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Détails sur le produit

  • CD (18 avril 2003)
  • Nombre de disques: 1
  • Label: Rca Camden
  • ASIN : B00004LCBS
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
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Descriptions du produit

LOU REED Lou Reed (2003 UK 10-track digitally remastered CD issue of Lous 1972 debut solo album housed in a stickered picture slipcase - still sealed)


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Format: CD
Premier album post-Velvet de Lou Reed, cet album est l'un de ses tout meilleurs. La version de « Berlin » vaut largement celle -tronquée- de l'album homonyme et reste l'un des moments les plus hauts de la carrière du rocker new-yorkais, tout comme « Ride into the Sun », « Ocean », « Lisa Says », « Wild Child », « I Love You », titres tous indispensables. - Il est de bon ton depuis pratiquement sa sortie de critiquer cet album. On se demande pourquoi... Contrairement à ce qu'on lit souvent, les musiciens sont excellents : le piano de Rick Wakeman (du groupe Yes, mais aussi sideman décisif dans l'album de David Bowie « Hunky Dory » : le piano de « Life on Mars », c'est lui), omniprésent, donne sa couleur inimitable à des morceaux de premier choix ; les guitares, dont celle de Steve Howe (également du groupe Yes), sont très souvent aussi loureediennes que possibles (tout de même autre chose que la vulgarité affichée dans un album comme « Rock'n'Roll Animals »). - Bref, comme dirait l'autre, on peut évidemment se passer de ce premier album, mais... pour quoi faire ?
Remarque sur ce commentaire 10 sur 10 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD
je mets 5 étoiles a cet album pour relever le niveau des commentaires.

Il faut bien comprendre une chose, cet album est le premier post velvet et précede "transformer" et "berlin". Ca veut donc dire que lou est ici a son apogée créatrice et contrairement a ce que laisse entendre certains commentaires, après "berlin" ce ne sera jamais plus aussi bon et ca c'est incontestable !

Sur cet album on retrouve beaucoup de titres du temps du velvet qui ne figurent pas encore sur album. La qualité d'écriture mélodique est réellement excellente ! Le must est le "berlin" première version qui est un petit bijou !

Je ne vois qu'une explication a la désafection des critiques de l'époque et du public vis à vis de cet album, c'est l'orchestration et la production qui ne sont pas à la hauteur et qui plombent la qualité sans failles des titres. Dommage en effet, mais passer son chemin sur cet album parce qu'il est mal produit, c'est être un bien priètre mélomane et être incapable de différencier le fond de la forme et de voir la lumière au travers du brouillard. Car le fond ici est magnifique !
Remarque sur ce commentaire 18 sur 19 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: HASH(0x91444f78) étoiles sur 5 27 commentaires
21 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x91455c00) étoiles sur 5 Lou's strong first solo album sounds like long lost VU album 18 juin 2000
Par Stephen M. - Publié sur Amazon.com
Format: CD
Lou's first solo album resembles the Velvet Underground more than any of his other solo releases. Of course the fact that a good chunk of the songs were written while he was still in the band explains why. It's two guitar, bass and drum sound is subdued, but it definitely fits the mood of the songs. The songs themselves are all great, although you can't help wondering if this would've been a five star album if recorded by the Velvets. This album usually gets the short shrift by critics, but I'd rank it as one of his best, along with Berlin and Transformer. 'I Can't Stand It' and 'Lisa Says' (both of which the VU also recorded) are tops.
18 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x91457024) étoiles sur 5 A Fine Debut 23 février 2002
Par Mark T. Ferguson Jr. - Publié sur Amazon.com
Format: CD
I've been listening to Lou Reed for over a decade. In that time, I've come across dozens of scathing reviews of his debut solo release. However, I LOVE THIS RECORD. In fact, I'm trading in my old copy for a brand new remastered edition and I can't wait for its arrival. The album is largely made up of Velvets leftovers. Some detractors insist that the versions here are inferior to subsequently available VU versions, but to me they're highly listenable. This man's career is one of the most fascinating of the entire rock genre, and this album serves as an appropriate and rewarding introduction.
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9145709c) étoiles sur 5 I Can't Stand it Any More More 12 avril 2001
Par Sean M Ward - Publié sur Amazon.com
Format: CD
A criminally forgotten collection by lou, yes these are leftovers from the VU days, but also a taste of the future for Lou...I wish Lou would have written more surreal rhymes like "Wild Child" it would have made this album classic. The sound on this album is thanks to the tight New York band Lou had. Sure the versions of Ocean and Lisa Says are not the essential ones, but this is still an essential album to have (check out the background soul singers in "I Can't Stand it")
10 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x9145742c) étoiles sur 5 "It's the beginning of a new age" 14 janvier 2005
Par Andrew McCaffrey - Publié sur Amazon.com
Format: CD
As we look back on Lou Reed's first solo album, it's viewed more as a historical curiosity than as a powerhouse of artistic expression. In fact, it's difficult to listen to it without casting your mind on the past and what would become the future; there are hints of both. Yet to listen to it outside of the context it exists within, it passes as an interesting -- if not mind-blowing -- collection of music. It's not Reed's best album, but it does contain some of my favorite individual tracks from his career.

Lou Reed had quit the legendary The Velvet Underground, gone into exile, and then risen from self-imposed ashes in order to create his first solo album (the liner notes contain a much more informative timeline). Despite his time away from the Velvets, a lot of the songs on here are leftovers from his former band (many demos of these tracks can be heard on the "Fully Loaded" double-CD release of The Velvet Underground's final album, LOADED). This may account for the slightly incoherent feeling to the record. The Velvets had a very distinct sound, and many of the songs written during that time period sound odd when performed by people who were not a part of that group (one might say, artists who were more musically proficient, but less enthusiastic). You sort of need, for example, Mo Tucker's unique drum beatings in the background for some of these songs to sound right.

This isn't to say that there isn't some fine material on here. "Lisa Says", "I Love You" and "Wild Child" have turned up on a number of Lou Reed's multiple Best Hits collections in the years since their initial release, and with very good reason. "Berlin" is not only a good song, but would inspire Reed to create an entire (fantastic) album based upon the themes he only briefly touches.

Lou Reed fans will want to pick up this one. People new to Reed may wish to start elsewhere, although I cannot deny that this the style of this album is unmistakably Lou Reed -- part poet, part wry humorist, and all rock'n'roll. The musical sound of this album is very much in keeping in where he had left of with the Velvets: straight up rock with none of the lush, deliberate over-the-top excesses that would come later his career. It's good stuff.

LOU REED has the feeling of being recorded with one eye on the past and one on the future. The liner notes posit that perhaps Reed's sense of loyalty to the old Velvet Underground songs moved him to perform them here rather than have them lost to time. Lou Reed's solo career would drastically improve after this album. Only a matter of months later he would team up with the ascending David Bowie and produce the glam-rock classic TRANSFORMER. And yet, LOU REED isn't something to be entirely thrown away. I quite like much of it, even aware as I am of its flaws.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x91457564) étoiles sur 5 She's a wild child! 7 mars 2000
Par Un client - Publié sur Amazon.com
Format: CD
On leaving the Velvet Underground in 1970, Lou Reed took a job at his father's typing firm on Long Island, New York. During this period, he wrote both poetry and prose, and also worked on some songs. In 1972, Reed moved to London, England and with the assistance of producer Richard Robinson (a Velvet Underground enthusiast), recorded these new songs, along with a batch of numbers he had intended for the Velvet Underground, which had been left off their records for various reasons.
Recruiting a band of musicians including early 1970s session stalwart Caleb Quaye on electric and acoustic guitars, and piano, and also, more controversially, Yes-members Steve Howe and Rick Wakeman on electric guitar and piano respectively, Reed arranged the spartan songs himself, directing the musicians as he saw fit. One can hear Howe and Wakeman straining at the leash on songs such as "Ride Into The Sun," where Reed's garage-band economy clashes with the progressive rock musicans' more florid leanings.
As to the songs themselves, "I Can't Stand It" is a mid-tempo rocker with throwaway lyrics, which was recorded, in a version generally regarded as superior, by the Velvet Underground about three years earlier. "Going Down" is a piano ballad, and one of the record's stronger numbers, with Kay Garner and Helene Francois' backing harmonies adding melodic depth. "Walk And Talk It" was another Velvet Underground leftover, and is a medium-paced rock number, with a riff that sounds very reminiscent of the Rolling Stones' "Brown Sugar." "Lisa Says," yet another song intended for Lou Reed's previous band, is a strong torch song, slightly let down by a somewhat throwaway and incongruous middle-section. "Berlin," one of the newer songs on the album, is the highlight of this set, and features some very affecting instrumental interplay, something which is often absent from Reed's recordings. The song was revived, in truncated form, as the opening and title track of Lou Reed's classic 1973 album.
"I Love You" was originally demo-ed by Lou Reed after the "Loaded" sessions by the Velvet Underground, but before he had left the band. A love song with slightly sinister and cynical undertones, it is driven along by some acoustic twelve-string playing, with an unusually audible plectrum sound. "Wild Child" is another song somewhat similar in style to the Rolling Stones, and is a relatively strong piece, let down by a careless, slap-dash lyric. "Love Makes You Feel" is one of the better songs on the second half of the album, featuring a striking rapid-strumming guitar break which calls to mind Pete Townshend's work with the Who, particularly on the "Tommy" album. "Ride Into The Sun" is the song on which the two Yes-men are most prominent, with Steve Howe in particular adding one of his trademark speedy, complicated solos to this wistful Velvet Underground remnant. The final song on the album, "Ocean," was tried out by the Velvet Underground, and such was the potential Reed saw in the song, ex-Velvet Underground bassist, organist, viola-player and sometime vocalist John Cale was invited back to the band to contribute organ and viola to it. However, the old conflicts between Reed and Cale returned when the finished product featured Cale swamping the band with his powerful organ sound. Here, the song is given the epic treatment, complete with queasy timpani swells, imitating the large body of water in the song's title, and Reed totally over-reaching himself in the vocal department. Another candidate for the best song on the album.
In the final analysis, this is (like many of Reed's releases) a much-maligned record. While no classic, it is not the turkey many would have you believe. There are at least three absolute classics on this record, and nothing on it is dreadful. A lot of the more throwaway numbers here can be seen as precursors to his next project, the ever-popular "Transformer," and as a document of how Reed's self-imposed two-year exile from the spotlight affected him and the way he felt towards his Velvet Underground songbook, it is indispensible. An intriguing an enjoyable record, with an instantly recognisable production style.
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