Lou Reed's Street Hassle

Well, that's not necessarily true, but Lou's happens to be great. :-)

Of course, the title track is simply beautiful and its one the few times in his solo career where Lou is actually is good as he thinks he is.

Still not a big fan of the album, but I'm having an earwig moment right now with the title track. That "it's called bad luck" moment keeps me coming back.

Also, what the hell is Bruce Springsteen muttering about?

When Lou sings "I need you baby" it's the most pathetic sound in the world.

Classic.

I don't mind Lou Reed, Sally Can't Dance, Rock N' Roll Animal, Legendary Hearts, etc. but I wouldn't call these albums "must-gets", but I would say that of the above four.

It's been a regular listen for me. Great just before bed.

Er, you mean once or twice a month? But, this thread isn't about MMM. But, as long as we're talking other LReed albums, I think that Coney Island is kind of awful, aside from the KLASSIC title track.

And I hate to say it, but I think the Bruce bit at the end might be dud. It's an interesting artifact, though.

And I love the Take No Prisoners version .. especially "know what it's called? ...Bad Luck... (BASS)"

And does it make a difference to people that it's Springsteen circa 1978, when you could find him lounging on a LES couch struggling through some French Symbolist poetry? I never carp about the cameo at the end b/c Springsteen sounds so blokey. Eh, I can live w/ it if everyone else can.

The bad luck line is unfortunetly true.

I got love for you Alfred but if you mean The Blue Mask, Legendary Hearts and New Sensations then wtf

the middle one there has maybe two good songs on it

And say what you will be MMM is so relaxing.

Also likely everyone here knows already I'm insane over Take No Prisoners so that version bears mention too. There's one more song on the Street Hassle album, though, that I want to mention...must pull it out to see...you know I'm not sure which one it is. I'll have to play it again to figure it out.

Look I had a bad dream about Hitler last night give me a break.

this was a lie, hoorah! wonderful what a half-decent turntable will do.

I love this alb - there's something abt this sound of this rec, the vocals and shit, that's unique in Lou's discog - pisses all over any of his 80s albs (blue mask, r. quine solos and all, is SERIOUSLY overrated, esp. the stuff abt him getting outing his ouija board to contact delmore schwartz, now that's what i call bad luck)

Unfortunately H2-H4, my own turntable has broken as of a few days ago. Suddenly wouldn't pick up the needle off the record. I can still play records, but if I forget to pick it up off the record before the end, I risk scratching the entire record and ruining my needle. Oh joy.

Thank goodness I have Street Hassle on CD.

1) For the record I believe I was the first person to go by Suzy Creamcheese on this board, though I did spell it entirely differently than whoever posted above.

2) The Bruce Springsteen part of SH totally rules and I hate Springsteen with a passion.

2) Bruce's part still sucks, and I'm totally indifferent to BRUUUUUCE

I <3 this album.

esp. the title track

yeh, this record is beautiful. i have no further insight at the moment, regrettably.

Oh my god I could talk about this song all day.

listening to this for the first time today... the opening track is funny but pretty much a mess production-wise (Lou's layered vocals sound terrible! multi-tracking that croaking voice attempting to hold a vibrato produces sad results). The title track is fantastic, I don't have anything to add about that apart from it being so weird for me to come to it so late - I feel I already knew it from Spacemen 3/Spiritualized ripping it, and having it prick up my ears in the Squid and the Whale

I have been on a real VU/Lou Reed kick lately... eventually I will get around to testing Alfred's early 80s trilogy theory (haven't heard the blue Mask since at least '92...?)

Always thought the weird version of "Real Good Time Together" on here was Lou's attempt at a kind of Suicide thing

hmm, never thought of suicide with that track, but now that you mention it. is that song the last instance of Lou dipping into his old unreleased VU songs for a solo album?
anyway, i always had a soft spot for this album, though it is certainly, er, spotty. obviously the title track is one of his career highlights, but the trashier stuff is fun too.

Also recently gave a listen to his first s/t debut - an album that apparently no one ever listens to or references or reviews (and that has been out of print for decades now...?) Really weird album - comprised mostly of shitty versions of leftover VU material, over-played way to straight (choice of Rick Wakeman as a sideman = wtf, for obvious reasons). It has its moments - the end of Ride Into the Sun, Wild Child (did Wild Child get re-cut on a later album?) The version of Berlin is virtually unrecognizable from its later re-interpretation but is still not very good, and overall the sound of the album is really thin and boring. Have no idea if Lou Reed even plays guitar on it at all... I do find it odd though, for a guy whose later career missteps are habitually pored over and re-evaluated that this album is basically never discussed, by ANYBODY. Its like it never even happened. Even though less than a year after its release, Reed would be killing it with Transformer.

It's been reissued tons of time AND talked about! Agree about the thin sound, and sometimes inapt accompaniment but some of it's great!

i like it a lot (or i did prior to the VU release that more or less made it irrelevant). then again, i don't think much of Transformer.

xp

yeah, i kinda like "Ocean" on the s/t album ... haven't listened to it in forever. Oh, "Lisa Says" is nice too. Neither of those songs are a patch on the VU versions, but I like their slickness. that album does make it painfully clear that Lou had no idea what direction to take his career in at that point.

Those are my two least favourite tracks on the album!

had no idea about the reissues - I've never seen one, and cruising blogs looking for a post of the album took a while.

agreed that the version of Ocean is at least interesting - its chugging as opposed to dreamy

x-post

haha, well there you go.
xpost

it IS crazy how somebody convinced Lou (or Lou convinced himself) that he shouldn't be playing guitar on his own records. that's really a big thing that's missing from most of his 70s records.

Amazing how shitty those hotshot British session men were are playing rock 'n' roll, esp. the drummer!

Makes you realise how great Sterling Morrison was for one thing!

doesn't steve howe play on the first one too?

i used to have this bizarro reissue of the s/t album that shuffled the tracklisting and added tracks from Lou Reed Live! weirdness. are the more recent reissues better sounding? i remember reading that it was mastered all wrong originally. something to do with dobly recording. :)

very true about the inexplicable inability of british session guys to rock appropriately. Definitely a "too many notes" situation.

he shoulda used the spiders from mars for that record!

A too many of everything situation. Never got that with Sterl and Mo.

I've played this version of "Real Good Time Together" for a listening party, and you can't help but do an imitation of Lou being coked out of his mind singing this.

"we're gooo-NA have a REAL. GOOD. TIIIIME. tooo-GETHA!" *sniiiiiiiif*

Yeah, I've been on a real VU/Lou kick lately as well, Shakey. Played Berlin again yesterday after not hearing it some years and still don't think a whole lot of it. I think Street Hassle as an album has enough high points to make it worthwhile. I've never heard his first solo album...kinda scared to hear it, actually.

I've fallen in love with these videos on You Tube of him live in Paris, '74...but when I d/l this album entitled "The Olympia Theatre Paris, '74" the sound quality is absolutely horrible. Anyone know how I can get around this and find some more stuff like that?

yeah I think Berlin is pretty spotty myself. Ezrin's about as much of a mismatch for Reed as Wakeman in terms of overdoing things.

eventually I will get around to testing Alfred's early 80s trilogy theory

Get around to it!

I will check the sausage before I put it in the waffle, so to speak

Legendary Hearts is a great record that desperately cries out for remixing/remastering. burying Quine's guitar is never a good idea, imo. still great, tho. "Home of the Brave" has always been my fave.

wow this album is a total mess! so weird how disjointed and un-together a lot of the performances are. "Real Good Time Together", for example, has this fantastic guitar sound but any kind of steady tempo is completely undetectable for the first half or so while Reed fumbles around with the words/melody. "Wait" sorta drifts off aimlessly at the end. The band totally is not together on the opening track, the drummer stumbles in several places. The title track is fairly amazing but apart from that yeesh, I dunno... its kinda fascinating how completely unreliable Reed has been throughout his career.

Doesn't anyone like "Shooting Star"? I do.

Me too.

I also think the last track "Wait" is better than just about anything on this album except for the title track. But something about "Dirt" is very attractive, as well.

But yeah, Shakey, I agree he is completely unreliable, and that somehow this is fascinating about him. Can you think of anyone else in the music world who has shown the kind of genius he has in his career matched with the sheer volume of his mediocre stuff in comparison? I can't. When he's good he's bloody brilliant. But he rarely gets there. Ya gotta dig for the gems, and I'm glad I'm in a digging mood.

Also, if I may comment...*cough*... about this Alfred trilogy thing...
Alfred, you never really explained if it was actually Blue Mask you were thinking of as the first installment in that trilogy. For some reason I had assumed your trilogy began with New Sensations. I need to have this clarified. Also, allmusic says "Growing Up In Public" was released in 1980 and I don't know jack shit about that album. So please clarify your trilogy. Thanks!

The weird thing is I realized I did actually see Lou Reed during the Mistrial tour. I had completely forgotten this. I must have been 13??? I bought that album and don't remember a goddamn thing about it. I remember the damn "...Suzanne" video from New Sensations and that's about it.

Now, many years later the "New York" album he did is an entirely diff. story and um...I'm not really ready to play that right now. It was a good album, but too many memories for me. I'd rather let it lie.

xgau on the early-'80s trilogy (plus GUIP):

Growing Up in Public [Arista, 1980]
This unabashedly literate album isn't pretentious on paper--Lou's just an educated guy for whom middlebrow names like Poe and Vidal and Shakespeare and Escher mix as naturally into the conversation as dictionary words like "harridan" and "lucid" and "ore" and "encroachment." But musically he's trying too hard with no place to go--projects the opener from midway down the esophagus as if Street Hassle leads to Street-Legal, then doesn't even stick with that. Mostly these are intelligent songs that misfire slightly. The two gems are two of the simplest both verbally and vocally. In one Lou's father gives him shit while his mother dies. In the other he proposes. B

Rock and Roll Diary 1967-1980 [Arista, 1980]
In which Mr. Heroin promotes the '60s. Really. Just compare the studio-Velvets first side with the hodgepodge-Arista closer and tell me he wasn't more confidently himself--I mean happier--negating optimism than fumbling through its aftermath. Admittedly, beyond the inescapable "Street Hassle" the Arista song choices are perverse even for Lou--three from his album of six months ago, neither great one among them. And beyond the inescapable "Walk on the Wild Side" the RCA choices aren't much more coherent (cf. RCA's own Walk on the Wild Side). So Clive's minions hire Ellen Willis to make sense of it all--which, striving almost too mightily, she almost does. B

The Blue Mask [RCA Victor, 1982]
After this becomes a cult classic, in a week or so, noncultists are gonna start complaining. "My Dedalus to your Bloom/Was such a perfect wit"? And then bringing in "perfect" again for a rhyme? What kind of "spirit of pure poetry" is that? One that honors the way people really talk. Never has Lou sounded more Ginsbergian, more let-it-all-hang-out than on this, his most controlled, plainspoken, deeply felt, and uninhibited album. Even his unnecessarily ideological heterosexuality is more an expression of mood than a statement of policy; he sounds glad to be alive, so that horror and pain become occasions for courage and eloquence as well as bitterness and sarcasm. Every song comes at the world from a slightly different angle, and every one makes the others stronger. Reed's voice--precise, conversational, stirring whether offhand or inspirational--sings his love of language itself, with Fernando Saunders's bass articulating his tenderness and the guitars of Robert Quine and Reed himself slashing out with an anger he understands better all the time. A

Legendary Hearts [RCA Victor, 1983]
If The Blue Mask was a tonic, the follow-up's a long drink of water, trading impact and intensity for the stated goal of this (final?) phase of Reed's music: continuity, making do, the long haul. The greatest songs on The Blue Mask honored the extremes he was learning to live without while "My House" and the like copped to the implicit sentimentality of his resolution. Here both ends approach the middle. "Legendary Hearts" and "Betrayed" clarify Reed's commitment by laying out the down side of romantic marriage; "Bottoming Out" and "The Last Shot" and the elegiac "Home of the Brave" excise melodrama from his waves of fear. Equally important, "Martial Law" and "Don't Talk to Me About Work" and the almost, well, liberal "Powwow" prove that sometimes his great new band is just a way for him to write great new songs, which is what his endurance had better be about in the end. A

New Sensations [RCA Victor, 1984]
This wonderful record feels like product at first--a solid but expedient bunch of songs like The Bells or Coney Island Baby or even Sally Can't Dance. Although the title cut is definitely the centerpiece, and thematic at that, there are no grand statements like "Women" or "Legendary Hearts" and no tours de force like "The Gun" or "Betrayed." And boy, does it sneak up on you. Instead of straining fruitlessly to top himself, Reed has settled into a pattern as satisfying as what he had going with the Velvets, though by definition it isn't as epochal. The music is simple and inevitable, and even the sarcastic songs are good sarcastic songs, with many of the others avoiding type altogether. Think he can keep doing this till he's fifty? Hope so. A

All you really need to know (no offence to Alfred--i say this as a total xgau groupie, duh)

oops, forgot to nuke the Rock and Roll Diary review. oh well...

The Cello riff on this is just increadible,

yes, bur is it edible?

I dunno, for all the bookishness and the "thought and expression", howcome the Lou I like best is the "I love you susanne" stuff?

Lou likes pop music too.

well, '50s/'60s-style pop music, anyhow.

I dunno, for all the bookishness and the "thought and expression", howcome the Lou I like best is the "I love you susanne" stuff?

...which is why New Sensations is my favorite solo album, terrible production and all.

ideological heterosexuality

haha

yeah, that line jumped out at me, too. christgau can be a funny dude. i may be in the minority, but i think that "Blue Mask" is maybe slightly overrated? I like it, and the band is obviously pretty awesome. But I'm not nuts about the JFK song or "The Heroine" ... The highs are pretty high -- but I think that Quine is my favorite thing about it. His solo on "Waves of Fear" is off the hook. mentioned above, but it would be really interesting to hear rough mixes of the Legendary Hearts album with Quine more prominent. Great story in the Lou bio about Robert smashing his cassette of that album to bits with a hammer. More awesome Quine-age on that "Live In Italy" import ...

The instrumental interplay in the first 45 seconds of "My House" is my favorite solo Lou moment.

Wow, dude did "Caroline Says" on Letterman last night.

Shakey, have you tried the "Rock and Roll Heart" (1976) album yet? I tried that one last night and I think I like it more than even the Coney Island Baby album! Surpisingly consistently great.

http://tbn0.google.com/images?q=tbn:emPkzwTRLC63UM:http://ak.buy.com/db_assets/large_images/536/203051536.jpg

I dig Rock & Roll Heart but I'm not really into Coney Island Baby. Street Hassle is up there with the early 70s albums for me though

No shiiiit, what it is!

Probably my favorite Lou solo record, when I heard the news that he died, this was was the record that I reached for

It sounds so weird, so 1977

Now I'm pissed I don't have this on my iPod I want to listen to it right now

Was just listening to "Leave Me Alone", what other major artist would dare to be that bracingly moronic? Perhaps Neil Young ("Got mashed potatoes/ Ain't got no T-Bone"). And three chords? Lou only needs one and a half!

The title track was the song I went to when he died too.

I love how start of this album is like MST3K taking on "Loaded".

The Springsteen part of Street Hassle is so odd. It sounds like Bruce is doing an Elvis impersonation.

Haha I read this thread again and I'd forgotten I'd ever listened to Raven, much less liked it?

i've been tempted to listen to the raven again - there is some good stuff lurking in there.

nearly put broadway song on my ballot

didn't put street hassle on iirc

I did not know this:

Binaural recording

The recording of Street Hassle was notable in that Reed and his co-producer chose to employ an experimental microphone placement technique called binaural recording.[1] In binaural recording, two microphones are placed in the studio in an attempt to mimic the stereo sound of actually being in the room with the performers/instruments. In the case of the recording sessions and concerts that composed Street Hassle, engineers used a mannequin head with a microphone implanted in each ear. Binaural recordings are generally only effective when the user listens to the album through headphones, and do not generally translate correctly through stereo speakers.
Dummy head being used for binaural recording, similar to the setup used for Street Hassle

Reed's particular binaural recording system was developed by Manfred Schunke of the German company Delta Acoustics; Schunke is credited as an engineer on Street Hassle. Lou Reed would continue to use the binaural recording style on two more releases: the 1978 concert album Live: Take No Prisoners and the 1979 studio album The Bells.

Same system was used on a few Krautrock albums. But it helps to explain why it's such an odd sounding record through speakers.

I for one am grateful that the binaural system was used in the recording of Take No Prisoners for it allowed me to hear the carping about John Rockwell in the one ear whilst listening to the kvetching about Xgau in the other.

Same system was used on a few Krautrock albums.

I think it's used on Can's "Flow Motion", which is a lot easier on the old earholes than "Street Hassle"

(xp) Yah!

*ear splitting feedback*

Lou: "Isn't that annoying"

*more ear splitting feedback*

Yes, even more annoying, Lou, thanks to the binaural recording system developed by Manfred Schunke of the German company Delta Acoustics

Don't know if it's necessarily the binaural process, but Take No Prisoners is a really good sounding live record.

i've said it before, but c'mon they should be putting out an expanded box set of those shows, like miles' live at the plugged nickel or something.

Do we know if Bruce wrote his spiel or if Lou did or it was something they worked out together? I seem to recall reading something that the recording of it was a kind of a spur of the moment thing...

lou wrote it and said he was having trouble delivering it -- I guess bruce just happened to be in the studio at the time? in that WPIX broadcast lou claims some reviewer thought it was just lou doing a terrible bruce impression.

(which seems crazy, but i guess broooce isn't credited in the liners)

IIRC, Lou was working down the hall from where Springsteen was finishing up DOTEOT, and asked him if he'd do the lines, which already included the wink to "Born To Run".

So the "tramps like us" line was in there before Bruce agreed to record it? I assumed that line was written just for him!

I really like this album, but like Bowie's "Heroes", when there's one song that's clearly the centerpiece of the album, it comes across as "Street Hassle" and "songs that aren't Street Hassle and are less important than Street Hassle" and the rest of the album suffers as a result.

x-post From the '89 Rolling Stone interview:

DF: Bruce Springsteen.

LR: I like him in concert. He's a great live performer. What I really like is the little skits with Clarence and everything, these great spoken introductions.

DF: How did he come to recite those lines on "Street Hassle"?

LR: Because if I'd done them, they'd have come out funny. And when he did it, it sounded real. He was at the same studio, the Record Plant. It wasn't making it with me doing it So the engineer said, "Why don't you ask Bruce to do it? He could really do that" So we asked Bruce to do it, and he rewrote it a little.

DF: The ending of his passage is a clever take-off on "Born to Run" – "There are tramps like us/Who were born to pay." Was that his contribution?

LR: No, that was mine. It had been written with him in mind, but he wasn't there. I was just playing off the title.

Thanks for the info, its a curious little thing that's always fascinated me. I really can't imagine Lou saying those lines.

I did have this realization a little while ago, in part based on that long, chooglin boot vers of "Waiting for the Man" that Tyler posted awhile back, that this era of Lou (76-78) to me it is almost like a bizarro world vers of the E Street Band, w, the horns & back-up singers, et al

totally -- even though they'd both deny the influence, it is curious that post-born to run, both lou and dylan suddenly had sax players in their bands.

OTM, the E-Street Band influence seems fairly transparent on "Take No Prisoners".

Actually Bruce is exactly the kind of artist Lou would like, he's such a throw back to "classic rock'n'roll" ,obviously with sort of grand pretentions lyrically/musically but working within that structure.

kinda think garland jeffreys is the nexus of brooooce/looooou
https://www.youtube.com/watch?v=3RzBZsOeqOQ

Ha, exactly.

speaking of garland, i posted this pic of lou & him at syracuse on twitter, and jeffreys himself popped up to ask where I'd found it! amazing photo:
http://s23.postimg.org/ncakla397/Lou_Reed_Garland_jeffries_at_Syracuse_1962_196.jpg

twee

title track came up on my spotify discover playlist and, not having looked, I thought it was some schmindie post rock thing until the vocals came in.

suggestbanflagpost

but seriously, who sounds like "street hassle" these days?

These people in the US, binaural sound never really caught on, whereas in Japan you can't even get on the Tokyo subway without bumping into someone with a binaural headset.

I had the same experience as someone above, who knew this song previously via Spacemen 3. Without getting into who recorded what exactly when, the two "versions" are almost exactly a decade apart. Which surprised me, as Spacemen 3 always gave the impression that they were mining ancient history. I guess there's some weird nexus of Lou, Bruce, and Suicide that ends up turning into an indie influence a decade later.

Suicide also only a decade removed from S3

As was this album. In the 80s I had the impression (without thinking about it too much) that the sources of Spacemen 3 were much further removed. Anyway, I can definitely see the indie aspect of this.

https://www.youtube.com/watch?v=KnGSWbISSLs

Never saw this before, Fat Lou ...

https://www.youtube.com/watch?v=1Rm9rCdF-jU

Shouldn't have a Street Hassle thread without this (used to be a non-Movie Clips clip on YouTube):

https://www.youtube.com/watch?v=2VKpd3XEbD8

I'm positive the title song turned up in another movie after that.

Up The Academy before that (I had to google). Jesus, Up The Academy has a crazy soundtrack. I was too young to see it, but was aware that it existed.

What movie had him sing a tune called "Little Sister" again?

"Get Crazy"

(song is "My Baby Sister", played over the closing credits)

I've never actually seen it, it sounds amusingly bad

What's with the album cover

I've never actually seen it, it sounds amusingly bad

I think the song is really called "Little Sister," confusingly so, despite what IMDB says. Wonder if he and Doc Pomus ever discussed this? It is all coming back to me now. Malcolm McDowell was very proud of his performance in this.

given Lou's enthusiasm for binaural recording it's funny how shitty this album sounds (title track excepted)

Well he's also into expensive gimmicky high tech guitars and we know how those sound when he plays them.

yeah, it's weird -- most of it is live recordings w/ overdubs, right? then again, take no prisoners sounds great.

Throbbing Gristle were well into binaural recording about the same time, so, you know, we're not exactly talking Steely Dan here.

super-sloppy performances aside (and there are several of them on this) it's just funny how he used this *revolutionary recording technology* to make a bunch of apparently random and poor production choices. like if the virtues of binaural recording is that it replicates the experience of the listener being in the room with the band, the album decidedly does *not* sound like that given how things are mixed, punched in and out, etc.

this shit looks like it should be the cover of a peter gabriel album or something
https://upload.wikimedia.org/wikipedia/commons/a/a2/Dummyhead.jpg

This was the Manfred Whatsisname Artifical Head Recording thingummabob? Curiously, "Flowmotion" by Can used it too.

Manfred Schunke.

but yeah, i'm sure if you asked lou for his top 5 favorite recordings, 4 of them would be one-mic doo wop songs. state of the art.

This record sounds amazing you MONSTERS

haha, i mean, i love this record, but it is kind of bizarrely produced

https://cinefilesreviews.files.wordpress.com/2015/09/listen-to-me-marlon-documentary-2015-digital-brando-movie-review.png

this one's more like a late 80s pink floyd bootleg
http://www.realhd-audio.com/wp-content/uploads/2013/07/binaural_head.jpg

"Little Sister" is fabulous. I love Lou's solo.

"Get Crazy"

(song is "My Baby Sister", played over the closing credits)

― Οὖτις, Wednesday, May 18, 2016 11:23 PM (1 week ago) Bookmark Flag Post Permalink

I've never actually seen it, it sounds amusingly bad

― Οὖτις, Wednesday, May 18, 2016 11:24 PM (1 week ago) Bookmark Flag Post Permalink

Sounds fantastic you mean...

Captain Cloud (the Turtles' Howard Kaylan) and the Rainbow Telegraph, Max Wolfe's favorite band, arriving in an aging bus that is painted à la the Merry Pranksters' Further.
Nada (Lori Eastside from Kid Creole and the Coconuts) and her 15-member band, an amalgam of many disparate styles of music that appeared on MTV in the early 1980s—part bubble-gum pop, part New Wave, part garage rock. They are joined by "Special Guest Star" Piggy (Lee Ving of the L.A. punk band Fear).
King Blues, the King of the Blues (Bill Henderson), a spoof of Muddy Waters.
Auden (Lou Reed), "metaphysical folk singer, event of the '70s, and antisocial recluse", a spoof of Bob Dylan. Auden, who initially complains of writer's block, is coaxed to appear thinking Max is close to death, but after blithely asking a taxi driver to take the "scenic route," he spends the majority of the movie on his cab ride, improvising lyrics for the song he intends to perform.
Reggie Wanker (Malcolm McDowell), "20 years of rock and roll and still on top", a spoof of Mick Jagger; featuring his drummer Toad played by John Densmore of The Doors. Wanker is beset by a general malaise, unable to fully enjoy his lavish situation of easily available women and drugs.

See for yourself:
https://www.youtube.com/watch?v=zrIRmMNi800

So I saw it years ago at the Walter Reade theater in Lincoln Center as part of what must have been a Malcolm McDowell retrospective. Malcolm was there (as was Jay Cocks) and did a Q&A. Hey look:
http://www.malcolmtribute.freeiz.com/getcrazy.html

Was there some sort of rule, unwritten or not, that a certain subset of movies made each year, especially those destined to be Midnight Movies, had to cast Paul Bartel and Mary Woronov?

Hold on, Lou Reed AND Mary Woronov were in it?

http://artillerymag.com/wp-content/uploads/2014/01/Lou-Reed_woronov1.jpg

Yup. No Gerard Malanga though, if that's what you're after.

Was hoping for Ondine or Taylor Mead at the very least.

Forgot to add caption to this:
https://cinefilesreviews.files.wordpress.com/2015/09/listen-to-me-marlon-documentary-2015-digital-brando-movie-review.png
Butch? Listen to me Butch

Lol this is a hot take

Best thing he ever did, parts of Raven excepted.
― Sterling Clover (s_clover), Friday, March 21, 2003 3:46 PM (13 years ago) Bookmark Flag Post Permalink

but yeah, i'm sure if you asked lou for his top 5 favorite recordings, 4 of them would be one-mic doo wop songs. state of the art.

― tylerw, 26. maj 2016 22:15 (5 days ago) Bookmark Flag Post Permalink

indeed: http://ultimateclassicrock.com/lou-reed-playlist/ (couldn't find original article with nice quotes)

that skeeter davis song is kinda the inspiration for who loves the sun, right?

https://www.youtube.com/watch?v=kjy3rr7J_yQ

Earlier link seems broken, but whole thing is here.
https://www.youtube.com/watch?v=1-w0z68nFzk

Maybe we should do a watch party/

It has a New Year's Eve theme so very timely.

https://makeminecriterion.wordpress.com/2016/01/04/get-crazy-allan-arkush-1983/

https://pleasekillme.com/lou-reed-allan-arkush/

Maybe I should start new thread or put on Rock rock rock rock Rock and roll high school

If only one of you watches it this year my posting here will not have been in vain.

It's got everything: hippies, punks, teen idols, Allen Garfield, Ed Begley, Jr., Paul Bartel and Mary Woronov. A lost Lou Reed song with Robert Quine on it, or so it seems!

Unless it's Lou soloing, either way.

uh hey James

Allan Arkush here- the Director of Get Crazy. I am happy to let you know that there will be a GET CRAZY BLU_RAY in early 2021. I am in the process of compiling the extras, since you are such a big fan, any thoughts? –aark✧✧✧@m✧✧.c✧✧

(from that Make Mine Criterion link, in the comments)

Ah, cool, thanks!

Just the Lou Reed scenes (albeit in shittier quality)

https://www.youtube.com/watch?v=TMEbY7vGRmE

Also his scenes from Blue in the Face (which I can't recommend, but it has its moments, particularly Jim Jarmusch's bit on smoking)

https://www.youtube.com/watch?v=xduERw9BSns

Just looked at the personnel for Reggie’s band. Pretty interesting.

Love how the absolutely dead mic on Lou’s vocals gives the feeling of him in some shitty dimly lit studio at 3am trying to get it together. Such a nighttime album.