 Garden<br><a href="" target="_blank">link</a></p> <p>If <i>Legendary Hearts</i> seemed like a disappointment in 1983, that was largely because the year before Lou Reed had released <i>The Blue Mask</i>, one of the finest albums of his career, and <i>Legendary Hearts</i> just wasn't quite as good. But pull it off the shelf today, give it a listen, and <i>Legendary Hearts</i> easily shuts down nearly anything Reed released in the 1970s; if it's a less obvious masterpiece than <i>The Blue Mask</i>, it makes clear that Reed was once again in firm command of his strengths, and making the most of them in the studio. Guitarist Robert Quine and bassist Fernando Saunders were both back on board from <i>The Blue Mask</i>, <i>The Blue Mask</i>'s lineup; if there were a few moments of comic relief, like "Don't Talk to Me About Work" and "Pow Wow," no one could argue that Reed hadn't earned a few laughs after songs like "Make Up Mind," "The Last Shot," and "Betrayed." On <i>Legendary Hearts</i>, Reed was writing great songs, playing them with enthusiasm and imagination, and singing them with all his heart and soul, and if it wasn't his best album, it was more than good enough to confirm that the brilliance of <i>The Blue Mask</i> was no fluke, and that Reed had reestablished himself as one of the most important artists in American rock. (allmusic.com)</p> <p><img src="" align="left"> </p> <p><strong><em>New York (1989)</em></strong></p> <p>01 - Romeo Had Juliette<br>02 - Halloween Parade (Aids)<br>03 - Dirty Blvd.<br>04 - Endless Cycle<br>05 - There Is No Time<br>06 - Last Great American Whale<br>07 - Beginning of a Great Adventure<br>08 - Busload of Faith<br>09 - Sick of You<br>10 - Hold On<br>11 - Good Evening Mr. Waldheim<br>12 - Xmas in February<br>13 - Strawman<br>14 - Dime Story Mystery [To Andy - Honey]<br><a href="" target="_blank">link</a></p> <p>New York City figured so prominently in Lou Reed's music for so long that it's surprising it took him until 1989 to make an album simply called <i>New York</i>, a set of 14 scenes and sketches that represents the strongest, best-realized set of songs of Reed's solo career. While Reed's 1982 comeback, <i>The Blue Mask</i>, sometimes found him reaching for effects, <i>New York</i>'s accumulated details and deft caricatures hit bull's-eye after bull's-eye for 57 minutes, and do so with an easy stride and striking lyrical facility. <i>New York</i>, <i>New York</i> is a masterpiece of literate, adult rock & roll, and the finest album of Reed's solo career. (allmusic.com)</p> <p><img src="" align="left"> </p> <p><strong><em>Songs for Drella (1990)</em></strong></p> <p>01 - Smalltown<br>02 - Open House<br>03 - Style It Takes<br>04 - Work<br>05 - Trouble With Classicists<br>06 - Starlight<br>07 - Faces and Names<br>08 - Images<br>09 - Slip Away (A Warning)<br>10 - It Wasn't Me<br>11 - I Believe<br>12 - Nobody But You<br>13 - A Dream<br>14 - Forever Changed<br>15 - Hello It's Me<br><a href="" target="_blank">link</a></p> <p <i>White Light/White Heat</i> on a cycle of songs about the artist's life and times. Starkly constructed around Cale's keyboards, Reed's guitar, and their voices, <i>Songs for Drella</i> <i>New York</i>, <i>Songs for Drella</i>. (allmusic.com)</p> <p><img src="" align="left"> </p> <p><strong><em>Magic and Loss (1992)</em></strong></p> <p>01 - Dorita<br>02 - What's Good<br>03 - Power and Glory<br>04 - Magician<br>05 - Sword of Damocles<br>06 - Goodby Mass<br>07 - Cremation<br>08 - Dreamin'<br>09 - No Chance<br>10 - Warrior King<br>11 - Harry's Circumcision<br>12 - Gassed and Stoked<br>13 - Power and Glory, Pt. 2<br>14 - Magic and Loss<br><a href="" target="_blank">link</a></p> <p>With 1982's <i>The Blue Mask</i>, Lou Reed began approaching more mature and challenging themes in his music, and in 1992, Reed decided it was time to tackle the Most Serious Theme of All -- Death. Reed lost two close friends to cancer within the space of a year, and the experience informed <i>Magic and Loss</i>, <i>Magic and Loss</i>." <i>Magic and Loss</i>)</p> <p> <div class="wlWriterSmartContent" id="0767317B-992E-4b12-91E0-4F059A8CECA8:0f33e52d-df0c-4914-8892-fa87f7089a6-48634601500454887632007-09-25T18:48:00.001+04:002007-09-25T18:48:54.250+04:00Lou Reed. Part 2<p><img src="" align="left"> </p> <p><strong><em>Coney Island Baby (1976)</em></strong></p> <p>01 - Crazy Feeling<br>02 - Charley's Girl<br>03 - She's My Best Friend<br>04 - Kicks<br>05 - A Gift<br>06 - Ooohhh Baby<br>07 - Nonody's Business<br>08 - Coney Island Baby<br><a href="" target="_blank">link</a></p> <p>From 1972's <i>Transformer</i> onward, Lou Reed spent most of the '70s playing the druggy decadence card for all it was worth, with increasingly mixed results. But on 1976's <i>Coney Island Baby</i>, Reed's songwriting began to move into warmer, more compassionate territory, and the result was his most approachable album since <i>Loaded</i>. On most of the tracks, Reed stripped his band back down to guitar, bass, and drums, and the results were both leaner and a lot more comfortable than the leaden over-production of <i>Sally Can't Dance</i> or <i>Berlin</i>.  <i>Sally Can't Dance</i>.. <i>Coney Island Baby</i>)</p> <p><img src="" align="left"> </p> <p><strong><em>Rock and Roll Heart (1976)</em></strong></p> <p>01 - I Belive In Love<br>02 - Banging On My Drum<br>03 - Follow The Leader<br>04 - You Wear It So Well<br>05 - Ladies Pay<br>06 - Rock And Roll Heart<br>07 - Chooser And The Chosen One<br>08 - Senselessly Cruel<br>09 - Chain To Fame<br>10 - Vicious Circle<br>11 - A Sheltered Life<br>12 - Temporary Thing</p> <p><a href="" target="_blank">link</a></p> <p><i>Rock and Roll Heart</i> <i>Rock and Roll Heart</i> <i>Street Hassle</i>. (allmusic.com)</p> <p><img src="" align="left"> </p> <p><strong><em>Street Hassle (1978)</em></strong></p> <p>01 - Gimmie Some Good Times<br>02 - Dirt<br>03 - Street Hassle<br>04 - I Wanna Be Black<br>05 - Real Good Time Together<br>06 - Shooting Star<br>07 - Leave Me Alone<br>08 - Wait</p> <p><a href="" target="_blank">link</a></p> <p <i>Street Hassle</i> was Reed's first album after punk had gained public currency, and Reed appeared to have taken the minimal approach of punk to heart. With the exception of <i>Metal Machine Music</i>, <i>Street Hassle</i> was Reed's rawest set of the 1970s; partly recorded live, with arrangements stripped to the bone, <i>Street Hassle