Berlin

Lou Reed - Berlin

Berlin
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CD Details

Artist: Lou Reed
Brand: REED,LOU
Edition: Music CD
Audio: English (Original Language)
Format: Original recording remastered
CD Release Date: 1998-03-24
Music Label: RCA
Soundtracks:
  1. Berlin
  2. Lady Day
  3. Men Of Good Fortune
  4. Caroline Says I
  5. How Do You Think It Feels
  6. Oh, Jim
  7. Caroline Says II
  8. The Kids
  9. The Bed
  10. Sad Song

Music reviews of Berlin

Music Review: Mostly sad, the shape of thought in our time
Rating: 3 Stars

There are a few albums that have some dreary songs I might recognize, but one that is so important, having the CD is the obvious way to get it. "Berlin" starts with a small cafe, `Oh Honey' kind of song that might be a relief for people who can't rock hard all the time. But this is a Lou Reed album, and the music starts pounding a bit more with, "I said No No No, Oh Lady Day" in the second song. Then the songs start to sound better and even intellectually interesting. "Men of Good Fortune" is a historical sociological study with a "Me, I just don't care at all" attitude, but with an inviting melody. "It takes money to make money, they say. . . . Anyway, makes no difference to me." Schopenhauer fans ought to understand this attitude toward beauty. When the music gets good, other elements of life might lose their significance. This is not the most convincing song on the album. Mostly it is a contrast between men of good fortune and men of poor beginnings who might mess things up just as much.

Pointy headed intellectuals spouting off on the obvious are sure to be the main grabbers of attention in the media which dominate a world in which every problem has an answer which is clear, direct, and wrong. Rock 'n' roll is just as bad. Lou Reed is a perfect example. People who want to know what the music on this album is like might be typical, superfluous superficialities produced by a nation of shoppers in a world of global spectators. "Caroline Says" is about some dramatic queen, with poor Lou Reed singing, "But of course, I thought I could take it all." Then she says she can't continue to be only mine, "but she's still my queen." I'm not rating the music very high on this song.

The song that makes this CD worthy, for me, is "How Do You Think It Feels" which asks, "And when do you think it stops?" Popularity in the media is obtained by the ability to communicate feelings, but this song takes its feelings to extremes, "when you've been up for five days." Desire is the feeling that this song exudes, and lust seems to be the feeling that gets the biggest workout, as "always make love by proxy" must be about relying on the media for fulfilling fundamental desires. Those of us who have devoted so much of our lives to evaluating the things a consumer society can offer ought to ask ourselves if Lou Reed gets out in front of our questions once in awhile by asking how we dare to evaluate so much that is fundamentally at loose ends. "Oh Jim" might be a sincere attempt to supply some answer about how people are coping, or failing to cope. The next song, another "Caroline Says" asserts "This is a bum trip." So she put her wrist through a window pane, it's so cold in Alaska. There is razor that cuts a wrist in a later song, and you might not want to listen to anything that ends this way. It must be "The Bed," in which "I said Oh oh oh oh oh oh oh, what a feeling!" Then the song gets spooky. This might be freaking people out before "Sad Song" at the end, which is a relief.

More Berlin free music reviews:
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Description of Berlin

Ranked #344 on Rolling Stone's list of the 500 Greatest Albums Of All Time. Berlin was Reed's third solo album, in drastic contrast to its predecessor, the glam rock Transformer. Featuring heavy ochestral arrangements and horn sections, Berlin features re-drafts of earlier compositions first penned by Reed's Velvet Underground.
Eternally perverse, Reed responded to having a pop hit with Transformer by making a massive bummer of an album, built around reworked versions of a couple of older songs. Berlin is psychologically grueling and unremittingly dark (scariest moment: "The Kids," which ends with a very long tape of children screaming in terror), but the savage contrasts of its sound have gotten more impressive with time. The big production flourishes hit like a hangover, Reed's voice sounds like he's trying to stave off emotional involvement with his lyrics because it would hurt too much, and the multi-layered textures of "Oh Jim" surge and recede like details of a nightmare. The album takes strength to hear, and rewards it. --Douglas Wolk

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