This project doesn't seem intent on digging up the dirt on 's perversities, sexuality, and mistreatment of wives and band members, as Victor Bockris' biography did. With a transfer from video to 16mm, this film mixes black-and-white and color. It's a pretty straightforward mix of archival footage and contemporary interviews with and many of his associates and admirers, though a bit looser than the usual American Masters approach. At the age of 19 I thought it a clever little ditty but over time it now seems adolescent with a snarky touch of condescension. The film continued on to over 50 festivals worldwide.
It does state and rightfully so that he is a genius. Would you like to direct it? His band sounds great, and there are some fine songs on here. The remastering of these tracks was among the final projects Lou Reed oversaw before his 2013 death. . This 75-minute documentary, spanning 's career through the late 1990s, was originally broadcast on public television as part of the American Masters series.
Produced by Steve Katz and Lou Reed, the performance featured several Velvet Underground songs re-arranged into a powerful hard rock set. And the title cut, with Reed experimenting with a guitar synthesizer and free jazz hero Don Cherry inviting the spirit on trumpet, is both a brave exploration of musical space and a lyrically touching sketch of loss and salvation. He methodically proceeded to buy just about everything from to and before giving up. The album peaked at 45 on the Billboard Pop Albums chart in 1974. It is highly unlistenable, but that is the point! Andy collected all the money, received his 20%, and gave Reed the rest. There is nothing about the severe artistic conflicts has had with important coworkers like and , or about his departure from in 1970.
The album is formatted as a tragic rock opera and features heavy orchestral arrangements. Between 1982 and 1984, Lou Reed put together the best band of his solo career, recorded three superb albums, and left behind a fine live double after two rapturously received world tours — not a bad track record from a guy who had been so inconsistent throughout the 1970s. Lou Reed: Rock and Roll Heart traces the life and career of the legendary singer-songwriter Lou Reed, from 1965, through college, the Velvet Underground, and into his solo career. It glosses over Lou Reed's personality-primarily that he is hard to deal with-a major reason why he has had difficulty finding a backing band. It is not the treatment of events, but the subject himself and principally his growing artistic pretensions which makes for sometimes risible viewing the footage of the 'Timerocker' show looks very, very silly indeed. Remarkable concert footage is intercut with over two-dozen interview subjects. Among the many interviewees commenting are colleagues , Exploding Plastic Inevitable dancers Mary Waronov and , producers , critics, and musicians influenced by such as , , , and, more dubiously,.
When the documentary reaches 's solo career, there are plenty more sound performance clips to employ. Here under the American Masters series he gets just over 70 minutes of screen time, which ultimately isn't enough. Part of Transformer compares to the Velvets. Is there anything here that fans will learn that is new? The documentary does not cover the reasons why John Cale left the band arguably, he was as important as Reed to the Velvet's sound. The emphasis is on the music as it should be , starting all the way back to 's pre- activities. Three chords is three chords.
Get this for the footage, not the real story! I never said I was tasteful. Musically, Reed added saxophonist Marty Fogel to the band, joining keyboardist Michael Fonfara and drummer Michael Suchorsky as the instrumentalists who would define his sound for the next few studio albums. This shoot led to an album cover collaboration, and soon thereafter, Reed permitted Greenfield-Sanders to film behind-the-scenes footage. Yet there's so much missing, key periods in his career are given short shrift and replaced by stock filler concert scenes - none of which play the whole songs! Lou's aspirations toward jazz rock sort of show up here, with staccato, aggressive sax and weird multi-layered drum beats. The focus of the solo years is pretty selective, as it has to be in a documentary of this length, yet it is not based on how popular certain records were. I would love to see an expanded version of this with more info.
The late 1970s and most of the 1980s are hardly discussed at all, which might annoy fans of and , but really, if tough choices had to be made, the filmmakers made the correct decisions, for the most part. Intro: F C G C x4 C Verse F C G C I don't like opera and I don't like ballet F C G C And new wave French movies, they just drive me away F C G C I guess I'm just dumb, cause I knows I ain't smart F C G C But deep down inside, I got a rock n' roll heart F C G C Yeah, deep down inside I got a rock n' roll heart C F G Oh, rock n' roll heart C F G Lookin for a good time C Bm Am Just a rock n roll heart, roll heart, roll heart F G Looking for a good time F C G C x2 C Verse F C G C I don't like massages or something meant to say F C G C And I wish people like that would just go away F C G C I guess I'm just dumb, cause I know I'm not smart F C G C But deep down inside, I got a rock n roll heart F C G C Yeah, deep down inside I got a rock n roll heart. Anyway, for a fairly recent convert to Lou Reed like myself, this was a really enjoyable film. A pity he's such a tedious old master now, but at least he's still here to tell the tale. But it's not even close to being definitive and that just comes off as a shame and wasted opportunity. He is my Beatles and one of the greatest songwriter in rock's history. The live footage pleases the eyes and ears, while the roll call of back slappers is mercifully not over-killed.
Like the previous summary stated, the doc. The other comments here mention the documentary's crucial historical omissions and gloss-overs, but it is worth adding that the final third is also something of a chore to watch. The milieu of the Velvets is not ignored, with attention given to mentors such as writer and artist-manager. Patti Smith giggling is one of the sexiest things I have ever seen! Rock n Roll Heart is a masterful collection of late '60s Velvets footage. Recorded at the legendary Bottom Line club in Greenwich Village, the album presents an evening of music, songwriting and storytelling — intimate, acoustic, historic. This is nonetheless good viewing for fans, and informative documentation for novices.
Reed, on the other hand, both in the Velvets and as a solo performer, always has plenty to say -- plenty of complaints if nothing else. Suchorsky's nimble drumming and Fogel's sax pushed Reed in a jazzier direction. Maybe you had to be there. One might well have argued that Lou was due for a disappointment, and Mistrial certainly filled that bill. He loved the song , liked , and found adequate, but the remainder of those two albums left him less than enthralled.
I would like to have heard about his family, relationships etc, but the insight into his career was pretty good. Burroughs and Hubert Selby, Jr. The newcomers get a sample of his early influences, from romantic poets to beat street artists, the Velvet Underground period gets good time, with welcome chatter from John Cale and Mo Tucker, then his solo work is covered by a series of interview snippets, with credible and interesting back stories to some of his famous songs. The lack of decent live sound footage of to draw from is unfortunate, but there is some nice silent or non-musical footage of the band, plus plenty of interesting stills and comments from and fellow Velvets and. .