Lou Reed "The Raven" (2003)

The Raven
release date: Jan. 28, 2003
format: cd
[album rate: 2,5 / 5] [2,27]
producer: Hal Wilner, Lou Reed
label: Sire / Warner Bros. - nationality: USA

19th studio album by Lou Reed is an art rock conceptual album with songs based on the works by Edgar Allen Poe. The album was released in two different versions: a standard one-disc edition, which is the one I have and know of, and as a two-disc Deluxe Edition with a completely altered track listing. The album feature several mainly vocal guest artists including Antony Hegarty, David Bowie, Amanda Plummer, Steve Buscemi, Willem Dafoe, Elizabeth Ashley, and Laurie Anderson to whom the album is dedicated with the words: "To Laurie Anderson, a constant source of inspiration." All tracks are written solely by Reed. It's not his most accessible work, and it mostly seems somewhat pretentious - but he has been there before. I don't really enjoy it much, which is kind of sad 'cause to me this is his last studio album, although, he released the album Hudson River Wind Meditations in 2007 and the collaboration Lulu with Metallica in 2011. A few releases I still need to come by. I may not ever get in the mood to listen to the latter, though. The Raven is Reed as we know him, sometimes he is just not being very accessible but he always returns to form - only this time he checked out before showing his artistic level, which to me makes Magic and Loss his last really fine album.
Not recommended.
[ allmusic.com 3,5 / 5, Rolling Stone 3 / 5, Blender 2 / 5 stars ]

Lou Reed "Ecstasy" (2000)

Ecstasy
release date: Apr. 4, 2000
format: digital
[album rate: 3 / 5] [3,15]
producer: Lou Reed, Hal Willner
label: Sire records - nationality: USA

Track highlights: 1. "Paranoia Key of E" - 4. "Ecstasy" - 6. "Tatters" - 8. "Turning Time Around" - 9. "White Prism" - 10. "Rock Minuet"

18th studio album by Lou Reed is released more than 4 years since his last studio release, although, the years in between gave birth to at least two live albums and three compilation releases. Ecstacy is another conceptual album - this time about love and relationships. The album doesn't really contain single great tracks but it sort of documents how Reed has evolved from being this wild art rocker to become a fine and subtle story-teller in his older days. It seems like aeons ago that New York (1989) showcased Reed's fine balanced rock & roll stories in a tight band-backed wrapping.
On Ecstacy his story-telling is the strongest when he's most vulnerable, reciting quietly in a jazz and rock-fusion style as a more serene singer / songwriter, and the music itself becomes less relevant.
[ allmusic.com 3 / 5 stars, Rolling Stone 4 / 5 stars ]

Lou Reed "Set the Twilight Reeling" (1996)

Set the Twilight Reeling
release date: Feb. 20, 1996
format: cd
[album rate: 3,5 / 5] [3,44]
producer: Lou Reed
label: Warner Bros. - nationality: USA

Track highlights: 2. "NYC Man" - 4. "Trade In" - 5. "Hang on to Your Emotions" - 8. "The Proposition" - 11. "Set the Twilight Reeling"

17th studio album by Lou Reed following his longest hiatus in between albums, as it's four years since Magic and Loss (Jan. 1992). The album is clearly more rock and pop / rock-crafted than the previous three albums that followed New York (1989).
Here, Lou seems determined to make a rock & roll album, but the songs don't come out as the obviously interesting or melodic compositions. To me, this is undoubtedly Lou Reed, but like one is accustomed to, the man doesn't make a lot of great releases in a row, and it appears to be time for a minor miss.
I must grant him, though, that the album has aged better than it sounded to me back in '96, when I wouldn't have handed it more than 3 stars. I think, it's for a mature audience. It's full of emotional songs, dwelling at important things in life that may seem minor at a first glance. It's an album that showcases Lou Reed the songwriter more than the composer.
Laurie Anderson, whom he married in 2008, sings backing vocals on track #5.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Lou Reed "Magic and Loss" (1992)

Magic and Loss
release date: Jan. 14, 1992
format: vinyl / cd
[album rate: 4 / 5] [3,82]
producer: Lou Reed, Mike Rathke
label: Sire / Warner Bros. - nationality: USA

Track highlights: 1. "Dorita (The Spirit)" - 2. "What's Good (The Thesis)" (4 / 5) (live on Letterman) - 3. "Power & Glory (The Situation)" (live) - 5. "Sword of Damocles (Externally)" (4 / 5) (live) - 7. "Cremation (Ashes to Ashes)" - 8. "Dreamin' (Escape)" - 9. "No Chance (Regret)" - 11. "Harry's Circumcision (Reverie Gone Astray)" - 14. "Magic and Loss (The Summation)"

16th studio album by Lou Reed is in many ways like a fine conglomerate of his best album in almost 20 years, New York (1989) and his collaboration album with John Cale: Songs for Drella (1990). This is almost as great as the '89 album, and in some ways I like it better, although, it may not be as consistently great throughout. Guitarist Mike Rathke, who also participated on New York is again Lou's right hand, now as co-producer, and also co-writer of five of the album's 14 compositions. Legendary vocalist Jimmy Scott sings backing vocals on "Power & Glory", and around this time he often perfomed live with Reed.
Thematically, the album is also a blend of the two previous albums, but without being just a copy.
[ allmusic.com 3 / 5, Rolling Stone 4 / 5, NME 5 / 5 stars ]

Lou Reed & John Cale "Songs for Drella" (1990)

Songs for Drella
release date: Apr. 24, 1990
format: vinyl (7599-26140-1) / digital
[album rate: 3,5 / 5] [3,48]
producer: Lou Reed and John Cale
label: Sire Records - nationality: USA

Track highlights: 3. "Style It Takes" (live) - 4. "Work" - 6. "Starlight" - 7. "Faces and Names" (live) - 10. "It Wasn't Me" (live) - 11. "I Believe" (live) - 15. "Hello It's Me" (live)

Collaboration album by Lou Reed and John Cale released in memory of Andy Warhol (who passed away Feb. 1987), and who also went by the moniker 'Drella'. The collaboration work of the two is their first since 1968.
The album is a fine collection of narratives - some strange and experimental, others more straight-forward pop / rock-styled but all with focus on lyrical content. Warhol's funeral had brought the two back together and for a period of time, 4-5 years, in which they (actually) managed to work together. The Velvet Underground were even brought back to life with Sterling Morrison and Maureen Tucker, but eventually, around 1993, they once again decided - never ever - to work with one another again. Anyway, this is a fine and very interesting album.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

[ collectors' item ]

Lou Reed "New York" (1989)

New York
release date: Jan. 6, 1989
format: digital
[album rate: 4 / 5] [4,08]
producer: Lou Reed, Fred Maher
label: Sire Records - nationality: USA

Track highlights: 1. "Romeo Had Juliette" (4 / 5) - 3. "Dirty Blvd." (4,5 / 5) (live) - 5. "There Is No Time" - 6. "Last Great American Whale" (4 / 5) - 10. "Hold On" (4 / 5) - 11. "Good Evening Mr. Waldheim" - 13. "Strawman"

15th studio album by Lou Reed released after an unusual long time since his last studio album. Reed wasn't an artist with huge sales numbers but this one in particular is his perhaps most succesful commercial album release ever. Transformer also sold platinum but that album has had several heydays since its release in '72, and has made its way to the top via retrospective reviews ovr many years, whereas New York simply was an immediate success. Somehow, it shook off critics, or just came at the right time and place - somewhat unexpected after the poor Mistrial (1986), which didn't live up to his series of strong albums in the 80s; however, this also stands as one of his best ever albums. Not only is it a fine melodic balanced pop / rock album with strong rock roots at the bottom of all compositions, it's also a marvellous homogeneous and near conceptual album with stories about the city of his life. It's also one of only a few Lou Reed albums where you actually may think of him as an actual band leader - there's such a fine support to back up each and every song. The cover could suggest that it's a band, until you notice that it's five versions of himself.
Reed has made many fine albums in his long solo career but few are of this coherent quality from start to finish. This is his best album since 1972 and imho, it's his second best album ever.
Highly recommended.
[ allmusic.com 4,5 / 5, Chicago Tribune 4 / 4, Rolling Stone 4 / 5 stars ]

Lou Reed "Mistrial" (1986)

Mistrial
release date: Apr. 1986
format: digital
[album rate: 2,5 / 5] [2,58]
producer: Lou Reed, Fernando Saunders
label: RCA Records - nationality: USA

Track highlights: 3. "Outside" - 9. "I Remember You" - 10. "Tell It to Your Heart" (2,5 / 5)

14th studio album by Lou Reed follows two years after New Sensations (Apr. 1984), and it's simply one of his least favourable albums in his long career. The production side is poor with excessive bass and drums - a bit late, but even Lou made his bad 1980s typical sound. The previous album New Sensations already showcased his interest for incorporating new musical influences, which was a bit of a mixed bag but this is just bad. Lou Reed albums have often been either hits or misses, and this surely falls in the latter half as one of his poorest efforts. He makes use of synths and drum programming in a strange mix of pop / rock, new wave, and with elements from r&b, funk, and rap [!] (track #7 "The Original Wrapper" - another low point), which doesn't work (at all). Actually, I don't think, I have ever listened the whole album through in one take.
Not recommended.
[ allmusic.com 3 / 5, Chicago Tribune 2,5 / 5 stars ]

Lou Reed "New Sensations" (1984)

New Sensations
release date: Apr. 1984
format: vinyl (PL84998) / digital
[album rate: 3 / 5] [3,22]
producer: John Jansen, Lou Reed
label: RCA Records - nationality: USA

Track highlights: 1. "I Love You, Suzanne" (official video - live) - 2. "Endlessly Jealous" - 4. "Turn to Me" - 5. "New Sensations" - 6. "Doin' the Things That We Want To" - 11. "Down at the Arcade"

13th studio album by Lou Reed follows only a single year after the predecessor Legendary Hearts (Mar. 1983), and on this he has teamed up with John Jansen as album producers. Perhaps, given Reed's hard time as only producer on the '83 album. The album marks another style-shift reflecting a turn to a more positive universe. The album oozes of warmth and a happy Lou [?]. It seems like Lou Reed has left the dark 70s and turned his back on drugs and excesses. I actually purchased this upon its release, but I didn't really enjoy it all that much. I guess, I fell for the single hit, but then quickly tired from both album and that song in particular. In retrospect, the whole album works a lot better than I recall, and it has aged quite well. The track "I Love You, Suzanne" is close to being a pure pop song. But then, it could very well have been included on New York (Jan. 1989).
New Sensations shows Reed in his experimental corner, going new ways but it's not one of his better albums.
[ allmusic.com 4,5 / 5, Rolling Stone 4 / 5 stars ]

Lou Reed "Legendary Hearts" (1983)

Legendary Hearts
release date: Mar. 1983
format: digital
[album rate: 3,5 / 5] [3,52]
producer: Lou Reed
label: RCA Records - nationality: USA

Track highlights: 1. "Legendary Hearts" - 2. "Don't Talk to Me About Work" - 6. "Turn Out the Light" - 9. "Bottoming Out" - 10. "Home of the Brave" - 11. "Rooftop Garden"

12th studio album by Lou Reed follows only one year after his fine The Blue Mask (Feb. 1982) is another of Reed's better albums in the 1980s. It's worth noticing that Reed is exclussive producer on this - something that really doesn't help in the overall sound. It does have a fine mix of pop / rock and blues rock with the addition of some jazz rock elements on top of more typical singer / songwriter material, which in many ways documents his many influences. I both like the production side of it and then don't. The good part is that it seems like a rare album being released at a time when almost all artists followed a productional idea with [too] heavy focus on drums and keyboards up front. The down side to it, is little dynamics and the absence of great guitar sound as found on the predecessor. But listening to it from a post-year-2000-perspective, the album doesn't feel like an early 1980s release at all. It doesn't really contain any noteworthy hits, nor great single tunes - it's more like the whole album is its biggest asset with some great songwriting. It's fine just to listen to, but it's also brilliant as background wall-paper (not paying lyrics or music much attention) for a quiet evening with red wine and good company.
Not as strong as The Blue Mask but still a fine album in the discography of Lou Reed.
[ allmusic.com, Rolling Stone 4 / 5 stars ]

Lou Reed "The Blue Mask" (1982)

The Blue Mask
release date: Feb. 23, 1982
format: digital (1999 remaster)
[album rate: 4 / 5] [3,82]
producer: Lou Reed, Sean Fullan
label: RCA Records - nationality: USA

Track highlights: 2. "Women" - 3. "Underneath the Bottle" (live) - 7. "The Heroine" - 8. "Waves of Fear" (live) - 9. "The Day John Kennedy Died" - 10. "Heavenly Arms" (4 / 5)

11th studio album by Lou Reed is his return to RCA Records. The return to the label that released his most famous album Transformer (1972) is subtly commented in the cover art - being a retouched image from that album. It's a more than fine return to shape and form, and in some ways it continues more succesfully where the predecessor, Growing Up in Public (1980) left us. On this, things are much more focused with several strong compositions where "Heavenly Arms" underline the man's true potential, and it brings about a sensation of Lou Reed being back on the right track with something to say, and something to offer.
Recommended.
[ allmusic.com 4,5 / 5, Rolling Stone 5 / 5 stars ]

Lou Reed "Growing Up in Public" (1980)

Growing Up in Public

release date: Apr. 1980
format: vinyl (AL 9522) / digital
[album rate: 3 / 5] [3,06]
producer: Michael Fonfara, Lou Reed
label: Arista Records - nationality: USA

Track highlights: 1. "How Do You Speak to an Angel?" - 2. "My Old Man" - 3. "Keep Away" - 8. "The Power of Positive Drinking" - 10. "Think It Over"

10th studio album by Lou Reed is another pop / rock release somewhere in the middle of the road. All tracks are written in a collaboration with keyboardist (and guitarist) Michael Fonfara. The album has some of the same characteristics as the predecessor, The Bells (Apr. 1979), although, he here has chosen not to work with neither disco nor funk, which really is on the positive side. It's not up there with Street Hassle (Feb. 1978) but it has much more potential. The album, however, wasn't met with the most positive reviews, and it's by many considered a bit of a low point in his career. It also turned out to be his last on Arista who let him go after this - another non-commercial release for the label.
I think, it's clearly above mediocre without being really great, but it also indicates and may be seen as a bit of a blue print to the same stylistic shape as found on his much lauded New York (Jan. 1989) where everything just falls into place.
(My issue is a US-import cut-out record).
[ allmusic.com 2,5 / 5 stars ]

Lou Reed "The Bells" (1979)

The Bells
release date: Apr. 1979
format: digital
[album rate: 3 / 5] [2,92]
producer: Lou Reed
label: Arista Records - nationality: USA

9th studio album by newly deseased Lou Reed (Oct. 27, 2013) follows the release of the double live album Live: Take No Prisoners (Nov. 1978). The mid-70s found Lou Reed moving away from glam rock, now making music primarily in a adult rock and pop / rock style with a certain art rock profile. With The Bells he expands his stylistic universe by incorporating disco and funk. I never really liked this album that much and find it more of one of his misses of another transition period. Alledgedly, Reed himself has spoken fondly about it and actually has picked this as a personal favourite. Well, could it be that he (says he) likes it only because critics have seen it as a minor work of his? That would be SO much in the spirit of Lou Reed. Anyway, on most albums you'll see Lou as songwriter of all his songs but for this, most songs are composed in a collaboration with either Nils Lofgren (tracks #1, #4, and #6), Michael Fonfara (tracks #2 and #3), Marty Fogel (tracks #2 and #9), Ellard Boles (tracks #2 and #8), or Don Cherry (track #7). At worst, everything sounds a wee bit like an imitation of Bruce Springsteen but it's nevertheless an actual studio album by the great Lou Reed. It's not intentionally, nor in the light of this album that I choose to remember Lou Reed but I guess it also represents his many faces. He couldn't be framed in, and as an artist, he surely never stood grounded in the same spot but always kept renewing himself - searching for that new ingredient to color his sound. RIP Lewis Allan Reed.
Not recommended.
[ allmusic.com 4 / 5 stars ]

Lou Reed "Street Hassle" (1978)

Street Hassle
release date: Feb. 1978
format: vinyl (AB 4169) / cd (2016 remaster)
[album rate: 4 / 5] [3,88]
producer: Lou Reed, Richard Robinson
label: Arista Records - nationality: USA

Track highlights: 1. "Gimme Some Good Times" (4 / 5) - 3. "Street Hassle: a) 'Waltzing Matilda' - b) 'Street Hassle' - c) 'Slipaway' " - 4. "I Wanna Be Black" - 5. "Real Good Time Together" (4 / 5) - 6. "Shooting Star" - 7. Leaving Me Alone" - 8. "Wait" (4 / 5)

8th studio album by Lou Reed follows 1½ years after Rock and Roll Heart (Oct. '76) and it has been co-produced by Reed and Richard Robinson. The album may not contain his greatest songs, but it may just be a fine document of his ongoing struggles in and with life itself - and in many ways this is a fine return to form. The 70s probably sent Lou on his most frightening trips, experimenting with (too many) substances and finding himself in and out of relationships. All that may be heard on the album, but it also documents his writing capabilities. When Lou is good, he really rocks away - not like a gifted singer or a prodigy guitarist, but more like a freight train providing whatever is needed. The sound here is dark and somewhat murky but not in a negative way. It's an album that reflects real lived life in a truly honest and genuine way.
I have always preferred this particular album over many of his more acclaimed releases, and I find it refreshingly honest. There's no bull about it - just very straight forward and it's a sheer blast when played loud. Over the years it has been revealed how Reed has put songs written while playing with The Velvet Underground on many of his solo albums, and this is no exception. "Real Good Time Together" was recorded by The Velvet Underground in 1969 and it appears on the outtakes compilation Another View (1986), which followed the acclaimed outtakes album VU (1985).

Imho, this is his third-best solo album throughout his long career only bettered by New York (1989) and his best-ever: Transformer from 1972.
(My issue is a US-import cut-out record)
[ allmusic.com 4 / 5, Chicago 4 / 4, Rolling Stone Album Guide 5 / 5 ]

Lou Reed "Walk on the Wild Side - The Best of Lou Reed" (1977)

Walk on the Wild Side - The Best of Lou Reed (compilation)
release date: Apr. 1977
format: vinyl (1984 reissue) / cd (1990 reissue)
[album rate: 4 / 5]
producer: various
label: RCA International - nationality: USA

First best of compilation by Lou Reed solo, released on RCA International at the end of his contract with RCA (issued on cd, Oct. 25, 1990). The album comes in several versions with a number of bonus tracks. The original vinyl version contains 11 fine tracks, although, they don't really suffice, and you only wonder why they didn't bother making it a double album.
[ allmusic.com 4,5 / 5 stars ]

Lou Reed "Rock and Roll Heart" (1976)

Rock and Roll Heart
release date: Oct. 1976
format: digital
[album rate: 2,5 / 5] [2,57]
producer: Lou Reed
label: Arista Records - nationality: USA

Track highlights: 4. "You Wear It So Well" - 6. "Rock and Roll Heart" - 12. "Temporary Thing"

7th studio album by Lou Reed and his first on Arista Records after leaving RCA. Despite having a more than a few interesting stories, it's not really a great album. Two of songs here - track #3 "Follow the Leader" and track #11 "A Sheltered Life" were written by Reed at the time when he was part of The Velvet Underground, and deom and live recordings of these have later been issued. The attempt was possibly to follow Coney Island, Baby but the sound remains more one-dimensional, and Lou just plays and sings on auto-pilot, sounding rather indifferent. Not a favourite Lou Reed album.
No recommended.
[ allmusic.com 2 / 5 stars ]

Lou Reed "Coney Island Baby" (1975)

Coney Island Baby

release date: Dec. 1975
format: digital (2006 reissue)
[album rate: 3 / 5] [3,08]
producer: Lou Reed, Godfrey Diamond
label: RCA / Records / BMG Entertainment - nationality: USA

Track highlights: 8. "Coney Island Baby" (5 / 5)

6th solo studio album by Lou Reed, originally released on RCA Records, reissued on BMG Japan 2006 with 6 bonus tracks. After having hit rock bottom with his previous album Metal Machine Music (Jul. '75), Reed, the songwriter is back on some sort of track. The album contains the previously unreleased "She's My Best Friend" (track #3), originally written for The Velvet Underground and in '85 issued on VU., but other than that Coneys Island, Baby is Reed in his nearly most charming corner.
Lou still seems somewhat affected by whatever drugs he did at this time of his career, and it didn't do his music much of a favor after his heydays with Transformer (1972). The song "Coney Island Baby" IS, however, a true classic.
[ allmusic.com 4,5 / 5, Blender 2,5 / 5 stars ]

The Velvet Underground With Lou Reed "1969 Velvet Underground Live" (1974) (live)

1969 Velvet Underground Live (live)
release date: Sep. 1974
format: 2 cd (2009 Japan reissue)
[album rate: 4 / 5] [3,88]
producer: Velvet Underground
label: Mercury Records - nationality: USA

2-disc live album by The Velvet Underground recorded Oct. 19, 1969, Dallas, Texas, and Nov. 1969, San Francisco, California. Originally the album was released as a double vinyl album. The first cd version (1988) were two separate releases with the title additions "Vol 1" / "Vol 2" respectively with each cd containing one bonus track, hence two versions of "Heroin" on the 2009 two-disc reissue. As Lou Reed had split with the band in 1970, and since the band continued without him for another three years, the album explicitly says: "Velvet Underground With Lou Reed". At this point the band consists of Sterling Morrison on guitar & vocals, Maureen Tucker on percussion, and with newest member (replacing John Cale) is Doug Yule on bass guitar, organ & vocals. Due to obscure intentions about the ownership rights, the band and Lou Reed found itself in a lawsuit when the album was being released [info]. This is a really fine album that should be included in any collection of 5-6 essential Velvet Underground albums.
[ allmusic.com 5 / 5 stars ]

Lou Reed "Sally Can't Dance" (1974)

Sally Can't Dance
release date: Aug. 1974
format: digital
[album rate: 2,5 / 5] [2,58]
producer: Steve Katz, Lou Reed
label: RCA Records - nationality: USA

4th studio album by Lou Reed isn't really the place to start if you wanna check out the man's repertoire. This is possibly his most funky album, but Lou still comes out as a laid-back, almost indifferent musician, who release just another one. It doesn't contain classics nor horrible nonsense, but it stays there in the middle of nowhere with no ambitions to do much other than... entertain? It's Lou's first studio album that doesn't contain any songs he had written while in The Velvet Underground, and it's his first in a long series of albums with keyboardist Michael Fonfara. It's also known for having been made in a period where Lou was either high on drugs or drunk. It's a bit of a low point, really, although his fifth studio album, the successor really hits the bottom, Metal Machine Music from 1975 is... just a Lou Reed (experimental) release, and that's the best thing you can say about that. This one is mediocre, and Lou has produced several.
[ allmusic.com 2 / 5 stars ]

Lou Reed "Rock n Roll Animal" (1974) (live)

Rock n Roll Animal (live)
release date: Feb. 1974
format: digital (2000 reissue)
[album rate: 3,5 / 5] [3,33]
producer: Steve Katz, Lou Reed
label: RCA Records (org.) / BMG (reissue) - nationality: USA

1st solo live album by Lou Reed featuring four original Lou Reed compositions written for The Velvet Underground.

Lou Reed "Berlin" (1973)

Berlin
release date: Oct. 1973
format: digital
[album rate: 3 / 5] [2,78]
producer: Bob Ezrin
label: RCA Records - nationality: USA

3rd studio album by Lou Reed is a huge turn to... something else. The album wasn't met with positive reviews at the time of its release, but time has put it way up on most critics' best of lists of albums representing the all time best rock albums in history. As more of a rock opera, the album is a difficult first listen, and I didn't appreciate it until my fifth or seventh listen. The album is like one long story about two lovers' hard times with drugs, crime and violence, and it doesn't contain ordinary pop songs or hit singles. It's the story itself more than the music that makes the album of interest. The album is enlisted in "1001 Albums You Must Hear Before You Die".
Not recommended.
[ allmusic.com 3,5 / 5 stars ]