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27-10-2013
  1
V.I.P.
 
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Goodbye Lou Reed
Goodbye Lou Reed, and thank you for the Music!



source: Lou Reed Facebook Page



Quote:
Lou Reed, a massively influential songwriter and guitarist who helped shape nearly fifty years of rock music, died today on Long Island. The cause of his death has not yet been released, but Reed underwent a liver transplant in May.

Look back at Lou Reed's remarkable career in photos

With the Velvet Underground in the late Sixties, Reed fused street-level urgency with elements of European avant-garde music, marrying beauty and noise, while bringing a whole new lyrical honesty to rock & roll poetry. As a restlessly inventive solo artist, from the Seventies into the 2010s, he was chameleonic, thorny and unpredictable, challenging his fans at every turn. Glam, punk and alternative rock are all unthinkable without his revelatory example. "One chord is fine," he once said, alluding to his bare-bones guitar style. "Two chords are pushing it. Three chords and you're into jazz."

Lewis Allan "Lou" Reed was born in Brooklyn, in 1942. A fan of doo-wop and early rock & roll (he movingly inducted Dion into the Rock and Roll Hall of Fame in 1989), Reed also took formative inspiration during his studies at Syracuse University with the poet Delmore Schwartz. After college, he worked as a staff songwriter for the novelty label Pickwick Records (where he had a minor hit in 1964 with a dance-song parody called "The Ostrich"). In the mid-Sixties, Reed befriended Welsh musician John Cale, a classically trained violist who had performed with groundbreaking minimalist composer La Monte Young. Reed and Cale formed a band called the Primitives, then changed their name to the Warlocks. After meeting guitarist Sterling Morrison and drummer Maureen Tucker, they became the Velvet Underground. With a stark sound and ominous look, the band caught the attention of Andy Warhol, who incorporated the Velvets into his Exploding Plastic Inevitable. "Andy would show his movies on us," Reed said. "We wore black so you could see the movie. But we were all wearing black anyway."

Listen to 20 essential Lou Reed tracks here

"Produced" by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Bob Dylan's Blonde On Blonde. Reed's matter-of-fact descriptions of New York’s bohemian demimonde, rife with allusions to drugs and S&M, pushed beyond even the Rolling Stones’ darkest moments, while the heavy doses of distortion and noise for its own sake revolutionized rock guitar. The band’s three subsequent albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded, which despite being recorded while he was leaving the group, contained two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly ignored. But they’d be embraced by future generations, cementing the Velvet Underground’s status as the most influential American rock band of all time.

After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. “Walk On the Wild Side,” a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and “Satellite of Love” was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name (“Lou sure is adept at figuring out new ways to **** on people,” one of those critics, Robert Christgau, wrote at the time). Explaining his less-than-accommodating career trajectory, Reed told journalist Lester Bangs, “My bullshit is worth more than other people’s diamonds.”

Reed’s ambiguous sexual persona and excessive drug use throughout the Seventies was the stuff of underground rock myth. But in the Eighties, he began to mellow. He married Sylvia Morales and opened a window into his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York ended the decade with a set of funny, politically cutting songs that received universal critical praise. In 1991, he collaborated with Cale on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.

Read Rolling Stone's 1989 Lou Reed cover story

Reed and Morales divorced in the early Nineties. Within a few years, Reed began a relationship with musician-performance artist Laurie Anderson. The two became an inseparable New York fixture, collaborating and performing live together, while also engaging in civic and environmental activism. They were married in 2008.

Reed continued to follow his own idiosyncratic artistic impulses throughout the ‘00s. The once-decadent rocker became an avid student of T'ai Chi, even bringing his instructor onstage during concerts in 2003. In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.

“All through this, I’ve always thought that if you thought of all of it as a book then you have the Great American Novel, every record as a chapter,” he told Rolling Stone in 1987. “They’re all in chronological order. You take the whole thing, stack it and listen to it in order, there’s my Great American Novel.”



Read more: http://www.rollingstone.com/music/ne...#ixzz2ixHFkIwh

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27-10-2013
  2
The future is stupid
 
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Hey, babe
Take a walk on the wild side

Rest in Peace Lou Reed.

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27-10-2013
  3
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Forever a Velvet Underground diehard...Rest in Peace Lou, your music will resonate throughout the generations.

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27-10-2013
  4
V.I.P.
 
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Playing my Transformer LP all day long. Thank you for everything Lou.

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27-10-2013
  5
windowshopping
 
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Sad that my first post goes in this thread A real artist, may you walk in the peaceful side from now on.

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27-10-2013
  6
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So sad. A true art, music and fashion icon.

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27-10-2013
  7
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Saddening, a true inspiration that will be greatly missed and always remembered.

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27-10-2013
  8
Stitch:the Hand
 
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listening to everything lou and VU myself.

so long master…..hope you and nico reunite wherever you are….

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27-10-2013
  9
V.I.P.
 
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R.I.P. Lou Reed

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28-10-2013
  10
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Quote:
Originally Posted by Scott View Post
listening to everything lou and VU myself.

so long master…..hope you and nico reunite wherever you are….
That's what I was thinking... I always loved him and Nico together.

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28-10-2013
  11
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I'm so terribly saddened by Lou's death! He was a true icon, a wonderful musician. Rest in peace, Mr. Reed.

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28-10-2013
  12
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This song has never been so fitting


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28-10-2013
  13
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28-10-2013
  14
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Quote:
Originally Posted by jennifer~ View Post
That's what I was thinking... I always loved him and Nico together.
it's funny because when andy initially introduced nico to the band,lou and others in the band notoriously objected and even went so far to have her name mockingly printed as "& Nico" as if she weren't actually a part of the band. but eventually be began to warm to her and even went on to write songs especially for her. there was something about that dynamic that i think lent to some of the band's most haunting work.


btw,gotta love this famous quote from lou-

Quote:
It always bothers me to see people writing ‘RIP’ when a person dies. It just feels so insincere and like a cop-out. To me, ‘RIP’ is the microwave dinner of posthumous honours


Lou Reed

Good bye it is then.

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28-10-2013
  15
V.I.P.
 
Not Plain Jane's Avatar
 
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Yeah, Scott - Goodbye and thank-you just seemed more appropriate to me, but I hadn't read that quote!

I saw Lou Reed (with the Feelies) in concert back in 1989 or 1990 I think it was; I am thankful for that ... I can still picture Lou singing Sweet Jane.

But my real love for Lou is with the Velvets; that's one of my all time favourite bands (one of my cats is named Nico) and their music has saved me so often over the years.

KEXP (excellent public Seattle radio station) did hours and hours of Lou/Velvet music/covers yesterday. It was a beautiful tribute to a great artist. His music will never go; what a great writer he was.

The Paris Review excerpted this part of "The Murder Mystery" yesterday:

Quote:
The Murder Mystery
Lou Reed

1. Mister Moonlight
succulent smooth and gorgeous
isn’t it nice
we’re number one and so forth
isn’t it sweet, being unique

2. Mister Muse
fellow of wit and gentry
medieval ruse
filling the shallow and empty
fools that dual, dual in pools

3. Objection! Suffice
Apelike and tactile bassoon
oboeing me, cordon that virus’ section
off—to the left
is what is not right

4. Exit the pig
enter the owl and gorgeous
king on the left,
it on the right and primping
adjusting his nose
as he reads from his scrolls

5. no one nose
no nose is good news and sceneless
extend the wine
drink here a toast to something
ten year old port is perfect in court

6. Razzanatazz
there’s nothing up my shoulder
lust is a must
shaving my heads made me bolder
will you kindly read
what it was i brought three?

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