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Berlin

par Lou Reed

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Berlin is a concept album that represented a brave departure from the familiar sounds and themes of Lou Reed’s earlier solo work, a tragic tale about heartbreak and addiction meant to be played live as a rock opera, in the vein of The Who’s Tommy. But its poor reception meant that plans for a live performance were put on hold until 2007, when, with a renewed confidence in the material, Reed toured with a full orchestra and choir, giving some of the most personal and powerful performances of his career. The tour was filmed by legendary artist Julian Schnabel, a longtime friend of Reed’s who also designed the spare and beautiful set, and whose daughter Lola contributed moving images projected behind the stage. This immeasurably powerful book draws on stills from Schnabel’s film, photographs of the set design, printed lyrics of Reed’s original verse, and images from Schnabel’s projections to tell the twin stories of Berlin as rock opera and as unique collaboration between two geniuses of contemporary art, music, words, and film. The book also includes a rare conversation between Reed and Schnabel.… (plus d'informations)
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Product Details

* Audio CD (March 24, 1998)
* Original Release Date: 2000
* Number of Discs: 1
* Format: Original recording remastered
* Label: RCA
* Catalog Number: 67489
* ASIN: B00000637V
* Other Editions: Audio CD | LP Record
* Average Customer Review: based on 66 reviews. (Write a review.)
* Amazon.com Sales Rank: #26,101 in Music (See Top Sellers in Music)
Yesterday: #23,133 in Music

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1. Berlin Listen Listen
2. Lady Day Listen Listen
3. Men Of Good Fortune Listen Listen
4. Caroline Says I Listen Listen
5. How Do You Think It Feels Listen Listen
6. Oh, Jim Listen
7. Caroline Says II Listen
8. The Kids Listen
9. The Bed Listen
10. Sad Song Listen

Editorial Reviews
Amazon.com
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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8 of 9 people found the following review helpful:
Reed's Accidental Masterpiece., November 29, 2001
Reviewer: Mark Begley "Letterpressed.com" (Fresno, CA USA) - See all my reviews
(REAL NAME)
I bought BERLIN after reading Victor Bockris's brutal biography of Reed, TRANSFORMER. It was hailed as a "masterpiece" throughout the book, and having been a big fan of Reed and VU for years, AND since it had just been re-issued on CD, I snatched it up. I had no idea what a surprise I was in for. Having heard many of the VU versions of these songs, and based on my other Reed discs, I was completely stunned by the theatrical-German-tavern orchestration, and the blatant violence (particularly misogyny) in the lyrics. None of this turned me off of the album, as I was determined to see it as a testament of a certain state of mind, which was discussed at length in TRANSFORMER. And according to the book the recording of this album was a catastrophe, what with Reed's increasing dependence on speed, and his emotional state. Knowing this, it is amazing that the album turned out as well as it did. But like so many other "masterpieces" it wasn't hailed as such until much, much later, when it could be listened to within its own context, and not just as the follow-up to the album TRANSFORMER. This leads me to my calling it an "accidental masterpiece," as obviously Reed's vocals aren't up to par, there's nary a Reed-guitar crunch in sight, and much of the orchestration is close to being absurdly overwrought. However, my reason for giving it five stars is that it IS a perfect testament to Reed's state of mind/being at that particular time, flaws and all. Not many albums achieve this. One last thing, I wish people would stop with the: "I like the VU version of this-or-that song better." I happen to like Reed's later takes on those songs, and in this case think that the BERLIN version of "Sad Song" is much more powerful than the original.

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9 of 10 people found the following review helpful:
an absolute masterpiece, August 15, 2004
Reviewer: Bokor (United States) - See all my reviews
I am a Lou Reed fan. Generally, I've always preferred his live performances, CD and DVD. However, without question, this album is a masterpiece.

Make no mistake, this is a top ten album of all time.

The emotional content of this album is unparalleled. The orchestration, the music, and the lyrics are virtually unrivaled.

I read another review which made reference to Pink Floyd's, " The Wall." I love that album; I love Pink Floyd; painful to say, " The Wall" pales in comparison to this album. I have to be honest; " Berlin" is an incredible piece of work.

Lou Reed bares it all; " Berlin" is unadulterated. It's deceptively simple; it's raw and easily accesssible. Maybe, " simple" is not correct. " Berlin" is just void of any pretense and bullcrap.

It/life just is: pain and suffering intermixed with beauty.

I've said enough.

I absolutely applaud this piece of work. ( )
  pantufla | Jan 25, 2006 |
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Berlin is a concept album that represented a brave departure from the familiar sounds and themes of Lou Reed’s earlier solo work, a tragic tale about heartbreak and addiction meant to be played live as a rock opera, in the vein of The Who’s Tommy. But its poor reception meant that plans for a live performance were put on hold until 2007, when, with a renewed confidence in the material, Reed toured with a full orchestra and choir, giving some of the most personal and powerful performances of his career. The tour was filmed by legendary artist Julian Schnabel, a longtime friend of Reed’s who also designed the spare and beautiful set, and whose daughter Lola contributed moving images projected behind the stage. This immeasurably powerful book draws on stills from Schnabel’s film, photographs of the set design, printed lyrics of Reed’s original verse, and images from Schnabel’s projections to tell the twin stories of Berlin as rock opera and as unique collaboration between two geniuses of contemporary art, music, words, and film. The book also includes a rare conversation between Reed and Schnabel.

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