Comments which don't warrant a thread.

[Spaceman Spiff 0]

This one's for AoO:

.

[Guest Agent of Oblivion]

Ahhhhahahaha. That guy was all "YEAH!" until he realized he was getting throttled, and had to stay there on the stage. Fuckin' brilliant way to discourage stage storming.

[Murmuring Beast 0]

On Loaded: Okay, it's not so bad. It's grown on me. However, I have reservations about actually calling it a Velvet Underground album. Maureen Tucker is out, and John Cale had been out for some time, so without Maureen's minimalist cymbal-eschewing drumming and John's experimentalism and cool Welsh accent, you lose a lot of what made the VU's sound unique. Also, a lot of these guitar parts seem too advanced to be Lou or Sterling's work. Now granted, it doesn't feel as ersatz as Squeeze, but if somebody had been going on and on and on about how influential and groundbreaking this band was, and handed me Loaded, I wouldn't see the big deal.

 

Well, ok, Tucker and Cale aren't on the record but should that be a problem? In the end, most of the songs are still pretty good if not great. There is still a unique quality to the album despite the polished finish (nobody sang like Lou or wrote lyrics like him either). I don't know if you are suggesting session players played on the record but I can be pretty sure that the lead guitar work is mostly handled by Morrison.

 

Loaded is a progression and essentially a band can only only 'experiment' for so long before things become contrived. The earlier albums were the groundbreaking ones, the final one being the send-off.

 

And finally, the Velvet Underground was Lou Reed. The others added a certain something to the first record* but after that, it was all Lou.

 

 

* White Light/White Heat was a put-on.

[Guest Felonies!]

Plowing while it's done away. Dumb and ready pig meat. Sick upon the carpet. Climb into the casket. Safe within the parapet. Sack is in the parapet. Pigs are out and growling. Slaughter by the seashore. See the lifeguard drowning. Sea is full of fishes. Fishes full of china. China plates are falling. All fall down. Sick and shiny carpet. Lie before my eyes eyes. Lead me to the ceiling. Walk upon the wall wall. Tender as the green grass. Drink the whiskey horror. See the young girls dancing. Flies upon the beaches. Beaches are for sailors. Nuns across the sea wall. Black hood horseman raging. Swordsman eating fire. Fire on the carpet. Set the house a-blazing. Seize and bring it flaming. Gently to the ground ground. Dizzy bell misfortune. Fat and full of love-juice. Drip it on the carpet. Down below the fire hose. Wheat and whiskey fortune. Sail me to the moon, dear. Drunken dungeon sailors. Headless Roman horsemen. The king and queen are empty. Their heads are in the outhouse. Fish upon the water. Bowl upon the savior. Toothless wigged laureate. Plain and full of fancy. Name upon a letterhead. Impressing all the wheatgerm. Love you for a nickel. Ball you for a quarter. Set the casket flaming. Do not go gentle blazing.

 

Sick upon the staircase. Sick upon the carpet. Blood upon the pillow. Climb into the parapet. See the church bells gleaming. Knife that scrapes a sick plates. Dentures full of air holes. The tailor couldn't mend straight. Shoot her full of air holes. Climbing up the casket. Take me to the casket. Teeth upon her red throat. Screw me in the daisies. Rip apart her holler. Snip the seas fantastic. Treat her like a sailor. Full and free and nervous. Out to make his fortune. Either this or that way. Sickly or in good health. Piss upon a building. Like a dog in training. Teach to heel or holler. Yodel on a singsong. Down upon the carpet. Tickle polyester. Sick within the parapet. Screwing for a dollar. Sucking on a fire-hose. Chewing on a rubber line. Tied to chairs and rare bits. Pay another player. Oh, you're such a good lad. Here's another dollar. Tie him to the bedpost. Sick with witches' covens. Craving for a raw meat. Bones upon the metal. Sick upon the circle. Down upon the carpet. Down below the parapet. Waiting for your bidding. Pig upon the carpet. Tumescent railroad. A neuroanaesthesia analogue. Ready for a good look. Drooling at the birches. Swinging from the birches. Succulent Nebraska.

 

 

that > "New Age"

[Murmuring Beast 0]

Pardon my ignorance...

 

I'll edit this post: Nice but it doesn't mean a thing as Lou later said.

[Murmuring Beast 0]

I like the 'Murder Mystery' though, I don't get the point. Written by Lou as well.

[Guest Felonies!]

Who cares, it's awesome. I want ever-so-badly for it to make sense, though.

 

And I know Lou Reed wrote all these songs. What's your point?

[Murmuring Beast 0]

It is probably better than 'New Age', yea. I'm undecided what is the better album though. Loaded packs more of a punch.

[Murmuring Beast 0]

And I know Lou Reed wrote all these songs. What's your point?

 

You give Cale too much credit I got touchy. Carry on!

[Guest Felonies!]

Loaded is more energetic, whereas the s/t is very quiet and subdued. I prefer the s/t. "After Hours" is creepy.

 

Are you sure Cale didn't have a hand in The Murder Mystery? It has his fingerprints all over it. Maybe they started it before Sesnick and Reed forced him out, circa "Stephanie Says" and all those tracks

[Murmuring Beast 0]

It's been a while since I heard it. Maybe it's him on piano?

[Gary Floyd 0]

The self titled album is probably my favorite VU album. The whole thing just flows, and doesn't have a weak point on it.

[Guest Felonies!]

I think "In My Life" would've been so much better if John didn't sing it, but then again, I have a major Paul/George bias.

[Murmuring Beast 0]

I'm quite fond of the Keith Moon version.

[Guest Felonies!]

I know somebody is gonna give me shit for this, but I just don't feel it's suited to his voice.

[Murmuring Beast 0]

A shared lead would have been interesting.

[CanadianGuitarist 0]

"Let freedom ring with a shotgun blast" about 90 seconds into a really metal song.

 

No one seems to know what it is, even the guy who's computer I accidentally downloaded it from. Our guesses were Machinehead(which it didn't sound like) or Slayer.

[snuffbox 0]

The Velvets should just have their own oao thread.

 

Edit - Machinehead/Burn My Eyes.

[Giuseppe Zangara 0]

Loaded is more energetic, whereas the s/t is very quiet and subdued. I prefer the s/t. "After Hours" is creepy.

 

Are you sure Cale didn't have a hand in The Murder Mystery? It has his fingerprints all over it. Maybe they started it before Sesnick and Reed forced him out, circa "Stephanie Says" and all those tracks

Nothing I've read indicates Cale had anything to do with it; it's just Reed, by his own admission, fucking around.

[Guest Felonies!]

Don't ruin "The Black Angel's Death Song" for me.

[Edwin MacPhisto 0]

Eleanor Friedberger sounds really cute.

And she looks it too. Whatta fox. A tiny little rockin' fox.

[Guest Felonies!]

Indieriffic, not that it's necessarily bad or anything, but I pretty much expected the hair.

[Edwin MacPhisto 0]

Her hair was shorter when I saw the Fiery Furnaces. And Matthew Friedberger looks kind of like a mongoloid in person. Dude's head is massive.

[Guest Dangerous Donnie D]

Brooklyn-bred rapper Joell Ortiz has signed to Aftermath Records according to representatives for the rapper.

 

Aftermath is the label producer Dr. Dre founded after he departed Death Row Records.

 

In a prewritten statement, Ortiz expressed his desire to be mentioned among the other greats in the rap game.

 

"So far it's been great and I'm glad people are feeling me now but I know I have a long way to go before I'm running with the big boys like Jay-Z or 50 Cent," Ortiz said in a statement. "That's where I'm trying to reach, nothing less."

 

Prior to his signing, the rapper had been recognized in AllHipHop's Breeding Ground, The Source magazine, XXL and other Hip-Hop media outlets.

 

Additionally, he's recorded material with rap legends like Kool G Rap and KRS-One and newer artists like Sha Stimuli, another rapper from Brooklyn.

 

Ortiz landed a song called "I Mean Business" on EA Sports' NBA Live 2005 and a mixtape called Who the F**K is Joell Ortiz?

 

Joell Ortiz joins rappers like Eminem, 50 Cent, Busta Rhymes, Eve and Philadelphia newcomer G.A.G.E., who are all included on Aftermath's roster.

 

What cha'll know bout this dude? He is already over with me, what recording with G. Rap and all.

 

KOOL G. RAP OWNZ JOO.

[FroGG_NeaL 0]

Triple D is right.

 

Kool G. Rap, Rakim and Big Daddy Kane are all better then your favorite rapper's favorite rapper.

[Annabelle 0]

sam cooke's 'live at the harlem square club' is the best live album i've ever heard in my life.

Right fucking on!

 

I'm glad someone else thinks so. I have a wonderful history with that album. It's one of the first I can remember actually downloading off of Napster. I listened to it once, thought "hmm," and then got way smarter and got into it insanely so my first year of college. I found a used copy maybe two, three years ago, and I started listening to it even more. Sometime this spring I realized it's unquestionably all-time top 10 material for me. I think his studio recordings are great and charming as well, but the live album is on a totally different level. Never heard or seen a performer connect with a crowd as strongly as he does on there.

 

i downloaded this. it contains everything that is wrong with live shows nowadays. terrific. i don't think a human being has ever had a more powerful voice. its sturdy & thick.

[CBright7831 0]

I had no idea that Eminem made a surprise appearance during the BET awards, earlier this summer.

 

http://www.youtube.com/watch?v=vjFmEnTVRxM

 

Although all of Em's stuff has been ass the last few years, I was really happy to see this.

[Guest Felonies!]

Hey, Christgau got fired from the Village Voice, though this probably came about 30 years too late for Lou Reed.

 

"Is he a toe-fucker or something? The Consumer's Guide To Rock! . . . Nice little box, B+. Can you imagine working on an album for a fucking year just to get a B+ from some asshole in the Village Voice?"

[snuffbox 0]

A quick review from Wed CSNY show in Milwaukee...

 

If the exchange for Wednesday night's three and a half hours of music is a brief jaunt through one of Milwaukee's lesser districts...I will accept the terms every time. The tickets clearly stated that the show would start at 7:30 and, at that very moment, I was engaged in a futile effort to get directions from a gas station attendant who had clearly chased his dragon to its bitter, warped end. Following the route offered by our new brainbatterfried friend led to three consecutive dead ends...an ultimate decision to just move on in the direction that we guessed the lake would be turned out to be a surpsingly fruitful strategy.

We arrived in time to have missed about 5 songs but it is impossible to be at all angry when four icons of music are playing their songs in lieu of pooping themselves (though, in David Crosby's case, adult diapers may already be in ful use). We found what appeared to be our seats and started settling into 'After the Garden' from Neil's newest record when some old bastard told us those were 'his seats & his kids would be coming back soon.' Not wanting any trouble, we simply took a couple other empty seats at the end of the row. It wouldnt be until intermission that we learned those first seats were in fact our own and we would have to ask the aged fools to go find their own actual spots. Three more songs from that same new disc of would follow...the title track, 'Living With War, 'Restless Consumer', and 'Shock & Awe'. As is apparently the case on most stops of this tour, some attendees drank to the point of confusion where they truly believed they were commentators on a Fox News Channel program. One guy, who must have bought his ticket by somehow mistaking Neil Young for Kenny Rogers, yelled something like, "You suck Neil!", in a voice marred by chewing tobacco and a few too many Miller Lites. Older music followed with 'Wounded World' from Stephen Stills' solo catalogue, David Crosby belting out lead vocals for 'Almost Cut My Hair' for a sea of marking out retired hippies, and Graham Nash's 'Immigration Man'. The retards must have already passed out in time for another new Neil song, 'Families', as there were no slurred confused remarks made at a loud shrill pitch. Or, maybe, there was just no room for a classic jab at dissent like 'Why do you hate the troops?' after a song with lyrics like-

 

I'm goin' back to the USA

I just got my ticket today

I can't wait to see you again

In the USA.

 

The first set, and our stint in the incorrect seats, ended with a fierce run through the classic 'Deja Vu'. There would be no opportunity for booze replenishing during the break...the herd of old people in need of drink was moving at far too slow a pace to consider getting in line.

 

The second set was Homer epic. Incredible harmonizing on 'Helplessly Hoping'...Nash taking the piano spotlight for 'Our House' then handing off that lime for Neil Young's 'Only Love Can Break Your Heart'...Crosby and Nash turning their throats and lung remnants back to the glory days for some stellar 'Guinnevere' crooning...and Graham Nash playing 'Milky Way Tonight' for the "full moon over Milwaukee, though it's been on the setlist all summer anyway. Neil Young and Stephen Stills, still holding plenty of that old Buffalo Springfield vibe, gave their audience plenty to smoke about with 'Treetop Flyer'. There was more emotional respect for the American Soldier with more new Neil material, 'Roger and Out', and a large painting of a Vietnam-era helmet on the big screens. A run of older material flowed with Crosby/Nash leading through 'Southbound Train', Stephen Stills grabbing some heavy blues histrionics for 'Old Man Trouble', all four harmonizing for 'Carry Me' and 'Teach Your Children', and a soaring 'Southern Cross'. A somber 'Find the Cost of Freedom', with its intricate four-part harmony, played with the faces of American heroes who died in Iraq on the screens.

The four should-be exhausted rockers took a breather as a recording Jimi Hendrix's fierce Star Spangled Banner from Woodstock played to flags on the tvs. Refreshed, Neil (and his 'Presidential FlipFlops' as seen on the Colbert Report) led the band and crowd through 'Lets Impeach the President'...which is a song that doesn't sound nearly as hokey live as it does on the record. The Buffalo Springfield almni jammed 'For What Its Worth', possibly the most iconic song of the late 1960s. Graham Nash reached deep into his archives of protest for 'Chicago (We Can Change the World)'. A reminder of how much worse America can be when it wholly ignores its foundation of freedom was provided by Neil's scorching 'Ohio'. David Crosby lashed at those sad leaders in the Nixon/Cheney vein on 'What Are Their Names?' The show would reach its end about fifteen minutes later following an insanely powerful 'Rockin in the Free World' that required a new, healthier replacement guitar for Neil Young about ten minutes in. It was pure grunge fury, alive and well in this age of fog-hidden ideals.

The herd of oldsters leaving the amphitheatre was as slow as expected...and the cars leaving town moved as though the interstate was a coutnyfair mainstreet parade...none of that mattered in the glow of those three and a half hours.

[Red Baron 0]

That was a good clip from the Tool concert. Chokehold and all.