CD Live At Max's Kansas City: Deluxe Edition [Remaster] (CD 535442),
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Live At Max's Kansas City: Deluxe Edition [Remaster]

  • 0. DISC 1:
    1. I'm Waiting For the Man
    2. White Light White Heat - (previously unreleased)
    3. I'm Set Free - (previously unreleased)
    4. Sweet Jane - (previously unreleased, version 1)
    5. Lonesome Cowboy Bill - (version 1)
    6. New Age
    7. Beginning to See the Light
    0. DISC 2:
    1. Who Loves the Sun - (previously unreleased)
    2. Sweet Jane - (version 2)
    3. I'll Be Your Mirror
    4. Pale Blue Eyes
    5. Candy Says - (previously unreleased)
    6. Sunday Morning
    7. After Hours
    8. Femme Fatale
    9. Some Kinda Love
    10. Lonesome Cowboy Bill - (previously unreleased, version 2)
    11. Atlantic Release Promo - (hidden track)
  • Additional Info
    Manufacturer Part Number (MPN): 78093

  • Credits
    ProducerBill Inglot (Reissue); Patrick Milligan (Reissue); John Hagelston (Reissue)
    EngineerBrigid Polk

    Includes six previously unreleased tracks.
    Booklet notes include interview excerpts with Doug Yule, Billy Yule, Danny Fields, Brigid Berlin (Polk), Moe Tucker and Jim Carroll.
    The Velvet Underground: Lou Reed (vocals, guitar); Doug Yule (vocals, bass guitar); Sterling Morrison (guitar); Billy Yule (drums).
    Liner Note Author: John Hagelston.
    A far cry from the fervor of the seminal LIVE 1969, this live recording, though it was made only a year later, is the swan song of the Velvet Underground. Velvets fan/friend Brigid Polk brought her home cassette machine to this gig at one of the band's favorite NY haunts to record it for herself. Though it was cleaned up upon its eventuation to album format, it still bears the lo-fi marks of it's origin, adding to the gritty, you-were-there feeling.
    The band had lost idiosyncratic, minimalist drummer Mo Tucker by this time, and were performing material from what's arguably their least memorable album (LOADED), so there's none of their previous live fireworks to be found here. By this time, it was undisputedly Reed's show, so just think of this as the first great live Lou Reed album. The band is at their most polished here, but the amateur sound quality provides a serendipitously ragged edge to the proceedings. The first half of the album is filled with bracing rockers, mostly from LOADED, while the second contains the band's most affecting ballads, largely from their earlier albums. Get 1969 first, then explore this album's subtler charms.

  • Critic Reviews
    Rolling Stone (8/3/72, p.37) - "...The sound is remarkably good...and the ambience is full-blown Max's..."
    Rolling Stone (p.124) - 3 stars out of 5 - "[I]t's still their warmest, most intimate live album..."
    Entertainment Weekly (p.123) - "This is historically important..." - Grade: B
    Q (p.134) - 3 stars out of 5 - "[A]s an insight into their fleeting stay as a good-time band, it's not bad at all."
    Uncut (p.122) - 5 stars out of 5 - "LIVE AT MAX's held huge sway for the bravura of its mellow, metallic-edged sound and decadent atmosphere..."
    Magnet (p.91) - "The Velvets on LIVE are exuberant and polished..."
    Mojo (Publisher) (p.112) - 3 stars out of 5 - "[W]ith good-natured energy..."
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