Lou Reed

Okay..."Walk on the Wild Side" is a great song, even if it's a crime that it's so much better known than any other Lou Reed song. "Satellite of Love" is also great, and the deceptively happy "Perfect Day" is of his all-time greats, featuring the legendary line "you made me forget myself/I thought I was someone else/someone good." "I'm So Free" and "Vicious" are also great. Most of the other songs, though, while deserving credit historically for being so openly "gay" really aren't so great. For that reason, while I dig this one out often, I rarely listen to the whole thing. [...]

Cameron Crowe meets Lester Bangs and, natch, they discuss, what else, Lou Reed.

"Goodnight Ladies" (only 2nd, maybe, to Yoko's "We're All Water" as a 'song of the decade' {70's}) invented Tom Waits in a NY minute, so there. Transdressers, alcoholics, cokewhores, jus' good folks. Sandy my bestest friend, ever. But, also, it's May 12th, so I remember my 1st marriage, 29 years ago, too bad my husband died in a highway fireball 5 years ago. What else? Well. Lou Reed was my Carpenters' B-side back in the day, as they say. No old ladies, ladies never age, just ask Blanche DuBois. Ah anyway, my TV dinner's almost done.

Meanwhile, I'm almost 10 at the time (1970) and I'm at the St. Louis Crestwood Mall with my parents. There's a shop, called "Size 6." What's 'size 6,' I ask. My father says "it's the cute, young girl size for dresses." And I think, "Wow, that's great. That's what I want." Oops, but neverless. So, you see, size 6 (my size, babe) has always been in my heart, a very magical number. That's why I diet so fearlessly. Ah anyway, my TV dinner's almost done. I remembered that number for decades, it took decades to get it. I earned it.

May 12th. So sorry, Carrie, you demised. That haunted honeymoon house, some abandoned farmhouse out in the woods where we all got high, made for a brilliant metaphor, cobwebs and rusted tins, pure funk, a classic Stones cut between hits, hitchhiking foolishly, fearlessly, we did "it" outside the HoJo's NY before the cops came and shooed us away, bad coffee and skanky pancakes. And turning tricks. Of course, every time I begged for it, I really wanted to be the girl doing it. Transformer, that. I bet you knew all along.

Lou Reed-Transformer *****

Next to The Velvet Underground & Nico, Transformer is the most popular album that Lou Reed ever lent his tme and name to. While many will tel you that Transformer is the very best album Reed ever made as a solo artist that is just not true. This is a great album and easily one of his best, but not the best. This is a glam rock triumph. Produced by David Bowie and the unsung guitar God Mick Ronson Transformer is on the same plain as The Rise And Fall Of Ziggy Startdust And The Spiders From Mars, only not as good or as revolutionary.

The power of Reed on this album is amazing though. His guitar playing along side that of Ronson is something for the ages. His songwriting is another feet in itself. Some of his most personal and heartfelt lyrics are here like 'Perfect Day' and 'Satellite Of Love. THe poetic side of Reed comes across the finish line with a gold medal. Song like 'Andys Chest' and 'I'm So Free' are pure poetic justice. Other tracks like 'Goodnight Ladies' 'Hangin Round' and 'New York Telephone Conversation' are so New York it isnt even funny. songs like 'Make Up' and 'VIcious' are about as early 70's glam rock as you can get without being David Bowie or Roxy Music. 'Vicious' as it is so appropriatly titled is one of the strongest tracks in Reeds Cannon.

Now, 'Walk On The Wild Side' is one of the strangest, coolest, and greatest songs in all of rock n' roll. Not to mention importnat. This is Reeds ode to Transexuals in New York. This became Lou Reeds biggest and really his only hit single. 'Wild Side' help to propell this album to commecial success and make Reed the legend he is today.

As a whole there really is nothing wrong with this album, every song is a great one. You couldnt find something wrong with this record if you tried, but as good as all of that sounds this album does however fail in comparison to the other great albums by Reed such as Berlin, New York, Coney Island Baby, and The Blue Mask. But for someone who is a new fan to Reed this is the perfect place to satart because it will really tell you if you like Lou Reed or not, beside it contains 'Walk On The Wild Side' which is essential in itself.

As the original album ends there is two new tracks added to the end. An alternate version of 'Hangin Round' and 'Perfect Day' both of which are great version and make a nice addition to this already wonderful album.

Lou Reed really topped his former abilities from the velvet period here. And I know that this is a feat few people have ever accomplished, creating something more worthwile that the Velvet Underground. This album is sarcastic and most important, it's good rock and roll.

Okay, I'm a VU nutcase - that must be said. I bought all four of their original studio albums in a three-week span, if you wanted any proof. I also like Reed's solo stuff, and this is a great record. The wonderfully twisted Walk on the Wild Side was Lou's only top 40 hit, and indeed it's quite a song. But don't, as some have, overlook rockers such as Vicious or Hangin' 'Round, Satellite of Love (featuring David Bowie, who produced the record, singing a great backup vocal); the slightly overblown but still good ballad Perfect Day; the bizarre Andy's Chest, which is a lot of fun; or the hilarious New York Telephone Conversation. Wagon Wheel, I'm So Free and Goodnight Ladies are weak, but overall Transformer is an excellent record. Okay, I'll admit that I miss Reed's expiremental edge (it's interesting that David Bowie, the man behind the excellent Station to Station album, didn't tap into that), and as I said before a couple songs are weak. But hey, it's great, and sure better than the overrated Rock 'n' Roll Animal.

Truly remarkable. This recording (33 years in the making) takes Reed's classic "Berlin" and stages the entire original LP live.
Live recordings often leave a lot to be desired due to sound quality. Not this one ! This sound is stunning for a live recording. The mix is perfect , and Lou is in perfect "voice".

I played the disc 3 times straight through upon purchase (minus the "extra" non-Berlin tracks) (which I will get to sometime). The entire disc is nothing short of amazing , but "The Kids" and "Sad Song" are the standouts for this listener.......PUT IT IN YOUR BASKET!!!!!

a commercial flop when released berlin has always been one of lou reeds masterpiece works. as a rock opera it has a better story than pete towshends tommy. what this live version offers is both a fresh look and a fuller sound quality which makes this release a newer experience. the inclusion of steve hunter of rock and roll animal fame on guitar makes this album worth the price! lou reed has grown as an artist over the years and his best music stands as a testimony. lou reed has made an excellent circle!

I'm entering Lou Reed not a fan of either his solo career and definitely NOT the Velvet Underground, so of course I have to ask the question "Why does Lou Reed whisper and talk-sing through most of his music?"

Well, keeping that WELL in mind while listening to his Berlin album, I have to say, I think I'm starting to get it. I think I'm starting to understand what makes his vocal style so appealing- if you pay attention to the lyrics, the appeal of his vocal style will improve as well.

And that's exactly what happened. I really like Berlin now, but I didn't particularly care for the album very much when I first heard it. I kept thinking his music lacked substance upon first listen, but now I've changed my mind.

Some of these lyrics are INCREDIBLY dark. Lyrics that are much different from the Elton John and Jim Croce lyrics people were exposed to at the time.

So if you go in approaching Lou Reed's music from a lyrics point of view, I believe you will learn to appreciate much of his music. "The Bed" is probably the most shocking song to me because of those devastating lyrics. That's truly an incredible song. There's some solid rockers on the first side as well.

Overall, yeah, it's worth owning.

Berlin is too powerful to recommend without some warnings. It's an outstanding and astounding work, and it's great that CDs can be bought at a decent price, but I'll stick with my LP -- I have to be in a certain mood to go over and grab Berlin. It's great that Amazon has snippets you can listen to online...do so.
Highlights: "Caroline Says II" "The Kids" and "Sad Song" are phenomenal if you can handle the sadness. A younger brother of mine mentioned Berlin to me a few years back, recommending it, and I replied yes, I've had it for twenty years but wouldn't ever mention it because of its emotional depth. He totally agreed and we left it there.
Most of the other songs are OK, but not great. "Caroline Says I" is an odd attempt at an upbeat tone. You could argue, artistically, that it sets up a background for the superior "Caroline Says II" but I don't think it works.
Along with Growing Up in Public (note: an extremely different sound and approach to personal music), Berlin is probably a work that no one will ever be able to remotely duplicate. A wiseacre may say that no one will ever try, but I actually hear a lot of attempts in "meaningful" songs by supposedly cutting-edge and soulful artists. You can't just simply write a few lyrics about betrayal, child neglect, loss...you have to communicate it (that's what artistry is about) and Lou Reed did it. People will place Lou in the pantheon of rock greats for his hazy, glossy writing/singing with VU or the transexual schtick. That's fine, and if that's what you're looking to hear, move on. Berlin is a hammer straight to your chest and you better be ready for some heart pounding.

The first time I listened to this album (which I had to borrow from my dad) I only liked two songs. Don't get me wrong, I had listened to Lou Reed's live albums "Live" and "Rock 'n' Roll Animal," which featured a few songs from this album, but I just didn't enjoy it. However, having listened back several times since then, it is without a doubt one of the top albums in my collection. This album is the most complete definition of concept album, or rock opera. While, Lou Reed's lyrics are so vivid, for me, as a musician, the music is what really enhances the whole experience. The music and arrangements enforce what the lyrics are trying to convey. If you really pay attention, the music in the first half of the album is rather light (so-to-speak) and whimsical. However, in the second half it slows down, at times being just Lou Reed's voice and his guitar. The arrangements by Bob Ezrin really help emphasize the downward spiral and then the quiet, sober, and sad look back at a couple of wasted souls. While I respect others comments, I have to respectfully disagree with a few, I felt that there was no excess on this album. Every instrument, every part, needed to be there. All the little nuances are enhanced in some way by some part of the music. This is truly one of the few albums that gets better every time you listen to it. You take more from it, you hear more, you feel more. Yes its a depressing album, without a doubt the most depressing of all time, surpassing "The Wall," but by the end of "Berlin" one can't help but feel a glimmer of hope within themselves. As the saying goes, everyone feels better after a good cry.

...when he said this was 'the most gargantuan, maggoty slab of rancor that has ever been recorded'. Reed, even with his best moments with the Velvet Underground, doesn't match up to this self-pitying disaster. If you want to see Reed at his most fragmented and self-loathing, look no further. This is the breakdown album.

A "concept album" to be sure.
But some of Reed's best work.
Melodic and deep.
When I first bought the LP years ago and listened to it, a friend commented, "This is Lou Reed's 'Sgt. Pepper'." I coudln't have put it better.
It has the "Reed" feeling, and tells a story.
A sad story, indeed. Just listen to the orchestration of "Sad Song" and not be moved by the climax.
A gem.

I don't know how Wes Anderson does it, but he does it well. The music on this soundtrack is so diverse, but like in the movie, it just works incredibly well for whatever reason. If you have a decent taste in music, chances are you will enjoy ever twist and turn of this album.

A soft-sounding awesome laid-back soundtrack for an amazing movie - a mix of Nick Drake, Elliot Smith, and a great instrumental of Hey Jude. Love it!

I like this soundtrack because its very laid back. Enjoyable songs that help you relax.

Hey, maybe you guys can help me, does anyone know the title of the song playing on a radio while owen wilson is getting high (or preparing to do so) with his friends and his dad and brother step in and tell him they want to help him. I really love that song and i have no idea what the title is

For anyone interested, one song which was omitted from the soundtract which has not been mentioned is:

Emitt Rhodes - Lullabye

A beautiful track played in the scence where Royal is lying in his bed sucking down a shake and reading a book when Chas say "lights out old man" and switchs off the light. One of my fav songs in the movie along side the rolling stones - she smiled sweetly. sadly both songs were omitted but still a beautiful soundtrack.

and chances are you'll hear this album. Unless of course your host is a complete idiot and their idea of rock n roll is Hootie and the Blowfish. I laughed when I read the Lou Reed "fans" who said they didn't like this album. They whined that it was unlike his other stuff. Well, put it in perspective. This is a GREAT album - and it doesn't need the extra tracks. It's one of those one-off classics that just came from nowhere. Loved it then, love it now. You can't say that about any VU album.

I never had the album "back in the day", but I've heard most of the songs at one time or another. I thought the sound was very good. This is an excellent album and gives a good snapshot of Lou Reed back in his prime.

the band is tight and ready to rock.lou is up to task and gives a first rate show.real fans will love it.

Easily in the top 5 list of GREAT LIVE albums, not debatable.
Same class as Live at LEEDS(BEST EVER),HANK-Live, Live RUST!
This takes you back to the filthy days when men made rock and roll and did'nt wory about how to sell it. LOU has always been on the cutting edge. Needs to be played loud and often.
Lady Day/Heroin/Sweet Jane. You could try a hundred more times and never get an LP close to the original, just a classic thats all.

This is one of my two favorite live rock albums (the other is Stand In the Fire by Warren Zevon). This is probably the best live rock album ever. The guitar work is amazing. The energy is explosive. This is what rock and roll should be. Two guitars, bass and drums and four guys playing their guts out (OK, there are keyboards too.)

This live version of Heroin, all by itself, should get Lou (as a solo artist) inducted into the R&R Hall of Fame. My favorite live rock track of all time. It's a lesson in how to build up a rock song to a screaming crescendo.

Like everyone, my only beef with the record was: not enough, give us more! This release includes two additional tracks from the same concert: How Do You Think It Feels and Caroline Says I, which are also great and fit right in. The remastered sound is excellent. This release, unlike to old release on CD, has some nice liner notes. Enjoy.

Dirty Boulevard is cliched and sounds like Lou coasting. Whenever
he tries to sound tough it bores me rigid. Romeo had Juliet. No kidding? along with tea and toast probably.
The fun, exciting, belligerent Lou is not here. That's back on 'Take No Prisoners' and the smooth honest melodic one isn't either that can be found on 'Coney Island Baby'.
Lous' photograph book of N.Y.C.is much more enjoyable than this L.P. Keep up the good work there man!
Lou Reed is a great place to visit but I wouldn't want to live there.

Lou Reed is one of those artists that you either loathe or love. I would highly recommend this to any Reed fans, but then again they are more than likely already on board. If you are a curious music enthusiast looking for something different, this may be a good album to cut your teeth on. This album came out at a point when for the umpteenth time you thought Lou had rode off into the sunset. Lou is a master of the critically acclaimed album that had miserable public sales == New York was one of the exceptions both critically acclaimed and actually saw air time on FM stations. KLM

I make no bones about it. For a long time when I listened to Lou Reed, I just never got it. For some reason, I always had Reed pigeon-holded as a one hit wonder artist (i.e. "Walk on the Wild Side") with a cult following. Let's also face it, when it comes to vocals, Reed isn't going to be mistaken as an all-time legendary vocalist. Then something changed - I heard Reed's "Dirty Blvd" from his 1989 album, "New York". This song just got me. I don't know if it was whether it was the guitar work, the sociological lyrics that told the story of a boy named Pedro living in a world of poverty or abuse, or simply Reed's narrative-style vocals. Whatever it was, this song had me hooked and for the first time, I began to reconsider what Reed as an artist. Usually when a song gets me, I immediately seek the album. When I put "New York" in for a listen, I discovered something even more - a conceptual album. I typically love conceptual albums with a theme and in this case, Reed sings about many songs about New York City and the issues that affect the people in New York. I also saw an album that was not your standard "cookie cutter" 1980s pop synth. This is an album that clearly was an innovative album with a variety of music styles and deep lyrics to go along with it.

One thing that I like about this album is that Reed encourages you to listen to the album as a whole. In the liner notes, Reed makes a comment, "It's meant to be listened to in one 58 minute (14 songs) sitting as though it were a book or a movie. Many artists construct albums like this, but I haven't seen an artist recommend this to the listener. I've put a synopsis of each of the songs below to give some recommendations or pointers of things to look for from a musical perspective. Conceptually the picture of society painted by Reed is not a positive one.

"Romeo Had Juliette": While the chorus may indicate this is a song of two lovers living in New York named Romeo and Juliette, this song is loaded with sociological references to New York City. Listen to Reed's references to the crack dealers, a cop getting shot in Harlem, and the polluted Hudson River - he definitely paints a grim picture in the pre-Rudy Giuliani New York City. The guitar work is simply outstanding.

"Halloween Parade": This is one of several songs on this album with a country-western sound. However, once again the references are right back on New York. Lots of references to streets in New York such as Christopher Street, Avenue B, and Avenue D. Under the title it says AIDS, and Reed also references several times "to be here without you". Reed's narrative style vocals are outstanding.

"Dirty Blvd": As mentioned, this song tells the story of a boy named Pedro living in a world of poverty and abuse. Reed uses the narrative style vocals to almost make the story sound three-dimensional. Reed once again makes references to landmarks in New York City such as 39th Street and the Lincoln Tunnel. Look for some great background vocals from Dion Di Mucci toward the end of this track.

"Endless Cycle": Another country-western sounding track. While this song isn't loaded with New York references, Reed hits the themes of alcoholism and drug use on this song. Once again using the narrative vocals makes this story three-dimensional.

"There is No Time": This is the strongest track on the collection. Reed switches gears an opts for a high energy guitar jam with terrific percussion. This song is more political as Reed says this is no time to rest on your laurels. In particular the last line of the song, "This is a time for action, because the future is within reach".

"Last Great American Whale": Reed uses his narrative style to discuss the plights of the environment and of the Native Americans.

"Beginning of a Great Adventure": This is a more personal song as Lou discusses the Great American Dream and in particular dreams of having a family. The references to Lou's name and his wife give this a personal touch. Perhaps the best part is the blues sound to the song.

"Busload of Faith": Another blues sounding song. Reed sings about not being dependent on others. While Reed sings about having faith, he also does criticize religious establishment on this track.

"Sick of You": This song might be the most country-western sounding on the collection. Reed references "Staten Island" as a part of New York, but also references social figures of the time such as Oliver North, Morton Downey, the Ayotollah, and the Trumps. Pretty much the title of the song is how Reed feels about a lot of them.

"Hold On": Very much a New York themed song. The turmoil of Howard Beach in 1986 and Bernard Goetz are all referenced in this song. Mike Tyson, who grew up in New York is referenced here.

"Good Evening Mr Waldheim": This might be the most political song on the album. Reed criticizes the Pope (some might take offense), Kurt Waldheim, and most notably Jesse Jackson (lots of references to his "Common Ground").

"Xmas in February": Reed goes back to the sociological issues and discusses the plight of the Vietnam veterans. Great work as Reed weaves his his narrative style on this song.

"Strawman": Great Anthem-ic Rock sounding song. Filled with lots of socio-political commentary. The hard rock sound is great.

"Dime Store Mystery": This is tribute the Andy Warhol - whom Reed had an association with. However, the analogy to the crucifixion might be too much for many people.

Overall, this is a powerful album. It definitely is one of the better albums from the 1980s and not your cookie-cutter music. Highly recommended.

I bought this album on cassette in 1988 from a mom amd pop record store on the seeming advice of a Rolling Stone critic whose name I do not recall. In retrospect, this album was named one of the top 100 of the '80's by that aforementioned magazine. Anyway, the reviewer was accurate in his description of Reed's work. Being from the South, a small rural town in Georgia, I know almost nothing of the realities of New York City so Mr. Reed's truths are quite possibly wasted on my limited insights. Movies offer only sketches of dramatized truth. I can assert, however, that Lou Reed's "New York" is one of the best albums throughout that I've ever heard. Mr. Reed and his band garage rock from provincial musing to provincial musing with no seams, no falterings. This CD, album, tape whatever one wishes to refer to it as is brilliant, showing no weaknesses at any point. There are no best songs, only tone driven ambiance - songs for moods and inclinations. Finally, as Mr. Reed states in the liner notes, this is an album to enjoy in one sitting, as an entire work. Yet, if one is driving to his/her neighborhood convenience store, "Strawman" is a great listen when the sun is going down and a refreshing chill is in the air. This album has no comparisons. It is a meshing of alternative, guitar driven rock with poetry. It contains no wedding reception or dinner party songs.

This is an exelent Album, very harsh, very personal, this is the firs Lou Reed Album I ever got, and what a way to start.

Lou, Lou, Lou. It's the beginning of a great adventure. For the fact that Reed's talent is exceeding, this CD is well written, but one somber jaunt of a concept album. Don't get me wrong. It's completely Lou to the labored ennui degree. This might be hard for some to fathom as likable, especially if you are into a bubble gum belief in lifestyle. But, if you are into listening to some tunes with a heavy gravity to their message, then this is the CD for you. I enjoy Reed's healthy guitar licks and epic bar cords that guide the tragedy ridden lyrics to what I can only call that traditional Lou Reed sound. Overtly, it's introspective and at times, a little overbearing in the show tune aspect, but come on,...That's what Reed is best at. Sublimely, the effort tries to rationalize a friend's untimely passing and catches the myriad of confusing feelings that goes along with that, all of the way to an acceptance of the facts. Okay. I like it enough to suggest it to anyone who might have a yen for Lou and maybe those who are currently going thru something emotionally tough. Magic and Loss is mature and unflinching and as all Reed albums go, it is flavored with the gritty tastes of New York city, proper. Well worth it.

I think all the negative reviews for this masterpiece are from people who have (a) never had to lose somebody to death/cancer, or (b) lost somebody, but haven't been able to face up to it yet.

This CD, for me, is catharsis on a very deep level. I can't listen to it very often, but when I can, it helps me work through the many losses I've already gone through.

If you've read any reviews of this album, or even references to it, here or elsewhere, you've no doubt learned that it's "incredibly grim" (see Amazon review, above), Lou Reed's darkest album, etc.. If, however, you actually listen to the lyrics all the way through, and see how the songs work together to create a whole, you'll find that it is, in fact, by far the most positive piece in Lou Reed's oevre. Basically, this is an album about working through the darkness, "mov[ing] through the fire to the light." Yes, there's lots of misery and ugliness, but it's all pointing toward the "life's good" refrain in "Power & Glory." Then, in case you didn't get it, the final, title track, gives the whole thing in a microcosm, describing in stunning terms a journey through one's personal hell, toward wholeness ("when the past makes you laugh and you can savor the magic that let's you survive your own war, you find that that fire is passion, and there's a door up ahead not a wall"). Yes, believe it or not, the guy who made the "Berlin" album and wrote "I thought I was someone else, someone good" is saying that, yes, you can overcome your personal demons, life is good.

I full cd made up of songs about death and loss is artistic and ambitious but has a lack of entertainment value.

I admire how Lou Reed reduced his feelings to a recording however, for the listener, the dour theme prevents this from qualifying of being "repeated" listening.

A better work concerning death is Warren Zevon's "The Wind". It is very heartwarming but, at the same time, Zevon (always an excellent songwriter) varies the mood rather then making every song so sad and somber.

The first 4 songs of this are enjoyable (especially "Whats Good") but the rest is so depressing that it becomes quite ponderous.

This is one of Lou Reed's best cd's. If you are going through a loved one having cancer, this cd is for you. It will raise up some emotions that you thought you didn't have. Great relief.

I am amazed at the amount of praise this good CD gets. After The VU to Berlin in 1973, a great Lou Reed album now seems to be one where half the songs are strong, a decent album is one with 2 great songs, and a lousy album is consistently bad.
The Blue Mask has 3 stand-out tracks: "My House", with evocative lyrics, a melodic chord progression and quite nimble singing for the usually monotone Lou. "Waves of Fear" is a cousin to "Kill Yr Sons". Same kind of chords & menace, with Lou really belting/bellowing out the words. "Heavenly Arms" finishes the album in style with impassioned singing, a good melody & soulful female backing vocals. Robert Quine adds a lot. A fine guitarist whose reputation is making noise, but here Quine is usually very clear & melodic. (Obviously this CD was a big influence on Matthew Sweet & especially Lloyd Cole who used Quine extensively in the 90's.)
That being said, there are some serious turkeys on this album that would have fit right in on any of Lou's 20 bad records. "The Blue Mask" is just a tuneless rant over droning chords & feedback that goes nowhere. Monotonous & unmelodic. This would have been thrown off of a VU or Sonic Youth album.
"Average Guy" is sung in his Transformer voice, but is otherwise awful. Lou is sometimes a genius, sometimes lame, but he is never average. He sounds like he is trying way too hard on this, and doesn't believe it.
"The Day John Kennedy Died" could have been great, but it concentrates on Lou not JFK, and the corny title hook ruins it.
I'm glad Lou loved "Women" at this point (as opposed to men who dress like women) but if Michael Bolton sang this song, it would be universally hated.
Yes, The Blue Mask is Lou Reed's best work of the '80's, but most artists don't have the legacy of Velvet Underground with Nico, Loaded, Transformer & Berlin to compete with. Early genius is a b*tch!
Suspend your expectations and you will enjoy The Blue Mask.

This is better than Metal Machine Music







Really. It is!

Ive put time in on almost every Lou disc out there(except Metal Machine Music-I dont get it).This is one of my all time faves that consistantly get played.Great playing,great sound and some real pretty music(Our house)-----along with the most brutal music Ive heard from Lou.Crank the vol. up on Waves of Fear and The Blue Mask,and raise some goosebumps.(These 2 songs MUST be played LOUD)GREAT stuff!Ghosts of the VU will rise from the smoke of the ashes of yer speakers.I love this album!No way does "Growing Up In Public"( which I DO like)come close to this disc but the following;Legendary Hearts Is damn good also.

I have most of Lou Reed's albums, but never got this one. I wish I had gotten tis CD sooner, because it is a great album from start to finish. A bit of a departure from some of Lou's other work, more of a textured, airy sounding record. I like every song on this album, which is rare for me. It is funny how certain really good albums seem to fall in between the cracks, this is one of them.

This was the first Lou Reed solo album I picked up. Never before had I read so many good reviews of one album. Many critics were beside themselves over this, so naturally I was intrigued. So I bought it, and it's one of Lou's greatest albums. I absolutely adore it. It still sounds fresh and invigorating today. Lou's music, both solo and with The Velvet Underground, has not dated at all, unlike a lot of other music from that time period. The opening song, My House, is majestic and moving, and Lou actually sings and holds notes very well. Underneath the Bottle is a great song, the title track is full of feedback and brilliant, vengeful lyrics. Waves of Fear is like this as well. Heavenly Arms is a beautiful closer, dedicated to his then wife, Sylvia, who helped get him cleaned up and focused again. Lou's 70's output wasn't horrible as some have suggested. A lot of his persona was about how he dressed, and the critics ignored or lambasted his music. Some of it sucked (Metal Machine Music anyone), but some of it was very good (Street Hassle, parts of The Bells, Berlin, and Transformer). However, his 80's output was some of the best of his long career. This is a great album that you should pick up as soon as you can....

It's Lou Reed's best tunes, remastered and sounding good. A pretty good anthology from the New York Master.

I like this alot. A lot of classics and some lesser known stuff. Some live, some studio. A good mix. Someone else mentioned they preferred the studio Velvet version of "Heroin" and I have to agree. At least maybe have the live and the studio version both included. The insert write up was nice and pretty informative as well. Check this out if you are a Lou Reed or Velvet Underground fan or want a good starting point to see if you will like his/their other stuff.

Considering how far across the spectrum Lou has gone over a 40 year period, the songs manage to interweave nicely, and is not a conventional "greatest hits" by any stretch to be called "Ultimate" or "Essential". But it's typical of Reed to confuse, confound, frustrate, and upset critics and fans...

He wrote these songs and sequenced them in order to a way that he was satisfied with listening to as an album in its own right versus a chronological "hits" package, pulled the masters and gave a short commentary of each song in the booklet (including revealing that the epic "Street Hassle" cut features an uncredited Bruce Springsteen and Patti Smith on part of the song).

He chose to go with the edited "Sweet Jane" versus the found extended version or the 70s radio classic from "Rock and Roll Animal". The VU songs at times go with the original recordings, and others (I'll Be Your Mirror, White Light White Heat and Heroin) go with his solo versions in concert.

In the notes he felt a lot of the songs took years to catch on, and gave "Perfect Day" as an example, even though he prefers "Hangin' Around" as a favorite. He includes cuts from "Live In Italy" and "Take No Prisoners", although leaves hits like "I Love You Suzanne" off.

For an intro it's essential. But most people would be better off with the original CDs these came off of.

Despite the mastering Lou gave to some of those Velvet Underground tracks ( is it just me or did he put his vocals up higher into the mix ), I find this a rather solid best-of collection. It's a rather neat and tidy collection for those willing to buy this collection. Frankly I see this collection is better than the recent NYC Man with the added crap remix of Sattelite of Love which is here in it's original format ( and best ). I say this is better because I think you get a better feel for all the tracks and you get a more rounded idea of the personality that was put into the records. It's worth a try to see the many different levels/facets of Lou Reed's work on two compact discs. As the man himself says " try it."

I have heard many of his albums including compilations. It is surprising some of the songs he chose but the collection works out well. I am glad this collection is up to date. I like "Magic and Loss", "ecstacy" and many velvet's classics. He takes pride in the sound quality in his music to improve the clarity of his songs. All in all a great overview of his work.

One aspect of Lou Reed that some of us love best is his economy of style, encompassing everything from the lyrics to the music to his very voice... And we also love the stories, sometimes told between the lines. The Velvet Underground was a warmup act, although the best of that era stands with the best of it all. Still... there is an element of youthful "showing off" in the Velvets, which is excusable because the artist was, after all, young. When a little bit older, and at the other extreme of the repertory, there was Berlin, into which Reed infused all of the seriousness the Velvets left out, and many have argued that there was too much seriousness in that one. Coney Island Baby strikes a balance, and gives us the grown-up artist, with his economy, his storytelling, his compassion and sardonic humor, touched with a smattering of melancholy. Looking closely, one may also catch a glimpse of Hubert Selby passing through.

CONEY ISLAND BABY recorded after the debacle that was METAL MACHINE MUSIC, is Reed at his most accessible. Songs full of melody with real hooks to them, lyrics that are funny, poignant, and personal sung in a tone that varies from jaunty to haunting, this is Reed for people who are afraid of the Lou Reed they've heard about. There's still challenge here for one who listens closely, but it is covered by a veneer of polish and nostalgia. This is a nice entry into Reed's long and eclectic career, and can be enjoyed by the casual or long time fan. The extras are interesting add-ons, but the original 8 songs from the happy-go-lucky "Crazy Feeling" to the evocative title track hold together as well as anything Reed has ever done.

Lou Reed-Coney Island Baby *****


Coney Island Baby may be the very best thing that Lou Reed ever recorded with or without The Velvet Underground. Released right after the failure of his only bad solo album, whos name I wont even type Coney Island Baby is Reeds most peronal and beautiful album ever. He was given a second chance by his record company and he was in love with a transvestite which already made for an interesting album. This was the first but certainly not the last time that Reed would fall in love and record a polished album becuase of it and sing in a real radio friendly voice.

As mentioned before the songs are Reeds most personal only The Blue Mask can compare with passion felt in one of his albums. 'Crazy Feeling' 'Shes My Best Friend' and 'Coney Island Baby' are so autobiographical it makes you want to cry when you hear Reed sing the songs. 'Kicks' is an extended jam that is very cool it reminds me of the bridge to 'Cant You Hear Me Knockin' by The Rolling Stones. As always the subject matter in one way or another finds a way to tie back to Reeds beloved city, New York. When a person spends their entire career singing about the same thing in one form or another you think that you wold grow old and tired of the artist well not with Reed and not when the subject is such a broad topic as New York is, and that is exactly what the title track of the album does, it ties everything Reed has ever sang about up to that point and made it all come together and make since with that one track. Songs like the self sure 'Gift' and 'Charleys Girl' show a pure cockey side of Reed that because it is him comes across as cool more then it does cockey. As the album comes to a close it leaves you wanting more which is odd for Lou Reed album because his albums usualy leave you fulfilled at the end but this one if so good that when it is over you dont want it to stop.

The new reissue of the album comes with six additional songs as bonus tracks after the original album has ended. 'Nowhere At All' 'Downtown Dirt' 'Leave Me Along are all songs that could have been placed on the album originaly and would have fit in perfectly making this already brilliant album even better.Then three alternate takes of 'Crazy Feeling' 'Shes My Best Friend' and the title track 'Coney Island Baby' are what closes the cd. These add something more to the overall greatness of the album because they show you what Reed started out with on those songs and where he went with them until he was satisfied.

Coney Island Baby is an album that people enjoy who dont even like Lou Reed. This the one to own if you ask me. Transformer is good but CIB in my opinion owns that album. The Blue Mask, Berlin, and New York are the only album Reed released that even compare to this album and even then they fail and miserably at that.

Differences in sound between the CD versions of the original album may be significant (although I think the original LP has superior sound overall) but for me the best thing about this CD is the earlier version of the song Coney Island Baby.

1. It is beautifully recorded, mixed and mastered.

2. I like the grittier sound to Reed's voice with lyrics more engagingly vernacular and conversational in delivery (rather than rehearsed umpteen times). The originally released version, although a work of art, always came across to me as a little too sappy in parts, particularly the ending with the (probably rehearsed) emotional catch in the voice.

I'm so glad this happened - I've now got closure on this great song!

If you're in any way a fan of Reed's art you gotta hear this! Thank you Lou Reed (vocals, guitar), Doug Yule (guitar, bass), Michael Fonfara (keys), Bob Meday (drums) and all others responsible.

The sound on this is great, especially when played on speakers that have clear highs. The three new bonus tracks are a great addition, and show what a different record this would have been if the original sessions had panned out. My only complaint is the choice to include the three songs from the box set. Yes, they sound sharper here, but I would have preferred three more unreleased outtakes or live tracks. What about the early version of "I Wanna Be Black" or "You Can Dance" (at least one live soundboard or multitrack of this exists on bootleg)? Or how about the harrowing live version of "Kicks" from the 1976 Roxy show that "Heroin" on the box set is taken from?

Complaints aside, the treatment of the original album is great and worth the price alone. Maybe we can cross our fingers and hope that other material is being held back for a rarities box set in the future. We can only hope, right?