(LOU REED - Live:Take no Prisoners)-COLOURED vinyl/Velvet Underground-J5-2xLP

	A$		70
	$		46

DESCRIPTION ITEM: 12" VINYL 2xLP  33 1/3RPM
ARTIST: LOU REED
TITLE: Live: Take no Prisoners
COUNTRY PRINTED: HOLLAND
CAT No: See scan
COVER: Gatefold (Grade at EXCELLENT+)
LABELS: (Grade at MINT-)
VINYL: Record 1 is BLUE/PURPLE colour vinyl & Record 2 is RED colour vinyl
Record #1:(Grade at EXCELLENT+)
Record #2:(Grade at EXCELLENT+ to NEAR MINT-)
TRACKS:
A1 Sweet Jane 8:18
A2 I Wanna Be Black 6:21
A3 Satellite Of Love 6:54
B1 Pale Blue Eyes 6:23
B2 Berlin 5:46
B3 I'm Waiting For My Man 13:50
C1 Walk On The Wild Side 16:48
C2 Leave Me Alone 7:18
D1 Coney Island Baby 8:21
D2 Street Hassle 11:58
ALBUM REVIEW: by Mark Deming
"I do Lou Reed better than anybody, so I thought I'd get in on it," Reed says at one point during this double live set, and that seems to sum up the album's theme quite well. Recorded during a week of shows at New York's Bottom Line in 1978, Live: Take No Prisoners presents Lou Reed the Standup Comic, doing schtick on Patti Smith ("F*ck Radio Ethiopia, man! I'm Radio Brooklyn!"), political activism ("Give me an issue, I'll give you a tissue, and you can wipe my ass with it"), and the agony of playing "Walk on the Wild Side" ("It's not that I don't want to play your favorites, but there are so many favorites to choose from!") while occasionally pausing to play a song. As a comic, Lou is no Lenny Bruce or Bill Hicks, but he's funny by fits and starts (and he plays guitar better than either of them). On the odd moments when Lou is focused enough to actually perform a song from start to finish (such as "Pale Blue Eyes" or "Coney Island Baby"), he's in fine form, sounding loose but enthusiastic, but those moments don't happen especially often, and this album plows through a mere ten songs in close to 100 minutes, which gives you an idea of just how far he stretches out here. If you're a fan who wants a look into the mind of Lou Reed, comic or otherwise, Live: Take No Prisoners certainly fills the bill, but if you want to hear Lou actually play his music, you're better off with Rock N Roll Animal or Live in Italy. But then again, as Lou himself points out, "What's wrong with cheap dirty jokes? I never said I was tasteful."
COMMENT: Biography by Richie Unterberger & Greg Prato
The career of Lou Reed defies capsule summarization. Like David Bowie (whom Reed directly inspired in many ways), he has made over his image many times, mutating from theatrical glam rocker to scary-looking junkie to avant-garde noiseman to straight rock & roller to your average guy. A firmer grasp of rock's earthier qualities has ensured a more consistent career path than Bowie's, particularly in his latter years. … Few would deny Reed's immense importance and considerable achievements, however. As has often been written, he expanded the vocabulary of rock & roll lyrics into the previously forbidden territory of kinky sex, drug use (and abuse), decadence, transvestites, homosexuality, and suicidal depression. As has been pointed out less often, he remained (and remains) committed to using rock & roll as a forum for literary, mature expression well into middle age, without growing lyrically soft or musically complacent. By and large, he's taken on these challenging duties with uncompromising honesty and a high degree of realism. For these reasons, he's often cited as punk's most important ancestor. It's often overlooked, though, that he's equally skilled at celebrating romantic joy, and rock & roll itself, as he is at depicting harrowing urban realities.

Although Reed achieved his greatest success as a solo artist, his most enduring accomplishments were as the leader of the Velvet Underground in the '60s. If Reed had never made any solo records, his work as the principal lead singer and songwriter for the Velvets would have still ensured his stature as one of the greatest rock visionaries of all time. The Velvet Underground are discussed at great length in many other sources, but it's sufficient to note that the four studio albums they recorded with Reed at the helm are essential listening, as is much of their live and extraneous material. "Heroin," "Sister Ray," "Sweet Jane," "Rock and Roll," "Venus in Furs," "All Tomorrow's Parties," "What Goes On," and "Lisa Says" are just the most famous classics that Reed wrote and sang for the group. As innovative as the Velvets were at breaking lyrical and instrumental taboos with their crunching experimental rock, they were unappreciated in their lifetime. Five years of little commercial success was undoubtedly a factor in Reed leaving the group he had founded in August 1970, just before the release of their most accessible effort, Loaded. Although Reed's songs and streetwise, sing-speak vocals dominated the Velvets, he was perhaps more reliant upon his talented collaborators than he realized, or is even willing to admit to this day. The most talented of these associates was John Cale, who was apparently fired by Reed in 1968 after the Velvets' second album (although the pair have worked together on various other projects since then).

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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