Lou Reed: Caught Between the Twisted Stars extensive and carefully curated exhibition runs through March 4, 2023 Photo: Ed Bahlman
On the morning of Tuesday, June 7, >music producer and 99 Records founder Ed Bahlman joined me for the press preview of Lou Reed: Caught Between The Twisted Stars at The New York Public Library for the Performing Arts at Lincoln Center. Curators Don Fleming and Jason Stern along with Laurie Anderson acted as the media’s intimate tour guides through the extensive exhibition, which includes photos by Timothy Greenfield-Sanders, Mick Rock, Billy Name, and Julian Schnabel (Lou Reed’s Berlin) and connections to Reed with Andy Warhol, Robert Wilson, David Bowie, John Cale, Garland Jeffreys, Metallica, Sterling Morrison, Robert Quine, Mike Rathke, Fernando Saunders, Václav Havel, Jim Carroll, Allen Ginsberg, Delmore Schwartz, Anne Waldman, Doc Pomus, Hal Willner, and Laurie, plus some greetings cards by Moe (Maureen Tucker) to Lou, whom she affectionally calls Honey Bun.
On the morning of Tuesday, June 7, >music producer and 99 Records founder Ed Bahlman joined me for the press preview of Lou Reed: Caught Between The Twisted Stars at The New York Public Library for the Performing Arts at Lincoln Center. Curators Don Fleming and Jason Stern along with Laurie Anderson acted as the media’s intimate tour guides through the extensive exhibition, which includes photos by Timothy Greenfield-Sanders, Mick Rock, Billy Name, and Julian Schnabel (Lou Reed’s Berlin) and connections to Reed with Andy Warhol, Robert Wilson, David Bowie, John Cale, Garland Jeffreys, Metallica, Sterling Morrison, Robert Quine, Mike Rathke, Fernando Saunders, Václav Havel, Jim Carroll, Allen Ginsberg, Delmore Schwartz, Anne Waldman, Doc Pomus, Hal Willner, and Laurie, plus some greetings cards by Moe (Maureen Tucker) to Lou, whom she affectionally calls Honey Bun.
- 6/10/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The sound of Terror Twilight, the final album from Pavement, the Platonic ideal of 1990s indie rockers, was the guitar-waggle of frustration, the warp and woof of a brilliant songwriter and still-more-brilliant guitarist struggling against the limits of a band he’d outgrown. By 1999, Pavement leader Stephen Malkmus had long lapped his bandmates, the gents with whom he defined a genre for a solid decade, and on Terror Twilight, reissued in this glorious fan-service-ish package, one can hear it in every note of that progression and struggle.
Following their 1997 album Brighten the Corners,...
Following their 1997 album Brighten the Corners,...
- 4/7/2022
- by Joe Gross
- Rollingstone.com
Hedwig and the Angry Inch’s John Cameron Mitchell has teamed up with Eyelids — a psychedelic group featuring members of Decembrists, Guided By Voices and the Jicks — to record an Ep of Lou Reed covers. The proceeds will benefit Mitchell’s mom, who has Alzheimer’s disease. They also released an animated video for “Waves of Fear,” which originally appeared on Reed’s 1982 classic The Blue Mask.
The limited edition Ep, Turning Time Around, produced by R.E.M.’s Peter Buck, is available for pre-order right now. It also...
The limited edition Ep, Turning Time Around, produced by R.E.M.’s Peter Buck, is available for pre-order right now. It also...
- 11/4/2019
- by Andy Greene
- Rollingstone.com
“Carmine Street Guitars” is a one-of-a-kind documentary that exudes a gentle, homespun magic. It’s a no-fuss, 80-minute-long portrait of Rick Kelly, who builds and sells custom guitars out of a modest storefront on Carmine Street in New York’s Greenwich Village, and the film touches on obsessions that have been popping up, like fragrant weeds, in the world of documentary. “Carmine Street Guitars” is all about the weirdly grounded pleasures of analog culture; about the glory of hand-made artisanal objects in a world dominated by mass corporate production; about the aging, and persistence, of old-school jazz and rock ‘n’ roll; about the fading of bohemia in a world of rising rents, omnivorous bottom lines, and chain-store values; and about how all those themes fuse into a Zen ideal of doing what you love and loving what you do.
The film sounds earnest and touching in a minor, twilight-of-the-’60s way.
The film sounds earnest and touching in a minor, twilight-of-the-’60s way.
- 4/20/2019
- by Owen Gleiberman
- Variety Film + TV
For understandable reasons, there wasn’t a lot of anticipation in the air for Lou Reed’s 1976 album Coney Island Baby. His latest release at the time, 1975’s Metal Machine Music, was seen as a deliberate act of career suicide. Consisting of 64 minutes of abrasive feedback, the album contained no vocals or anything that could be recognized as music. “If this album is Reed’s Self Portrait, then we may have to tolerate a lot of stroboscopic sludge before he gets back on the tracks,” wrote Rolling Stone‘s James Wolcott.
- 10/27/2018
- by Angie Martoccio
- Rollingstone.com
Lou Reed was a rock & roll grandmaster whose catalog includes some of the most potent recordings ever made. First with the Velvet Underground, and then as a solo artist, he made music ranging from the wildly experimental to the perfectly straightforward. But Reed was a storyteller above all, waxing poetic about the full, frightening spectrum of human emotions years before others would dare. With their trans heroines, drug narratives, love stories, elegies, guitar jams and drone-scapes, he made LPs that could be flawed. But they always showed a mind two moves ahead.
- 10/27/2016
- by Will Hermes
- Rollingstone.com
Lou Reed: The RCA & Arista Album Collection (Sony Legacy)
In a nutshell: If you are a Lou Reed fan, you should get this seventeen-cd box set regardless of how much of its contents you already own. Everything has been remastered; I compared the sound on six albums I have earlier CDs of (I did not compare the new CDs to my old vinyl, as that's apples and oranges), and on five the sound is greatly improved, more focused and with greater clarity; The Bells in particular has its murky sound fixed but retains its darkness. The exception is Take No Prisoners; it may be, given the circumstances under which this concert was recorded, that there wasn't much to work with there, but the sound is just as good as before. Throw in a very nice book -- not booklet; this thing's hardbound and roughly 11"x12" -- with co-producer Hal Willner's reminiscences,...
In a nutshell: If you are a Lou Reed fan, you should get this seventeen-cd box set regardless of how much of its contents you already own. Everything has been remastered; I compared the sound on six albums I have earlier CDs of (I did not compare the new CDs to my old vinyl, as that's apples and oranges), and on five the sound is greatly improved, more focused and with greater clarity; The Bells in particular has its murky sound fixed but retains its darkness. The exception is Take No Prisoners; it may be, given the circumstances under which this concert was recorded, that there wasn't much to work with there, but the sound is just as good as before. Throw in a very nice book -- not booklet; this thing's hardbound and roughly 11"x12" -- with co-producer Hal Willner's reminiscences,...
- 10/26/2016
- by SteveHoltje
- www.culturecatch.com
"Sha la la la, man." Lou Reed once said those words could have been his epitaph, from his 1978 sex-and-drugs epic "Street Hassle," and he was right. The character in the song is a real New York hard-ass, the kind of guy you hope you only have to meet in a Lou Reed song. After witnessing a scene of junkie horror, he shrugs it all off — "you know, it's called bad luck" — and refuses to get sentimental. Instead, he stares down death with his rock & roll sneer. "Sha la la la,...
- 10/28/2013
- by Rob Sheffield
- Rollingstone.com
Not that Lou Reed would have recognized me (though I was introduced to him once, which I'll get to), but he and his body of work intersected my life in more personal ways than that of any other major rock star. So this isn't an obituary so much as a series of memories. For obituaries, check out Gary Graff in Billboard and Jon Dolan in Rolling Stone.
Lou was from Long Island and I was from Long Island. At the most basic level, this meant that, growing up listening to Long Island radio stations, I heard lots of Lou even when he was no longer especially fashionable (between about 1976 and 1981). Thus, while most of the world ignored his 1978 album Street Hassle, I heard much of it on Wlir and Wbab, and bought it – my first Lou album. He had started out underground in the Velvet Underground, had managed to claw...
Lou was from Long Island and I was from Long Island. At the most basic level, this meant that, growing up listening to Long Island radio stations, I heard lots of Lou even when he was no longer especially fashionable (between about 1976 and 1981). Thus, while most of the world ignored his 1978 album Street Hassle, I heard much of it on Wlir and Wbab, and bought it – my first Lou album. He had started out underground in the Velvet Underground, had managed to claw...
- 10/28/2013
- by SteveHoltje
- www.culturecatch.com
A series of previously unreleased Velvet Underground performances will be issued, starting with The Velvet Underground Bootleg Series Volume 1: The Quine Tapes, a three-disc collection of material culled from three 1969 shows. The initial release, due on August 28th, will be part of an ongoing group of Velvet rarities unleashed from the Universal vaults.
The Quine Tapes were recorded with a single microphone plugged into a tape deck by Robert Quine, who would later become a founding member of Richard Hell and the Voidoids, as well as later collaborating with...
The Quine Tapes were recorded with a single microphone plugged into a tape deck by Robert Quine, who would later become a founding member of Richard Hell and the Voidoids, as well as later collaborating with...
- 6/20/2001
- by Andrew Dansby
- Rollingstone.com
Most of his fans have never seen it, but Lou Reed's smile is something to behold. In a midtown-Manhattan rehearsal studio, Reed is leading his new touring band into the mighty Memphis soul finish of a toughened-up "Legendary Hearts" when his dark, probing eyes suddenly light up like a pair of Broadway theater marquees. As the Stax-Volt swell of trumpet, sax and keyboards fades away, Reed's notorious castiron jaw softens up and his thin, flinty lips crack open in a blazing display of dental fireworks. The laugh that follows,...
- 9/25/1986
- by David Fricke
- Rollingstone.com
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