Lou Reed - New York

New York is arguably Lou Reed's greatest hour as a solo artist. A song-cycle about his beloved city in the '80s, Reed adopts a conversational tone to discuss politics, AIDS, romance, TV preachers, and whatever else is on his mind. While his voice never ranges far, the album kicks into high gear with the twin guitar attack of Reed and Mike Rathke, which takes simple, three-chord rock into a truly transcendent space. "Romeo Had Juliette" cruises like a cab down a bumpy avenue, while "Strawman" curls with rage. Like the city that gives it its name, New York never rests. --Rob O'Connor Amazon.com

Powerful Social Commentary - and innovative musical sound

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. October 2, 2008

Paradigm from the South

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. October 19, 2007

My First encounter with lou

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. June 15, 2007

New York

Lou Reed-New York *****


Next to Berlin, New York may be Lou Reeds best solo effort. New York is a distructive tail about his beloved city during the citys all time low period, the 1980's. Tales of sex, drugs, aids, romance, poverty, and even politics at time. On New York Lou Reed holds nothing back what ever he felt or thought comes through in the songs. This also marks the first Reed album with has absolutly no trace of Velvet Underground sound or anything that resembles the past (except of course for the city of New York).

Mike Rathke is brought on board to help out on guitar with Reed which helps to make New York not only Reeds most hard rocking album but also one of his most powerful and most concistant, especially with tracks like the strong 'Strawman.' Songs like 'There Is No Time' shows that there was good music in the 1980's, and its right here. 'Busload Of Faith' is agreat song of self-reliance in a world where you cant rely on anyone else.

New York contains some of the very best lyrics of Reeds career, tracks like 'Beginning Of A Great Adventure' and 'Halloween Parade' show Reeds true love for his city, while others like 'Dirty Blvd.' let you feel his desperation for the city to grow and become better and yet at the same time you can tell he doesn't want it to change because he likes all the trash that goes down on the streets of New York. The lead song on the album 'Romeo And Juliette' maybe the strongest and best song that Reed has ever composed, rivaling all his material in The Velvet Underground.

To choose between New York and Berlin as to which is Lou Reeds best album would be nearly impossible as both albums are of the same callabor. For anyone interested in the man both albums are recommended over the criminaly overrated Transformer, and for any fan of The Velvet Underground these two are sure to please as well as The Blue Mask. May 24, 2007

Literate rock

This collection of 14 sketches represents one of the most powerful song cycles of Reed's career. On New York he deals with the wider world rather than personal concerns for a change, and in the enchanting core of New York City, he found enough to comment upon, like crime on "Romeo Had Juliette," the terrible impact of AIDS in "Halloween Parade," the tragedy and psychology of child abuse in the poignant "Endless Cycle," the plight of the homeless on "Xmas in February" and wrong priorities on the powerful rocker "Strawman," where he actually sings with open throttle unlike most of the other tracks where he employs his talking-style delivery.

Older themes are revisited too: "Dime Store Mystery" is a moving elegy to his former patron Andy Warhol. Not all the tracks are memorable though - "American Whale" and "Mr Waldheim" for example, are not up to the greatness of the rest of the album. In addition, due to the lack of any other but the basic rock instruments, the sound is not as varied as on some of his other classic albums. Neither is this Reed's most melodic work. However, the lyrics make up for that - in beautiful lines like "Caught between the twisted stars the plotted lines the faulty map that brought Columbus to New York", the poetry is full of sharp and lean images, driven by Rathke's guitar, Wasserman's bass and Maher's drums. This album is a beacon of literate, intelligent rock and amongst the top 5 of Reed's career.

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