Tír Na HiFi

Great albums, Dermot.  If White Light/White Heat was the Velvets' masterpiece (and which represents the fullest expression of John Cale's influence on the band), then the self-titled third album is most assuredly Reed's album.  I really think, though, that Cale has had a far more interesting career than Reed.  Albums like Fear, Paris 1919, Slow Dazzle and Helen of Troy are some of the finest of the Seventies.  There is a real sense of threat, insecurity, anguish, and incipient violence running through songs like Gun, Ship of Fools, Guts, I Keep A Close Watch, Helen of Troy, Cable Hogue and, especially, Fear Is A Man's Best Friend, not to mention the jolting cover versions of Pablo Picasso and Heartbreak Hotel.  And then there's the wonderful solo live album, Fragments of a Rainy Season, with unforgettable versions of Dying on the Vine and Leonard Cohen's Hallelujah (long before Jeff Buckley, he recognised its innate greatness and produced its finest version).  And then there is his work as a producer, most notably for Nico's superb The End and Desert Shore albums.

In comparison, much of Reed's work amounts to empty posturing when set aside the very real emotions that Cale has set down.  So, it is no surprise that when they reunited in the wake of Andy Warhol's passing, Reed found his creative spark  reignited and produced some of the finest work of his career.  There is a concert film recorded around the same time and there is a palpable sense of tension between the two (which was certainly lacking when the Velvets reunited a few years later).  This album forms part of a wonderful trilogy that stands as a creative highpoint for Reed. Its predecessor, New York, hinted at the greatness that was to follow, and its successor, Magic and Loss, which appeared two years later after Songs for Drella, is his masterpiece, a wonderfully eloquent and deeply cathartic meditation on grief.

mcq wrote:Great albums, Dermot.  If White Light/White Heat was the Velvets' masterpiece (and which represents the fullest expression of John Cale's influence on the band), then the self-titled third album is most assuredly Reed's album.  I really think, though, that Cale has had a far more interesting career than Reed.  Albums like Fear, Paris 1919, Slow Dazzle and Helen of Troy are some of the finest of the Seventies.  There is a real sense of threat, insecurity, anguish, and incipient violence running through songs like Gun, Ship of Fools, Guts, I Keep A Close Watch, Helen of Troy, Cable Hogue and, especially, Fear Is A Man's Best Friend, not to mention the jolting cover versions of Pablo Picasso and Heartbreak Hotel.  And then there's the wonderful solo live album, Fragments of a Rainy Season, with unforgettable versions of Dying on the Vine and Leonard Cohen's Hallelujah (long before Jeff Buckley, he recognised its innate greatness and produced its finest version).  And then there is his work as a producer, most notably for Nico's superb The End and Desert Shore albums.

In comparison, much of Reed's work amounts to empty posturing when set aside the very real emotions that Cale has set down.  So, it is no surprise that when they reunited in the wake of Andy Warhol's passing, Reed found his creative spark  reignited and produced some of the finest work of his career.  There is a concert film recorded around the same time and there is a palpable sense of tension between the two (which was certainly lacking when the Velvets reunited a few years later).  This album forms part of a wonderful trilogy that stands as a creative highpoint for Reed. Its predecessor, New York, hinted at the greatness that was to follow, and its successor, Magic and Loss, which appeared two years later after Songs for Drella, is his masterpiece, a wonderfully eloquent and deeply cathartic meditation on grief.

Well summed up Paul. It was actually a toss up between SFD and MAL :) I never really 'got' MAL finding a bit cloying in places. However maybe it's my memory playing it's usual tricks. Will give it a spin tomorrow and see.....

another good man gone..................

remember this ?



good thoughts only............

jadarin wrote:

What's the verdict John? Are they missing their departed member much?

cybot wrote:

jadarin wrote:

What's the verdict John? Are they missing their departed member much?

The verdict is all's well with Midlake.Could have been the end of Midlake when
Tim Smith left but as it turned out he might be kicking himself because this is as good as anything
they've done.A lot more balls then the courage of others and all the better for it.
I admire the remaining members because Smith left during the initial recording of the
album and with it he took 90% of the work with him,so they had to start from scratch.

jadarin wrote:

cybot wrote:

jadarin wrote:

What's the verdict John? Are they missing their departed member much?

The verdict is all's well with Midlake.Could have been the end of Midlake when
Tim Smith left but as it turned out he might be kicking himself because this is as good as anything
they've done.A lot more balls then the courage of others and all the better for it.
I admire the remaining members because Smith left during the initial recording of the
album and with it he took 90% of the work with him,so they had to start from scratch.

Looks like I'll be raiding the piggy again ;)

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