RIP Lou Reed

For new sounds, old sounds and favourite sound discussion...

Moderators: sunny, BzaInSpace, runcible, spzretent

mc
Known user
Posts: 984
Joined: Thu Jan 01, 1970 1:00 am

Re: RIP Lou Reed

Post by mc »

A lovely essay from Laurie Anderson discussing her life with Lou:

http://www.rollingstone.com/music/news/ ... e-20131106

Seems he and Jason underwent the same treatment for liver disease...
BzaInSpace
Site Admin
Posts: 3864
Joined: Thu Jan 01, 1970 1:00 am
Location: HELL

Re: RIP Lou Reed

Post by BzaInSpace »

Wow! Incredible piece of writing there - genuinely beautiful and inspiring...
O P 8
Hedspace
Known user
Posts: 551
Joined: Thu Jan 01, 1970 1:00 am

Re: RIP Lou Reed

Post by Hedspace »

mc wrote:A lovely essay from Laurie Anderson discussing her life with Lou:

http://www.rollingstone.com/music/news/ ... e-20131106

reading that made my day a better day


beautiful
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
Melmoth
Known user
Posts: 38
Joined: Mon May 31, 2004 12:18 pm

Re: RIP Lou Reed

Post by Melmoth »

My father died on that Sunday, same as Lou Reed. I'm shocked to find myself more stunned by Lou Reed's death than by that of my father. It might seem brutal and obscene but that is the truth. And it's like this because that music and the way it made me feel when I was younger is more important to me like the way my father made me feel. Sad, I know.
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

melmoth- very very sorry for your loss.

i haven't been able to get this song out of my head the last week or so

http://www.youtube.com/watch?v=yYq2kPjdBDw
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

Looking at trees with Lou Reed: Reflections on playing guitar with a master

Aram Bajakian played lead guitar for Lou Reed on Reed’s recent tours. He currently performs with Diana Krall, John Zorn and more. His solo record is available here.

I’ll never forget getting the call at 8 AM to come down to Lou’s to audition for the guitar slot in his band. They wanted me to come in an hour. I was dead tired, my first daughter having been born earlier that week, and I hadn’t expected the call. I also hadn’t worked on the tunes. Nonetheless, I jumped into a cab for his West Village studio, praying that we wouldn’t get stuck in traffic on the Queensborough Bridge. The first thing he said to me when I arrived was, “You’re not going to play any jazz are you? Because this is a rock band.” I found my way into that weird state that exists when you’re exhausted but also know you’ve got the opportunity of a lifetime. I killed the audition—I remember him smiling as we played.

A few weeks later we were listening to trumpeter Don Cherry with an intensity and appreciation that none of my college jazz professors could come close to. Lou picked up on every nuance of every note—and loved it.

When I tell people I played with Lou Reed, the first reaction is often, “I hear he’s difficult.” To which I reply, “Do you really want it to be easy? Do you think any great art comes out of having a nice relaxing time?”

Multi-instrumentalist Doug Weiselman once said to me that while Lou could rip someone to shreds he didn’t get enough credit for how passionate, enthusiastic and supportive he could be when he heard something that was ON. At a rehearsal once with the great saxophonist James Carter, James played these incredibly beautiful low notes—Lou and I just looked at each other. The gig was great too, but there was something about that rehearsal and how James played, the spirit that he invoked—it was so deep, Lou talked about it for weeks.

For Lou playing as if your life depended on it was all that mattered. He instantly knew if it was happening and he lived by that litmus test. When he ripped on people, it was only because he was trying to wake them up, to make their art alive and to make them play with this level of attention.

I once said to him, “Lou, it doesn’t bother me when you rip into me, because I know that you’re trying to teach me something, or that I’m being lazy.” And he said “You’re one of the few who gets it.”

Lou was always in the moment. He often said that if the iconic “Wild Side” solo had been recorded a few hours later it would have been different. On many occasions we would work on something for hours and play it that way the next day only to have Lou say, “No no no, that’s not it.” Inevitably someone would respond with, “Lou that’s what we came up with yesterday.”

“That was yesterday. Today is today.”

And it didn’t matter if he was at a rehearsal or at a festival in front of 40,000 people. Lou didn’t care. Or rather, he cared more than anyone I’ve ever met about making the music ALIVE and in the PRESENT. He didn’t stand on ceremony, regardless of the environment.

Our first festival show was in England. The other guitarist/violinist, Tony Diodore, and I had never played in front of 40,000 people. It’s an overwhelming amount of energy. And on top of that, Iggy Pop and Patti Smith were watching us from the side of the stage.

Tony was taking a violin solo on the song “Ecstasy.” We had rehearsed a certain length for the solo and when we came to the end he wound down as planned. Lou yelled, “keep going!” And again, “keep playing!” Lou wouldn’t let up. He shouted it over and over.

At first Tony noodled a bit, but then something flipped and he started wailing. And the crowd went nuts. Lou taught him how to really play that day.

I see so many bands today that seem dead, like they’re running through the motions, afraid to make mistakes. Everything is so perfect—even when they’re trying to be punk, it’s so calculated. And I see it because of Lou.

The other day I was talking to guitar tech Stewart Hurwood about the awesomeness of sound checks with Lou. Most of the time bands’ sound checks involve running through a song, making sure everything is working properly, maybe a little rehearsing on something. But with Lou they were marathons, going two or three hours. Usually right until the doors opened.

We’d get really into the songs, making them better and better. And then better.

I remember one time in Bordeaux when he decided the saxophone sounded too much like a saxophone. “Let’s make it sound like something we’ve never heard before,” he said. And out came the pedals. Fuzzes and harmonizers and such.

Lou was on the ground twiddling the knobs and he was like a teenager again, just loving exploring the sound until he found that perfect cacophony. It reminded me of that beautiful space you’re in when you get your first fuzz pedal. You just love the sound. Lou was in that space all the time.

And the beautiful thing is that he didn’t have to do it. He was already in the Rock and Roll Hall of Fame. He was already famous and rich. And we only had a few shows left in the tour.

He could have just said, Ah it sounds fine. Or found one weird sound and have just gone with that. But he always kept pushing and pushing, constantly searching for the next level.

When Lou was 70 he did a record with Metallica. Think about how punk that is. Think about what you’ll be doing when you’re 70. It’s such a beautiful, moving record, but so few people took the time to dig into it. I’ve listened to it probably 100 times and played songs from it hundreds of times. I didn’t like it at first. It’s a very difficult record to listen to because it goes so deep into uncomfortable feelings we all spend so much time on the computer ignoring.

But if “Junior Dad” doesn’t move you to tears, well, you need to wake the fuck up. Check out the live version from Dresden and Lou improvising lyrics as fireworks go off. We were all surprised by the fireworks, and what he improvised spontaneously was one of the most beautiful things I’ve ever been a part of. It was like God was speaking through him to us.

Our show in Lyon at the famous amphitheater on top of the hill is still my favorite gig of all time. On “Sunday Morning,” I took a guitar solo, and you can hear Lou whisper to me at the end, “Keep going. Show off.”

And then there was the time we played Sam Cooke’s “A Change is Gonna Come” at the Highline Ballroom in NYC. After the show Michael Stipe came up to me and said “I don’t normally like guitar solos, but you moved me to tears tonight.” Lou was sitting on the steps and he looked up to me and said “You DO know who that is, don’t you? That’s a big deal.” When stuff like that happens, it’s such a strange thing, because it’s not really you that’s doing it. It’s some other thing. But it’s a thing Lou enabled night after night.

The second to last show we ever played at together was at Leamington Spa in England. It actually wasn’t a spa, that’s just the name of the town. It was a really cool old theatre that maybe held 1000 people. And it had a really small stage. Before Lou arrived at sound check, we were all worried—because of the small size of the stage, we were all on top of each other, and the bass amp was actually in front of the band. This makes it tough for the whole band to play, because you lose that punch and rumble you have when the bass amp is behind you. Lou really cared about the sound and the power of the sound, so we were worried this would bother him. But when he arrived and saw the setup, he said, “It doesn’t matter. All that matters is that we have fun.”

I think this was a turning point. Of course he still cared, but on these last shows we played together we got back to something that’s even more important than making mind-blowing art: having fun playing rock n’ roll.

I’ll say one more thing.

We were in France on a rainy day in a hotel lobby, all dead tired from an early morning flight. In a few hours we had to play a festival in the rain.

Lou looked and me and said, “Aram, say something positive.” He’d say this to me now and then.

I said “Lou, look at how beautiful the trees are in the rain. They’re so green.”

And he smiled and said “Yeah, they’re beautiful.”

And we sat and looked at them for a bit.

I miss you, Lou.
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
SpacemanRob
Known user
Posts: 250
Joined: Thu May 20, 2004 8:33 pm

Re: RIP Lou Reed

Post by SpacemanRob »

As always with Lou how equally pertinent and truly personal! No need to add to whatever people have posted on Lou but that article is beautiful and why we love/loved Lou so much. Absolutely devastated when the first news came out. Have spent ever since listening to VU and Lou. What a unique genius and can only hope there are new/existing bands out there that are suitably inspired and fight to achieve the same fucked up beauty. RIP
mc
Known user
Posts: 984
Joined: Thu Jan 01, 1970 1:00 am

Re: RIP Lou Reed

Post by mc »

Fantastic article about Lou's last artistic testament:

http://drownedinsound.com/in_depth/4147 ... u-lulu-ogy

"Do you think Lou himself would want to be remembered as that Bowie-esque, unthreateningly androgynous pop singer who wrote ‘Perfect Day’, ‘Satellite of Love’, and that one where the coloured girls go “doo-do-doo-do-doo-do-do-doo”? Do you think he’d rather had ended his career having pandered to the lower tastes of his audience and critics by pooping out an insipid revenue-generating sequel to Transformer? Would you rather have seen him strung up on Rick Rubin’s karaoke puppet strings, croaking out acoustic covers of alt-rock anthems he’d never even heard five minutes before recording them? Or would you rather he went out kicking, pissing people off left, right, and centre, baffling them, confusing them, riling them into paragraphs of laughably reactionary nonsense with an utterly unique record of such impenetrability that rock scholars will be scratching their heads over it for years to come?

If you think Lulu is not a fitting conclusion to Reed’s barrier-breaking, uncompromising, doggedly resolute, middle-finger-brandishing punk-rock-before-punk-rock career, if you think Lulu should be wiped from history like Trotsky from a Soviet photograph, if you’re so confidently misguided as to seriously believe that you’re right and Lou Reed is wrong, then you have foolishly misunderstood a fundamental aspect, probably the most fundamental aspect, of Lou Reed as an artist and as an individual.

Lou is dead. Long live L(o)uL(o)u."
toomilk
Known user
Posts: 2973
Joined: Mon Jun 06, 2005 10:40 pm
Location: San Diego

Re: RIP Lou Reed

Post by toomilk »

Mark E. Smith from the latest issue of Wire:
At 14 when some bikers in town told me
I could score at this horrible gig in Sth. M/CR,
Lou Reed was a constant in my life.
The support group was 'Lou Reed & The Tots'.

By 73 I was a criminally devout Velvet Underground fan.
Not a 'Velvets' or 'Lou Reed' fan.
Or Johnny cum latelys.

About 87 when my mother was moving out,
I stood in the front room and looked at the stereogram
I'd listen to "Sister Ray" on full blast, 14 years back.
I opened the curtain and Nico walked past the house.

On the 'Gorillaz' tour,
Lou Reed must've been the only person I didn't talk to.
I bowed and he nodded.

The Velvet Underground group live and on vinyl of 1969–70
excels over 'pop & rock' of yesterday, tomorrow,
this, last and next week.

The Remainderer.

"WHEN ARE YOU GONNA LEAVE,
YOU FUCKIN TRAMPS?"

LOU REED
Manchester. 'Rock N Roll' Animal tour 1974
Alex English
Known user
Posts: 165
Joined: Thu Mar 18, 2004 5:42 am
Location: Denver, CO

Re: RIP Lou Reed

Post by Alex English »

I have seen a few bands do VU covers over the past month, including The Black Crowes' version of Oh! Sweet Nuthin', but the best cover I have heard was last night when Bill Callahan and band with Neil Hagerty on guitar played White Light/White Heat. Callahan's voice was perfect and Haggerty added enough noise to make their version sublime.
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

i think this was the last solo song he ever released

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

You looked at me and I looked at you
the sleeping heart was shining through
The wispy cobwebs that we're breathing through
the power of the heart

I looked at you and you looked at me
I thought of the past, you thought of what could be
I asked you once again to marry me
the power of the heart
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
BzaInSpace
Site Admin
Posts: 3864
Joined: Thu Jan 01, 1970 1:00 am
Location: HELL

W L / W H

Post by BzaInSpace »

Dear Santa...

http://store.universal-music.co.uk/rest ... 2537540938

I realize there has been a lot of good discussion regarding the immortal White Light/White Heat over the years here - I may still create a new thread and merge previous posts, but for now I'll fire this on the back of Lou's thread.

45 years...!

Apparently the whole thing was overseen by Reed and Cale and I'll be interesting to hear what they could have brought out of this record in remastering.

Have to say though, I'm disappointed at the somewhat limited selection of stuff here - The Gymnasium show has been around for a while now, although this is sourced from John Cale's own copy. Plus, near enough £60 for three CDs and a book? Oh, and a flexi-disc??

Maybe not even possible, but I'd love to hear an alternative mix of the album - not just the mono versions here, which have been bootlegged forever - but actually going back to the original tapes and starting over. Not to replace the true album, this would just be for the fans. In other words, just like Steve Albini did with his remix of In Utero this year.

But hell yeah, I'd love to hear them bringing some of the tracks up a bit, really bumping up Lou's mind-splitting solo on 'I Heard Her Call My Name', bring out the drums and bass on most of the tracks, there's viola on 'Lady Godiva' that sounds amazing but it's buried way down in the mix... the mixing on this album, from a technical viewpoint, is ridiculously bad.
It's sounds so raw and primitive and fucked up and broken which is undoubtedly and conversely - for me anyway - is a huge part of it's ragged beauty, but still.

I also remember creating my own 'Vocal' and 'Instrumental' versions of 'The Gift' which took seconds with a CD rip and some software. Weirdly, especially after what I've written above, once you hear the right instrumental channel in full centred mono it'll blow you away - full-on, dense but dynamic shit indeed. Sounds as you would imagine they would sound like on a good night.

Anyway, forget all that. Check this out instead, this totally amazing earlier version of 'Beginning To See The Light'...
:shock:
http://www.rollingstone.com/music/news/ ... e-20131205
O P 8
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

Lou Reed Remembered will air at 9pm on BBC Four this Sunday (December 15) and will include contributions from Reed's former Velvet Underground bandmates Moe Tucker and Doug Yule plus Sonic Youth's Thurston Moore as well as Boy George and Debbie Harry.

Berlin guitarist Steve Hunter, novelist Paul Auster and photographer Mick Rock will also speak about Reed while Trash actress Holly Woodlawn, referenced in the opening lyric of The Velvet Underground's 'Walk on the Wild Side', will also appear.

A BBC statement about the documentary reads: "With the help of friends, fellow musicians, critics and those who have been inspired not only by his music but also by his famously contrary approach to almost everything, the documentary looks at how Reed not only helped to shape a generation but also helped to create a truly alternative, independent rock scene, while also providing New York with its most provocative and potent soundtrack."
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

Lou Reed remembered by Moe Tucker
Moe Tucker, Velvet Underground drummer, remembers her brother/sister relationship with a great songwriter and loyal friend


I first met Lou when he came by one day to see my brother. They were friends from college and he came by to pick up my brother around Thanksgiving or maybe Christmas. That was in the early 60s. A long time ago. A different time. A different world. I think we said hello, and I knew from my brother that he was into music, but he didn't make that big an impression.

Lou and Sterling [Morrison] met through my brother. They were all at Syracuse together, and that's when the two of them started to play together. I got involved in their group almost by accident because the original drummer left just before a gig in New York in 1965 and they needed a new drummer real fast. Sterling said, "Oh, Tucker's sister plays drums." I lived way out on Long Island and they came out there from the city to see if I could keep a beat. That's how it happened.

I was working as a data puncher for IBM and playing drums at night in a band that a brother of one of my girlfriends had formed. I was a pop fan, the Beatles and the Stones and all that 60s stuff, and suddenly I was playing this really avant-garde stuff in a group called the Velvet Underground. I had no grounding in the experimental stuff that John [Cale] loved, so it was quite a leap.

The first gig I played was the first gig as the Velvet Underground. ]Summit high school New Jersey, 11 December 1965] We played three songs [There She Goes Again, Venus in Furs and Heroin]. A lot of people were bewildered. A lot of people left. I think Lou kind of liked that. Then we played Cafe Bizarre in New York and the guy who owned it didn't want the drums as they were too loud, so I played tambourine. I like the sound of the tambourine so that was fine. That's where Barbara Rubin introduced us to Andy (Warhol).

It was a whole different world to the one I knew, especially at the Factory with the Warhol crowd, but it was really exciting and a lot of fun. I wasn't scared or overwhelmed, I was just excited. Sterling was a kind of comforting presence. I'd known him since I was 11. John and Lou were just so full of ideas. I was super-impressed – the drones, the lyrics, the noise, the whole way they approached music was just new and exciting, and there was a pop imagination in there, too.

Reading this on mobile? Click here to watch video

Lou was a huge pop fan. He had this extraordinary record collection: old 45s of 1950s rock'n'roll and doo-wop by singers I had never heard of. I remember one night we went back to his place in the Village and he played all these amazing singles on his little mono record player. He'd say: "Listen to the drum sound on this one" or "Check out this little guitar part". It was all about the detail. He absorbed so much detail and put it into the Velvets. He always wanted us to sound as close to a live gig as we could in the studio.

We never sat around and discussed what we were going to do or what our direction was going to be, we just made music and it was music that nobody else was making, and a lot of people at that time didn't want to hear it. It wasn't peace and love, that's for sure. It wasn't so much us against the world; it was us against San Francisco. The hippies out there hated us and we didn't like them too much either. We played out there once at the Fillmore West. The promoter, Bill Graham, booked us for some reason. Maybe he wanted to check out Andy's light show. As we were going onstage, he said, "I hope you fuckers bomb." I guess we scared him. Andy's light shows were so much more radical than the hippy light shows.

Lou had a reputation, for sure. He was tough and he could be grumpy and bitchy, but I've come to realise that his bitchiness came out when there was incompetence about. Didn't matter if it was a waiter or a record producer, he'd rip someone apart if things weren't up to scratch. He didn't suffer fools gladly. That's just the way he was, but he was also incredibly encouraging and generous. He was a good friend through everything. We had this brother-sister type relationship in the group, and it lasted long after the group split. We would always exchange Christmas cards, Valentine cards. It was one of those friendships where it didn't matter if you didn't see each other a lot. We'd meet up after two years or five years and it would be like we'd seen each other last week. As you get older, you come to realise that that kind of friendship is rare, so I miss him a hell of a lot. It's just dawning on me that he's not out there any more.

When Sterling died, it sucked, but It was expected. With Lou, I had no idea how ill he was. I knew he'd had the liver transplant and he probably wouldn't be his old self, but I really wasn't prepared for the news. It was hard. It is hard.

We were on an adventure back then and it took the world a while to catch up with what we were doing. It was word of mouth because you could not get the records outside of New York. I think that was a good thing, too, because we didn't spend all the royalty cheques when we were young and foolish. (Laughs).

We had a lot of fun, and a lot of fun upsetting people. We used to joke that we knew how good the gig was by the number of people who left the room. I think now that they were perfect times in a way. We split when we should have, and we left behind just a handful of great albums. It wasn't a career. We didn't keep going on and on like a lot of groups, but we influenced a lot of people.

Now Andy's gone, Sterling's gone, Nico's gone and Lou's gone. It feels strange. I miss them all, but I really miss Lou.

He was a great songwriter who pushed the boundaries in terms of what he was writing about, but more importantly, he was a good and loyal friend. It doesn't seem right that I won't be sending him a Christmas card.
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
mc
Known user
Posts: 984
Joined: Thu Jan 01, 1970 1:00 am

Re: RIP Lou Reed

Post by mc »

A poignant article written by Lou Reed's sister Merrill, regarding the real story behind Lou's troubled childhood (courtesy of someone on the HH forum):

https://medium.com/cuepoint/a-family-in ... e8399f84a3
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

o man this looks great- i'll have to read it later thou- thanks!
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
semisynthetic
Known user
Posts: 1444
Joined: Mon Nov 01, 2010 5:39 pm
Location: Undefined; drifting ever further and further away

Re: RIP Lou Reed

Post by semisynthetic »

While I was putting away some recordings that came in, several of Lou Reed's LPs were there in the Package, and I was so caught up in memories of when I first heard them, one by one, and I thought "How is Laurie Anderson?"; and while I reviewed these memories in my mind, put away my Play Copy of Metal Machine Music, and a sealed RCA PROMO; and just thought; not just about the music in front of me, but people I had known who are now gone, and little by little, I sort of came out of it; and realized over 2 hours had passed, and I had not put away a thing, really; it is hard to know that someone who's music you had admired and enjoyed so much was gone; someone who had a wild ride for a life and such Talent; well, I did get that Storage Box filled eventually, but it took awhile, as I reviewed more than once the titles that were music I enjoyed then and enjoy now, and missed someone I had never met, but appreciated and I was annoyed when remembering those who spoke only of activities they disliked, and mindlessly overlooked some Great Music.
"Everything is a Poison; it is the amount or degree that separates one Poison from another"
Paracelsus
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

laurie anderson is touring
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
jack white
Known user
Posts: 1710
Joined: Fri Jan 30, 2004 11:29 pm
Location: Tralfamadore

Re: RIP Lou Reed

Post by jack white »

Dead already & dead again.
gonna burn brightly
for a while
davedecay
Known user
Posts: 1307
Joined: Tue Feb 17, 2004 5:04 am
Location: PA, USA

Re: RIP Lou Reed

Post by davedecay »

I see Sundazed has the Quine Tapes box set on sale again, 20% off $100

http://www.sundazed.com/shop/product_in ... ts_id=1513

6 LPs of noisy live performances. I have the CD box; the albums are said to be mastered better.
The Dr
Known user
Posts: 1381
Joined: Sun Mar 25, 2012 6:32 pm
Location: some forgotten memory/ midday of eternity

Re: RIP Lou Reed

Post by The Dr »

does anyone have the lou reed new york shuffle podcasts?
“You're not Dostoevsky,' said the citizeness

'Well, who knows, who knows,' he replied.

'Dostoevsky's dead,' said the citizeness, but somehow not very confidently.

'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!”
Post Reply