Acheter d'occasion
EUR 12,63
+ EUR 2,49 (livraison)
D'occasion: Très bon | Détails
Vendu par tousbouquins
État: D'occasion: Très bon
Commentaire: Expédié par avion depuis les USA; prévoir une livraison entre 10 à 15 jours ouvrables. Satisfait ou remboursé
2 d'occasion à partir de EUR 10,38
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 9,81

Bells Import

3.3 étoiles sur 5 3 commentaires client

2 d'occasion à partir de EUR 10,38
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés


Page Artiste Lou Reed


Détails sur le produit

  • CD (1 mars 2008)
  • Nombre de disques: 1
  • Format : Import
  • Label: Sbme Special Mkts.
  • ASIN : B0012GN3JG
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.3 étoiles sur 5 3 commentaires client
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?


Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

3.3 étoiles sur 5
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Format: CD
Je pense que cet album est une élévation de la recherche musicale dans laquelle Lou Reed ne peut que se complaire. Il nous donne ce disque comme il vous donnerait une franche poignée de mains. C'est un vrai petit bonheur que cette rondelle, tant l'innovation ne vous prend pas la tête. Cet album est tellement évident que personne ne l'a jamais composé. Alors, régalez-vous. Jetez-vous sur "Disco Mystic" et achevez votre promenade avec les insoutenables "Bells" qui sont bien plus que tubulaires... si vous voyez c'que j'veux dire.
Remarque sur ce commentaire 13 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par Dr. Rock TOP 1000 COMMENTATEURS le 1 juillet 2011
Format: CD Achat vérifié
Cet album risque d'en dérouter plus d'un, pour le moins. Deux approches possibles pour cette oeuvre mineure d'un artiste majeur : se réfèrer à son Lou Reed de base (Velvet, TRANSFORMER) et n'éprouver que de la déception, ou accepter l'avancée d'un musicien en des contrées nouvelles et se laisser séduire par l'audace dont il fait preuve tout au long des plages de ce disque étonnant. Inexorablement, la démarche est inégale. Et le bon de côtoyer le moins bon (voire le mauvais !). Côté réussites, le funk rock perverti de I WANT TO BOOGIE WITH YOU et de CITY LIGHTS se pose là. Deux morceaux au son surprenant, oppressant, co-écrits avec Michael Fonfara pour le premier et Nils Lofgren, collaborateur inattendu, sur le deuxième. DISCO MYSTIC (écrit en groupe) les talonne de près avec son tapis disco-jazz déroulé sous la voix plus talk over que jamais d'un Lou Reed qui semble postuler pour la place de Bobby Farrell au sein de Boney M.!
THE BELLS est sans conteste le plat de résistance et la pièce maîtresse de cet album qui porte le même nom. 9 minutes 18 d'ambient jazzifié par les cuivres de Don Cherry et Marty Fogel, propulsant l'auditeur dans un au-delà qu'il est difficile de définir comme étant l'enfer ou le paradis. Superbe, envoûtant et neuf, une immense réussite qui justifie à elle seule l'achat du disque.
Lire la suite ›
2 commentaires Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD Achat vérifié
Un dees derniers albums inspirés du New- Yorkais. Moins intéressant que la trilogie Transformer- Berlin- Coney Island Baby, mais tjs empreint de textes et style de New- York.

Mérite de figurer dans la collection sur Lou Reed.
Remarque sur ce commentaire Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x8cfbbfb4) étoiles sur 5 35 commentaires
21 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x8cfe2c84) étoiles sur 5 One of Lou Reed's most underrated albums. 8 juin 2001
Par Stephen Caratzas - Publié sur Amazon.com
Format: CD
For me, Lou Reed's output in the 1970s is some of his best material, with his very unusual "The Bells" near the peak for that decade. An enigmatic, though thoughtful, foray into jazz-rock experimentation, "The Bells" finds Reed delving further into territory he had been previously exploring with "Rock and Roll Heart" and "Street Hassle".
Unlike those albums, here Reed really lets loose and tries on several different musical personas ranging from progressive jazz to dixieland. His band, with which he co-wrote almost all of the songs, is supplemented by the appearance of noted jazz trumpeter Don Cherry. Cherry and sax player Marty Fogel -- who arranged all of the elaborately layered horn parts -- are particularly outstanding.
Curiously, three tracks ("Stupid Man", "With You", and "City Lights") were co-written with guitarist Nils Lofgren. This association was made possible by Bob Ezrin (producer of Reed's "Berlin" album), who gets a thank you in the album credits. [Three other Reed/Lofgren collaborations made it onto Lofgren's 1979 album entitled "Nils".]
The connecting threads that hold the whole thing together are the lyrics, Reed's most personal, before or since; never has he sounded so vulnerable. On "Stupid Man" and "Families", Reed sings about separation from loved ones by distances both physical and emotional. "Looking for Love" and "I Want to Boogie With You" are naked, yearning declarations, but sadly, the singer is all-too-convinced of his own inability to grasp that which he desires.
The epic title track -- featuring Reed's own favorite lyric -- continues to impress to this day. Sounding like a horrific collision between a 16th century baroque brass ensemble and Ornette Coleman's Prime Time outfit (with a touch of Gothic nightmarishness thrown in for good measure), it defies categorization.
8 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x8cfe2cd8) étoiles sur 5 Three masterpieces 6 mars 2005
Par Peter Uys - Publié sur Amazon.com
Format: CD
I love the three gripping songs All Through The Night, Families and The Bells. The first is a description of an all-night drunken party or pub crawl which contains some of Reed's most poetic lyrics and acute observations against a backdrop of bar crowd sounds, with a killer rhythm. Co-written with Don Cherry (who contributes trumpet and African Hunting Guitar to the album), All Though The Night is an exploration of the "post partum" depression that follows the completion of a novel or an album, plus all sorts of other world-weariness.

Families is autobiographical and moving, with a line or two advising his dad to let his sister manage the family business. The sound is dominated by electric guitars and guitar- and bass guitar synthesisers and the mood is mournful. The Bells itself is an awesome, majestic experience, something Reed has never done before or since. Hard to describe, perhaps it is his exploration of what Bowie did on Low - those gothic tracks like Warszawa, Art Decade, Weeping Wall, etc. but with more vocals.

Dissonant, atmospheric and jazzy, the sound consists of a barely audible monologue under the wails and drones of the saxophones and gong sounds for an eerie feel. The intensity build up slowly while the vocals become audible and at its height, Reed intones the line Here Come The Bells, for a magnificent conclusion.

The others are short songs - Disco Mystic is an amusing comment on the disco fever of the late 70s, whilst I Want To Boogie With You is more sombre and serious. These fall in the disco commentary genre like Frank Zappa's Dancing Fool and Cristina Monet's Blame It On Disco on her Doll In The Box album, and as such are good, not great.

The Bells is an uneven album, but the aforementioned three exceptional songs merit the four stars. All Through The Night is a brilliant rock song with a lilting rhythm, Families is a slow, brooding piece whilst the title track is Reed at his experimental best. I recommend the album to all devoted fans, but not to newcomers to the music of Lou Reed.
8 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x8cfe712c) étoiles sur 5 Deadpan Disco = Brilliance 28 décembre 2000
Par Matthew Van Winkle - Publié sur Amazon.com
Format: CD
Like many Reed albums (even acknowledged masterpieces like "Blue Mask" and "New York") this isn't a particularly likable one at first hearing. His singing may seem callous at times, and the musicians like they're all in separate rooms, but there is real artistry at work if you're willing to stick with it; I play "The Bells" even more than "Berlin" these days, favoring it's anti- emotional (almost anti-"atmosphere") stance. The album doesn't lull you into anything, and you often have to listen quite hard due to the production to hear what he's singing about. The most often misinterpreted thing on this album is the disco. But would Lou Reed, an intellectual postmodern rocker--in his late 30's at the time of this album--really want to "Boogie With You" in earnest? The poet is not making an attempt at being radio-worthy. He is appropriating the hipspeak of the moment, as is his custom, and re-packaging it for us in a way that we can glimpse it's absurdity, and, essentially, it's harmlessness and fun, too. Remember that moment in "Oh Jim" (Berlin) when Lou deadpans a sort of Shirelles "doo-doo-doo-doo-doo-doo" right after the words "Beat her black and blue..."? I have a notion that the same sensibility is at work from start to finish on this album.
7 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x8cfe74f8) étoiles sur 5 Very, very interesting album 15 octobre 2004
Par Chet L. Young - Publié sur Amazon.com
Format: CD
It doesn't contain anything as heartbreaking as "Street Hassle", nor anything that just grabs you by the throat like "Waves of Fear" or "The Blue Mask". It doesn't even have a lot of guitar, relying instead on the brass and keyboards. Still, THE BELLS is another wonderful Lou Reed album--one you shouldn't be without.

"Stupid Man" and "With You" are short, punchy tracks that feature some terrific horn playing. "I Want to Boogie With You" is one of Lou's signature two-chord rockers, and his dirty, biting solo near the end of the song is the one great guitar moment on this album. I didn't realize until recently how frightening "All Through the Night" is; Lou howls despairingly about loneliness, a nighttime loneliness so crushing and interminable that you dread it every afternoon, while laughing phantom voices drift in and out of the mix. The title track, co-written with sax player Marty Fogel, is a sad, spooky, majestic piece with a pronounced classical influence. Don Cherry is at his best here, his trumpet sounding like a human voice. And that refrain, wow! "Heeeeeere come the bellllls"...once you hear it, you'll never forget it. I don't know if Lou has ever played this song live, but it would make one hell of a showstopper.

THE BELLS is both trademark Lou Reed and Lou Reed branching out. It's right up there with BERLIN, STREET HASSLE, and THE BLUE MASK, and better than TRANSFORMER. Don't wait, get it now!
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8cfe75dc) étoiles sur 5 Street poet meets jazzbo, with mixed results 22 juillet 2006
Par Ralph Heibutzki - Publié sur Amazon.com
Format: CD
I'm glad to see this album getting its due on CD...being new to Lou at the time it came out, I bought THE BELLS for one reason: Lou's knack for polarizing people, splitting 'em right down the middle (like Bob Dylan, or Neil Young, who've also gone through their own artistic peaks and valleys). I played "All Through The Night" for a friend weaned on Top 40, and he said, "Well, it sounds like he's sick," which only made me laugh: "Oh, well, this doesn't have 'big breakout hit' written all over it, does it?"

On that score, you'll either love this album or hate it, which doesn't bother hardcore fans like me, but proves to be a mixed outcome for the casual listener. The overall vibe is jazzy R&B, although the guitar does come up for air occasionally (notably on "Looking For Love," whose lyrics don't add up to much -- remember, this came during Lou's improv-is-everything approach to recording, and sounds like it).

Of the six shorter songs, it's the Reed-Lofgren collaborations that have worn best for me. "Stupid Man" and "With You" swing with an edge missing from many albums made during this era; in many ways, THE BELLS is a worthy showcase for saxophonist Marty Fogel, whose peers fare less well in the mix. "City Lights" is a nifty ode to Charlie Chaplin's exit from pop culture (and not too far removed sonically from Bebop Deluxe's "Surreal Estate").

That leaves a trio of clinkers, notably "Looking For Love" (which I've covered), and "I Want To Boogie With You," sunk by its sluggish tempo, submerged guitar and sketchy, nondescript lyrics...using the catchphrase of the day (i.e., "boogie") is the surest ticket to dating a song (imagine this being recorded with wah-wah and sitar in 1967 as "I Wanna Be Groovy With You"). "Disco Mystic" has some excellent sax from Fogel going for it, but little else (and, when you realize there's nine songs on this album, screams, "Look, Ma, short on material").

I preferred the trio of songs that graced side two of the old vinyl: "All Through The Night" is a pretty intense affair, from a lyric standpoint (bolstered by an unlikely horn hook from Fogel), and I always had fun trying to figure out what was being said in the overdubbed background chatter. "Families" has the best mix, sonically speaking, and works well as a retort to those ever-disapproving familial presences in Lou's life (I've always laughed about the line where he says, "Papa, I'm not getting married...and no, there's no grandson planned for you").

The nine-minute, sprawling title track closes out the album in truly grand, if inconclusive fashion: to those who have never heard it, I can only describe it as Gothic jazz...built around a three-note bass riff, Don Cherry's piercing trumpet, and beds of swirling keyboards from Michael Fonfara. I've dug it, though some tighter editing would have helped (even if its lyrical drift -- "It was really not so cute/To play without a parachute" -- is clear enough).

I appreciated this album's experimentalism, then and now, but I only wish it could have been mixed better: like most of Lou's output of the time, THE BELLS arrived in the clothes of "Stereo Binaural Sound," which he touted as a significant leap in sound quality. However, the overall sound is murky, and dense, which makes it tough going for the listener. As with many albums of this era, the guiding principle seemed to be: "If you can add it, overdub it," which doesn't always work out. For example, there's a fairly nifty rhythm guitar lick on "All Through The Night," but you'll have to work really hard to hear it. On other tracks, like "With You," it's the opposite problem...the instrumentation swamps the lyrics.

Overall, THE BELLS reads like an uneasy compromise between the quest for accessibility, which seems to have been the intent of the shorter tracks, and the "here's a riff, let's go for it" feel of the longer pieces ("Families," "The Bells"). Either way, it fell between two chairs: Arista didn't realize its goal of netting that ever-elusive hit, while longtime fans went back to TRANSFORMER, or CONEY ISLAND BABY, for solace. For all of those issues I've rattled off, however, the better tracks are worth the price of admission; as with GROWING UP IN PUBLIC, don't start here if you're new to the cause.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients



Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?