I guess it's the last Lou Reed album that doesn't take itself too seriously.
Or maybe because it's the last overtly camp Lou Reed record that it appeals
so - like all the recordings of the 70's...
But then I also don't agree with the general consensus that New York was the
renaissance. For me, that didn't come until Drella.
New York sounds pretty brittle to me today. Musically it's thin:
superficially varied, but with little depth. Beginning Of A Great Adventure
is a real turn-off. Lou playing it straight just doesn't wash. Dime Store
Mystery is a stand-out track, no question. Pretty damn special, especially
in comparison with tracks like Strawman or Goodevening Mr W....
Magic and Loss? I've listened to it a couple of times. It made me cry the
first time but, unlike Berlin, et al, I feel no need to return.
Set The and Ecstasy. Well they're both very special records in many ways,
and certainly car more compelling to me than say New York, or the 80's in
general. And I can't wait for the next one, although in many ways, sadly,
Ecstasy feels like the end of something.
I love Lou so. Would love to spend some quality time with him :-)
I see what you're saying, but I prefer the majority of the songs on Sally to
Mistrial hands down.. & that's not one of my favourites either. "Outside"
doesn't speak to me on any level but "Ennui" I can relate to! OK, I'll rate
"Mama's Got A Lover" over & above "Animal Language" - how's that??! :-)
Maybe it's all about
> expectation, and after Legendary Hearts and New Sensations I had very
> little, so Mistrial came as a pleasant surprise. Outside - Guess I'm
> Falling In Love; I Remember You - Charleys Girl.
Hmmm... the lyrics let this album down for me. My favourite track on
Mistrial may be "Mama's Got A Lover"... I like the harmonies & the words
remind me a bit of "Turn To Me" ... I always liked that "father
freebasing/mother turning tricks" line... even now we get "matricide A,
patricide B" or C / D.. whatever!
> I guess it's the last Lou Reed album that doesn't take itself too
Point taken! If the album is great then I don't mind him taking himself
seriously so much, but then again I don't know if Twilight & Ecstasy are
such serious albums. I think New York/Drella/Magic was the serious phase,
at least in subject matter......
> Or maybe because it's the last overtly camp Lou Reed record that it
> so - like all the recordings of the 70's...
Interesting viewpoint. I never found "Mistrial" a camp album... but it
sounds one of the most dated of Lou's albums & very much of the time period.
> But then I also don't agree with the general consensus that New York was
> renaissance. For me, that didn't come until Drella.
Don't agree, but appreciate/understand your viewpoint. Some people I think
also found New York too political & resented Lou taking any kind of stance
on these issues. I view it as his coming-of-age album & don't think it
suffers as a result.
> New York sounds pretty brittle to me today. Musically it's thin:
superficially varied, but with little depth.
Hmmm... I love those sparing split-channel guitar sounds.
Beginning Of A Great Adventure
> is a real turn-off. Lou playing it straight just doesn't wash.
I love this track, esp done live. And I think the song is meant to be
humorous, not serious at all.
Dime Store Mystery is a stand-out track, no question. Pretty damn special,
especially in comparison with tracks like Strawman or Goodevening Mr W....
First time I heard Strawman I thought it was a stand-out, over time it's
kind of diminished in my view. Stand-out tracks on this album for me are
Romeo Had Juliette, Dirty Blvd, Endless Cycle, Beginning of A Great
Adventure, Busload & sometimes/sometimes not Dimestore...
> Magic and Loss? I've listened to it a couple of times. It made me cry the
> first time but, unlike Berlin, et al, I feel no need to return.
I'm one of the biggest fans of M&L.... I think touring extensively w/this
album was one of the bravest moves he's made in recent years too. And also
for playing "Sword of Damocles" at Glastonbury Festival, for instance....
what the hell, I admire anyone who sticks to their guns despite others'
expectations of him ... rightly or wrongly, it's one of the reasons I admire
& respect the man!
My two cents worth. But everyone should agree to disagree with me, I like
reading other people's opinions!
"I'm never wrong, it's a curse" - LR 1996
Worst 80s albums? Mistrial (worst of the worst, no question) & #2 I
suppose is Legendary Hearts because I enjoyed the year New Sensations came
out so am too blindly biased to be rational or to care that Red Joystick is
BTW, Mike Rathke shared producer credit w/Lou on New York and Magic & Loss:
the best solo albums of the 80s (plus first 6 tracks of the Blue Mask) &
"I'm always right, it's a curse" - LR 1996
"MG196" <mg...@aol.com> wrote in message
> I agree! GUIP was the last time Lou let anyone else assist him producing
> album. He was finally weening himself off of drugs and booze, so perhaps
> used Fonfara as a crutch? Who knows...but I really do like the title
> just pick up my guitar and strum along!
>I see what you're saying, but I prefer the majority of the songs on Sally
>Mistrial hands down.. & that's not one of my favourites either. "Outside"
>doesn't speak to me on any level but "Ennui" I can relate to! OK, I'll
>"Mama's Got A Lover" over & above "Animal Language" - how's that??! :-)
>> I agree with you 100% about Sally vs. Mistrial.Try not to laugh Julie,
but I actually like Animal Language! It's so depraved, and it really is a
howl - did you ever hear Lou's explanation of the song? I'd love to have a
boot with him doing that one live, but haven't seen even one available
anywhere.(I hear you laughing!).
"New York" was co-produced by Fred Maher, not Mike Rathke.
I actually enjoy the ersatz cop funk of Sally (cheesy horns excepted) and
absolutely love the bonus previously unreleased track. Worth the re-issue
There's a book on Lou (Waiting For The Man) written by some English guy
Jeremy Reed, I think, who's quite obviously and unashamedly besotted with
Lou, - he maintains that lyrically this marks the pinnacle of Lou's
achievements. I can't say I wholly agree but I recognise there is overlooked
brilliance on Sally. 'Ennui' is utterly devastating, and sometimes I think
it's my personal favourite Lou song, 'N Y Stars' totally compelling
sci-fi/Burroughs imagery, scathing yet cool. 'Baby Face' (possibly left over
from the Berlin sessions?) transfixing. 'Animal Language' depraved. And
don't forget the Velvet's track 'Kill Your Sons', a classic, and this
version is the best one. 'Ride Sally Ride' laconic, ironic, and very funny.
Who can resist 'Ooh isn't it nice/when you find your heart is made out of
ice...' This was the 'my week beats your year' Lou Reed. I remember a review
describing Sally as 'another Transformer type outing...' And let us not, in
our appreciation of the lesser known works of Mr. Reed, forget that the
commercial Transformer is an album of genius... but I'll save that for some
So everyone that doesn't have Sally, go and buy the re-issue now!
PS: Anyone got any news on the next re-issue?
I personally believe that Kill Your Sons, Ennui and Billy are really the
only three songs worth a shit on the LP. As far as it being Transformer
Jr., it pales next to that LP. Maybe a re-mixed CD would sound better, but
I remember when I bought the vinyl back in the 70's that the mix was really
erratic, babyface. So, there.
"rew" <bLuEiN...@bTiNtErNeT.cOm> wrote in message
Most exciting news for UK fans is that "Classic Albums" are putting out a
new TV series with "Transformer" being one of the subjects. One to
watch out for!
"rew" <bLuEiN...@bTiNtErNeT.cOm> wrote in message