Oil Well RSC 047
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-4921343-1477043112-9012.jpeg.jpg)
1. Ocean (5:14)
2. Too Much (4:40)
3. Waiting For My Man (5:37)
4. Lisa Says (5:55)
5. What Goes On (8:58)
6. Sweet Jane (4:03)
7. We're Gonna Have A Real Good Time Together (3:18)
8. Femme Fatale (3:07)
9. New Age (6:39)
10.Rock And Roll (6:08)
11. Beginning To See The Light (5:32)
12. Heroin (8:14)
Note
All songs by Lou Reed
Track 1 recorded in studio June 19, 1969
Tracks 2,3 and 8 recorded live at End of Cole Ave, Dallas, October 19, 1969
Tracks 4,6,9,10,11 recorded live at The Matrix, San Francisco, November 1969 set4
Traks 5,7 recorded live at The Matrix, San Francisco, November 1969 set1
Track 12 recorded live at The Matrix, San Francisco, November 1969 set3
Lineup:
Sterling Morrison – guitar, vocals
Lou Reed – vocals, guitar
Maureen Tucker – percussion
Doug Yule – bass guitar, organ, vocals
Please note that "Too Much" is from Lost Live Tapes 1969 album and has got the introduction of Lou Reed at beginning of the show. Too Much is also known as "It's Too Much" and was the 2nd song from the show. They played I'm Waiting For the Man before its.
This Oil Well bootleg has a fine cover, fine quality. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
On the front cover Lou Reed and the Velvet Underground.
Audio quality:
Quality content:
© Official released material:
Track 1 has been released officially in 1995 on: VU
Tracks 3-12 have been released officially on: 1969: The Velvet Underground Live - Volume One
Audio quality:
Quality content:
© Official released material:
Track 1 has been released officially in 1995 on: VU
Tracks 3-12 have been released officially on: 1969: The Velvet Underground Live - Volume One
Tracks 3-7 and 9-12 have been released officially on: The Complete Matrix Tapes - 2015
____________________________________________________________________
1969: The Velvet Underground Live
1969: The Velvet Underground Live is a live album by the Velvet Underground. It was originally released as a double album in September 1974 by Mercury Records. The September 1988 CD re-release was issued as two separate single CD volumes, with one extra track per disc. Since many of the band's studio albums were out of print in the USA from the early 1970s through the mid-1980s, 1969 was one of the more popular albums by the band, and is a fan favorite. Spin magazine's Alternative Record Guide included it in the top 100 alternative albums of all time in 1995.
During 1969, the Velvet Underground toured the United States and Canada, playing well over 70 dates. By this time, the band had picked up a sizeable fan base and every now and then a fan would bring along, with consent of the band, recording equipment to record a set.
Most of the time, this would mean relatively simple hand-held recorders resulting in lo-fi audience recordings. On two occasions, however, professional equipment was used. On October 19, 1969, in the End of Cole Ave. club, Dallas, a fan who happened to be a recording engineer brought along his professional gear; and in November at The Matrix in San Francisco, the band was given permission to use the in-house four-track recording desk.
The band were given two-track mixdown tapes from the recordings for reference, but nothing was done with them until 1974, after the band had dissolved and Lou Reed had become well known as a solo artist. According to bassist Doug Yule, "The release of 1969 Live... was started by Steve Sesnick [former band manager], who had the tapes and was trying to sell them to get money for himself claiming that he owned the [band] name and the rights to the album... Somehow somebody else got involved and contacted other people in the group and basically Sesnick got done. [Lou Reed's management] took the tapes and said 'It's not yours' and released it".
The mixdown tapes were submitted to Mercury Records, who agreed to release a compilation of the best performances as a double album. The compiling was done by music critic Paul Nelson, who at the time was working in A&R (artists and repertoire) at Mercury. When 1969 was released, it immediately became subject of a lawsuit as The Matrix's management had never given permission for their material to be used on a commercial release. The matter was settled out of court.
The tracks on 1969 are for the most part of good sound quality, resulting from four-track recording equipment being used. Some of the tracks feature light crackling, however, as they were sourced from acetates, the original tapes having been lost. The CD release is worse in this regard, as it appears that some tracks were sourced from a vinyl copy of the album. There is little ambiance or audience sound, however, because no audience mic was used and so the only ambience the listener gets is whatever little the vocal and drums mics picked up. This makes the record sound relatively flat and small and makes it seem that only a handful of people were present.
At the time of the album's release, three of its songs ("We're Gonna Have a Real Good Time Together", "Over You" and "Sweet Bonnie Brown"/"It's Just Too Much") had never been released in any form, two ("Lisa Says" and "Ocean") were previously only known from the versions on Reed's debut solo album, and "New Age" and "Sweet Jane" were radically different from the eventual Loaded studio versions. In addition, much of the rest of the album lends credence to a popular saying about the band—that they would not (or could not) play a song the same way twice. In particular, "I'm Waiting For The Man" (here called "Waiting For My Man") is performed in a country-rock manner; "Femme Fatale" is louder and more aggressive, and "White Light/White Heat" is extended from two-and-a-half minutes to over eight minutes of avant-garde guitar improvisation. The album is also notable for featuring songs sung by different singers from the album versions: Reed sings "New Age" (later sung by Yule on Loaded) and "Femme Fatale" (originally sung by Nico) and Yule sings "I'll Be Your Mirror" (also originally by Nico).
____________________________________________________________________
1969: The Velvet Underground Live 1969: The Velvet Underground Live is a live album by the Velvet Underground. It was originally released as a double album in September 1974 by Mercury Records. The September 1988 CD re-release was issued as two separate single CD volumes, with one extra track per disc. Since many of the band's studio albums were out of print in the USA from the early 1970s through the mid-1980s, 1969 was one of the more popular albums by the band, and is a fan favorite. Spin magazine's Alternative Record Guide included it in the top 100 alternative albums of all time in 1995.
During 1969, the Velvet Underground toured the United States and Canada, playing well over 70 dates. By this time, the band had picked up a sizeable fan base and every now and then a fan would bring along, with consent of the band, recording equipment to record a set.
Most of the time, this would mean relatively simple hand-held recorders resulting in lo-fi audience recordings. On two occasions, however, professional equipment was used. On October 19, 1969, in the End of Cole Ave. club, Dallas, a fan who happened to be a recording engineer brought along his professional gear; and in November at The Matrix in San Francisco, the band was given permission to use the in-house four-track recording desk.
The band were given two-track mixdown tapes from the recordings for reference, but nothing was done with them until 1974, after the band had dissolved and Lou Reed had become well known as a solo artist. According to bassist Doug Yule, "The release of 1969 Live... was started by Steve Sesnick [former band manager], who had the tapes and was trying to sell them to get money for himself claiming that he owned the [band] name and the rights to the album... Somehow somebody else got involved and contacted other people in the group and basically Sesnick got done. [Lou Reed's management] took the tapes and said 'It's not yours' and released it".
The mixdown tapes were submitted to Mercury Records, who agreed to release a compilation of the best performances as a double album. The compiling was done by music critic Paul Nelson, who at the time was working in A&R (artists and repertoire) at Mercury. When 1969 was released, it immediately became subject of a lawsuit as The Matrix's management had never given permission for their material to be used on a commercial release. The matter was settled out of court.
The tracks on 1969 are for the most part of good sound quality, resulting from four-track recording equipment being used. Some of the tracks feature light crackling, however, as they were sourced from acetates, the original tapes having been lost. The CD release is worse in this regard, as it appears that some tracks were sourced from a vinyl copy of the album. There is little ambiance or audience sound, however, because no audience mic was used and so the only ambience the listener gets is whatever little the vocal and drums mics picked up. This makes the record sound relatively flat and small and makes it seem that only a handful of people were present.
At the time of the album's release, three of its songs ("We're Gonna Have a Real Good Time Together", "Over You" and "Sweet Bonnie Brown"/"It's Just Too Much") had never been released in any form, two ("Lisa Says" and "Ocean") were previously only known from the versions on Reed's debut solo album, and "New Age" and "Sweet Jane" were radically different from the eventual Loaded studio versions. In addition, much of the rest of the album lends credence to a popular saying about the band—that they would not (or could not) play a song the same way twice. In particular, "I'm Waiting For The Man" (here called "Waiting For My Man") is performed in a country-rock manner; "Femme Fatale" is louder and more aggressive, and "White Light/White Heat" is extended from two-and-a-half minutes to over eight minutes of avant-garde guitar improvisation. The album is also notable for featuring songs sung by different singers from the album versions: Reed sings "New Age" (later sung by Yule on Loaded) and "Femme Fatale" (originally sung by Nico) and Yule sings "I'll Be Your Mirror" (also originally by Nico).
Live at the End of Cole Ave: The Second Night
"Settle back, pull up your cushions, or whatever else you have with you that makes life bearable in Texas," Lou Reed mumbles as he sets up the audience for the show in the opening moments of Live at the End of Cole Ave: The Second Night. This legendary concert recording captured the legendary proto-punks at what was arguably the height of their live performance powers in late 1969, playing a gig in Dallas, Texas on one of their rare appearances outside of the East Coast. By the time of this recording, John Cale had been replaced by Doug Yule, and all of Cale's avant-garde posturing was stripped from a tightly wound working rock band. While the Velvets play serviceable versions of their early classics like "Femme Fatale" and "I'll Be Your Mirror" (not to mention a blistering 17-plus-minute version of "Sister Ray"), the songs from their third, self-titled album sound the most inspired and freshly conceived. "Beginning to See the Light," "What Goes On," "Pale Blue Eyes," and others from that near-perfect album get readings as spirited and giddy as the ever-cool Velvets were capable of giving. Completists and rarities hunters will appreciate the set for its almost 40 minutes of bonus tracks, consisting mostly of a jam session recorded after the show was over and most of the audience had gone home.
Disc 1 - 1. I'm Waiting For The Man 7.26 2. It's Just Too Much 2.54 3. I'Il Be Your Mirror 2.55 4. Some Kinda Love 4.24 5. Femme Fatale 3.27 6. Beginning To See the Light 5.57 7. I'm Set Free 4.40 8. After Hours 2.49 9. I'm Sticking With You 2.40 10. One Of These Days 3.29 11. Pale Blue Eyes 6.23 12. Ocean 6.02 13. What Goes On 6.22 /Disc 2 - 1. Heroin 7.17 2. Sister Ray 17.47/ Bonus Tracks – After Hours Jam 3. Lisa Says 3.39 4. Rock N’ RoII 5.07 5. Blue Velvet Jazz Jam 30.14
The Complete Matrix Tapes
The Velvet Underground were pioneers with blazing heads, Jesus' sons and daughter, the progenitors of seemingly everything that came after them. Assessing the four studio albums they released between 1967 and 1970 on the Pitchfork scale is like measuring a yardstick. They were also a perpetually struggling touring rock group like any other, playing extended engagements at large and small clubs all over the East and West Coasts, often two shows a night, to an audience of people who mostly just wanted to dance. The Complete Matrix Tapes is a document of that side of the band: Supposedly, it's a collection of the 42 songs the band played in two nights at a 100-capacity San Francisco club, The Matrix, some of which formed the bulk of 1969: The Velvet Underground Live with Lou Reed 40 years ago.
The conventional wisdom is that the Velvet Underground were at their best on stage, and the high points of The Complete Matrix Tapes bear that out. The peculiarly thin sonics of Matrix owner Peter Abram's recordings don't do Maureen Tucker's caveman drumming any favors, but they make a serious case for Sterling Morrison as God-Emperor of Rhythm Guitarists. The first disc's magnificent "What Goes On", with Morrison and Lou Reed's guitars chattering together at breathless speed while Doug Yule hammers at an organ, is the wellspring for, among other things, the Wedding Present's entire catalogue; "Ocean" is the seed and the soil for both Low and Godspeed You! Black Emperor. The version of the throwaway two-line rocker "We're Gonna Have a Real Good Time Together" on disc two is utterly thrilling, and the hushed, droning "Heroin" later in that set is a solid 20 years ahead of its time. Both "White Light/White Heat" and "I'm Set Free" are much more dramatic and vivid here than in their studio incarnations.
That said, some of the Matrix box's extended vamps get draggy, and there's a lot of song duplication here: four versions apiece of "Some Kinda Love", "Heroin", and "We're Gonna Have a Real Good Time Together", three apiece of "There She Goes Again" and "I'm Waiting for the Man", two apiece of seven others. But The Complete Matrix Tapes is useful as a way to hear how the Velvets constantly reworked their repertoire. Yule later said of Reed that "there were times when he would invent or put together songs on the fly in a performance, and he'd just turn around and say, 'Follow me'". The bizarre take on "I'm Waiting for the Man" that opens the box is slowed down to a crawling blues, extended to 13 minutes with some seemingly extemporaneous new verses; "Lisa Says", which the group had recorded in a studio just a month earlier, has almost totally rewritten lyrics and an entirely new bridge. Their most protean song, "Sister Ray", turns up in a relatively relaxed, noodly 37-minute performance that's far from its face-melting White Light/White Heat incarnation.
https://pitchfork.com/reviews/albums/21317-the-complete-matrix-tapes/
Downloadhttps://mega.nz/folder/roIS2T4K#ymGndBTt_N_1rnGTCH0Gdw
Nessun commento:
Posta un commento