The Velvet Underground
Live MCMXCIII

THE REVIEW

For true Velvet Underground fans, this album is a must-have in the collection of the legendary New York group.

Released in 1993, it gathers the group's most famous tracks in a fantastic live performance held in Paris. After 25 years, the Velvet Underground reunited, only to disperse once again. There's no sweetness from Nico (who passed away prematurely), there's no anger and noise from the first albums, but the result is nonetheless superlative, because throughout these years Lou Reed and John Cale have refined their art, allowing them to reinterpret the Velvet classics and elevate them to a sublime artistic level (it's important to note that it was already art in the legendary 60s albums, and what art!). The novelty of this album lies in the fact that it's finally possible to hear tracks on which John Cale never laid a hand (essentially, Cale only worked on the first two albums of the group, the best albums, and the difference between Cale and Doug Yule is noticeable!). Alongside this, the powerful voice of Lou Reed interprets the V.U. classics with a theatricality and emotional intensity that's not easily found in the 60s records.

This is a different kind of art: if before, the Velvet expressed decadence, anger, paranoia, in this reunion, Reed's magnificent voice revitalizes the lyrics; in his voice, one perceives the distance from the pain of someone who has risked death, far away now, a voice that emerges with all its strength in affirming life in the light of dark memories. The tracks flow rapidly, even those that last longer; you don't even notice the time passing, carried by the obsessive rhythm of Maureen Tucker and Lou's rock arpeggios. After a Venus in Furs where Reed sings with indifference, John Cale (whose vocal style I've probably wrongfully despised before) offers here a masterpiece version of All Tomorrow's parties, surpassing even the original version with Nico!! He does a little less well with Femme fatale (the song was specifically written for the blonde model, it was tailored for her), but we can make up for it with The gift, which we can finally listen to without the recording flaws of White light white heat: cleaner sound, a text that seems very modern today, imagine what it was then!!! Lou Reed entertains and is entertained with the wildly exuberant Beginning to see the light and I heard her call my name; there's still time for the classics (Sweet Jane, White light, White Heat, Rock n' roll), and we quickly reach the climax. Cale's unique interpretation gives new vigor (though it certainly wasn't needed) to I'm waiting for my man, which, along with Heroin, regains the psychedelic fury of the "banana" album.

Among all the Velvet Underground live performances, it's only here that these two masterpieces in the history of music and of the group regain their proximity to the original perfection. Reed's deep voice still echoes in my head as he desperately screams, "Thank your god that I'm not aware", under the swirling vortex of Cale's violin, resonating with the notes of the splendid ballad Pale blue eyes, the quintessence of the entire album. Reed's voice takes on truly impressive tones, becoming almost epic, with words rich in pain that hit you in the stomach. On the other hand, we can finally listen to this classic by V.U. with the decisive contribution of Cale and his violin, which outlines decadent atmospheres.

Finally, the album closes with the unreleased Coyote, a typically Reedian classic rock song, a prelude to the end: from now on, everyone for himself, the Velvet Underground will play no more.