LOU REED 1992-03-15 Manchester incomplete audience recording

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LOU REED 1992-03-15 Manchester incomplete audience recording

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LOU REED 1992-03-15 Manchester incomplete audience recording

"The Velvet Undertaker"

Palace Theatre
Manchester
England
15 March 1992

disc 1
D101 Dorita 1.18
D102 What's Good 3.37
D103 Power And Glory 4.36
D104 Magician 7.29
D105 Sword Of Damocles 5.05
D106 Goodbye Mass 5.10
D107 Cremation 3.25
D108 Dreamin' 5.53
D109 No Chance 3.49
D110 Warrier King 4.51
D111 Harry's Circumcision 6.05
D112 Gassed And Stoked 4.01
D113 Power And Glory 2 3.12
D114 Magic And Loss 7.53

disc 2
D201 Open House 5.21
D202 Nobody But You 4.42
D203 Images 3.02
D204 A Dream 10.34
D205 Dirty Blvd 4.32
D206 Beginning Of A Great Adventure 8.55
D207 Strawman 6.04

Lou Reed: guitar, vocals
Mike Rathke: synth guitar
Rob Wasserman: bass
Michael Blair: drums

Lineage: unknown generation Maxell SX100 cassette - Pioneer CTS-670D player - wav - flac (level 8) - you

Original recording engineer unknown
Transfer to wav January 2014 by lurid_uk
Uploaded to Dime January 2014 by lurid_uk

This show was reviewed in the Manchester Evening News on 16th March 1992. Here's that they had to say:

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Lou Reed Palace Theatre

Uniquely for such a veteran, Lou Reed continues to regard rock music as high art rather than ego and commerce.

But then his lyrics carry more weight than the verbal wadding which passes for communications in much of rock. He does not only wield the magical authority of his history with the Velvet Underground - the most influential group bar the Beatles - he also has a reputation as a thinker and poet. Reed's translated words, printed and distributed illicitly, even galvanised Czech dissidents in their battle against old Communism.

In a similar vein, Reed's latest album, Magic And Loss, has a lyric sheet translated into French, Spanish, Italian and German, as if he imagines it to be an instruction manual for life itself... or possibly death.

For Reed's finest work in ages is a bleak unburdening of his grief at the demise of two close friends from cancer. The whole album was recounted in the first half of last night's show, and it made profoundly depressing listening.

Ironically, Reed's musical style is so simple that the occasionally jaunty melodies make the subject matter seem even more macabre.This was not your average rock concert. When was the last time a rock audience was asked not to return to their seats in the middle of a song, or the performer read his lyrics from a large illuminated music stand?
Reed's accompaniment was just as strange. Rob Wasserman's electric double bass was the most dominant instrument, while Mike Rathke's synth-guitar allowed him to sweep from orchestral swell to grand piano, all triggered from just six strings.

Reed left the stage for the interval just as po-faced as he had entered, but returned for a second half in which he occasionally smiled, particularly when camping it up as Andy Warhol in extracts from the Songs For 'Drella album.

He even permitted himself the odd golden oldie - Sweet Jane and Satellite Of Love - and the unexpected sign-off to the audience, "We love you all." By this time the leaden spell of Magic And Loss had gone, but the more vigorous material had allowed Reed to lift his intellectual skirts and boogie a little.

Paul Taylor, Manchester Evening News, 16th March 1992

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This show was also reviewed by Melody Maker in the 28th March 1992 issue. The review was titled "The Velvet Undertaker" but was generallypositive overall.

This is a reasonably good recording, but it seems a bit muffled in places.

RIP Lou

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