Reed’s work, however, the emphasis is clearly placed on the lyrics; fairly uncomplicated musical compositions to carry the poetry along. His unique songwriting talent is repeatedly observed through his storytelling and social commentaries, which complement the simple rhythms. As diverse as he is brave, Lou Reed frequently chills, prods, and jokes with his listeners in a way that again develops an intimacy between the performer and his audience. “Walk on the Wild Side” exemplifies Reed’s sincerity:

Jackie is just speeding away/ Thought she was James Dean for a day/ Then I guess she had to crash/ Valium would have helped that bash Empathetic and endearing, his live presence is irresistible. American Poet is a strong testimony to his brilliance as a musician and writer.
https://www.sputnikmusic.com/review/65761/Lou-Reed-American-Poet/


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