AccessAtlanta > Music > Music Midtown > Blog > Archives > 2005 > June > 10 > Entry
Lou Reed
The Atlanta Journal-Constitution
The question on everyone’s mind before Lou Reed’s set: Will he do any Velvet Underground? The query was answered quickly with the noisy drone of “White Light/White Heat.” He even indulged in some atonal guitar strangulation that was hypnotic — at least until his amp went wonky. The sound man brought out a new one. “That’s a real vintage amp,” Reed said. “I can’t replace that one.”
His deep and imperfect — but hugely influential — voice sounded surprisingly strong after a career that’s spanned more than four decades. The title track from his 1982 album “The Blue Mask” was one the set’s highlights, despite missing the original’s powerhouse guitar chug. His four-piece backing band, including cellist Jane Scarpantoni, still worked the tune into a brutal free-for-all.
Even those in the crowd who didn’t recognize anything else started dancing when he strummed the iconic opening chords to “Sweet Jane.” Like thousands of cover bands since he wrote it more than 30 years ago, Reed knows it’s the perfect way to end a set.
Comments
By Doctor LongGhost
June 11, 2005 06:23 PM | Link to this
Watching Lou Reed’s set, I developed a much deeper respect—-for John Cale. Seriously, I’ve seen some sloppy, insincere, phoned-in performances before, but Lou topped them all. From his obvious reading of the teleprompter for all the lyrics to his seeming intentional choice to include every throwaway song he’s ever written, this performance demonstrated either a strong contempt for the audience or a cluelessness that’s sad to contemplate. I mean, when Charlie’s Girl from Coney Island Baby is one of the high points of the show, you know you’re watching a career in deep decline. It’s always nice to see a living legend, but it’s even nicer if that legend does something more than just stumble through the motions.
By bryan crutchfield
June 12, 2005 08:59 AM | Link to this
Lou Reed is a sad attempt at cashing in on the resurgence of 70’s era dinosaur rockers. His guitar skills are as awkward and predictable as a pre-pubescent teen posing in front of the bedroom mirror after having paid for the first of three music store lessons. Attempting to mask his discomfort for performing live without a heroin needle by torturing a cellist and studio drummer with his chord progression butchering and monotone lyrical delivery is criminal. Mr. Malcontent’s “duct taped back” stroll down amnesia lane is the anthem for the unauthentic. I bet Sweet Jane is rolling over in her jukebox.
By David
June 12, 2005 09:10 AM | Link to this
I didn’t see Lou because I couldn’t attend Friday night. I do hear he’s sometimes not at his peak live. But I wanted to address what Bryan said. You say he’s attempting to cash in on the resurgance of 70’s dinosaur rockers. What the hell? Lou Reed never stopped making albums. His career has never really let up as far as touring/making recordings. I would hardly call him touring to be an attempt to cash in because he’s a dinosaur. Even if that was the case, there are very few people who deserve it if given the chance.
And aren’t about half the performers at a festival like this “cashing in”? Hell, even alt-Gods the Pixies are cashing it in more than just about any act in the whole lineup.