17 of 17 people found the following review helpful
5.0 out of 5 stars Cycle of sorrowful songs
These songs are harrowing but beautiful and ultimately rewarding if you can survive its labyrinthine descent into heartbreak and despair. The most melodic songs include Caroline Says I and II, the wistful Oh, Jim, the painful The Kids, the bleak The Bed and the soulful Sad Song. Over these beautiful melodies Reed lays his vocals that are so genuine, so apt and so gripping...
Published on 27 April 2003 by Pieter Uys
3.0 out of 5 stars Not too bad but not too great....
I have heard a great deal about this album over the years so I decided to pick up a copy.
The first few listens didn't really sink in and even now the album has not yet fully resided within my conscious thoughts. I have to "be in the mood" to pull it out and play and that mood does not come along too often.
Casual Reed fans may not be so...
Published 21 days ago by David Bentley Newman
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8 of 11 people found the following review helpful
5.0 out of 5 stars Reissue of 1973's dark masterpiece,
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This review is from: Berlin [Limited Edition Digipak] (Audio CD)
Originally intended to be a double LP, like No Other by Gene Clark, record company intervention ensured that this remained a single LP. This was the record that Lou Reed, with producer Bob Ezrin (Alice Cooper/Pink Floyd), laboured over, and an LP that Reed appears to have invested most in. Reed has returned to a few songs in live performances, the odd track turning up on live albums, and now in 2007, he has toured Berlin across Europe with a set directed by Julian Schnabel. Berlin was the follow-up to the Bowie/Ronson-assisted Transformer (1972), which is the perfect LP to listen to as a teen, and was essentially a glam take on the climes of Reed's earlier, funny work with the Velvet Underground. Berlin is more adult and got a vicious critical response, sending Reed off into odd climes, from the sarcastic Transformer-pop of Sally Can't Dance, to the live LP Rock N Roll Animal, to the unforgiving Metal Machine Music. Berlin's failure would throw Reed completely, he wouldn't get a pleasant critical response until 1989's New York - despite the fact Coney Island Baby, The Bells, and The Blue Mask were fine records. The background to Berlin is possibly best highlighted by the hilarious encounters between Reed and the late Lester Bangs in the collection Psychotic Reactions & Carburettor Dung, as well as a Reed chapter shortly after Berlin in the recently reissued The Dark Stuff by Nick Kent.
I was loaned this LP by a decadent friend, who was also into stuff like Marc Almond, Scott Walker and Billy Mackenzie, in 1990, coming to it after Transformer threw me a little, but it's a record that grows, and to tell you the truth, I'd rather listen to this than Transformer. Berlin has been alluded to a few times, from Marc & the Mambas cover of Caroline Says II to Reed performing Berlin in the Wings of Desire-sequel Faraway (So Close!), or to the song Oh Jim by Gay Dad, which was not a cover but a reference. Berlin might sound to some people as a bloated, OTT, slighly ridiculous record - it certainly doesn't pull any punches, and predicts similarly extreme records like Dog Man Star and Torment and Toreros - though it is quite tuneful compared to records by Reed's former partners in crime - Cale's Music for a New Society and Nico's The Marble Index.
Reed was going for an overall concept, all 10 songs are a cycle of 49 minutes, intended to be like a novel or movie, something he returned to with New York, Songs for Drella, and Magic and Loss. Caroline might be Nico, and Jim might be Lou; or maybe this was something to do with Reed's recent divorce? Maybe it was a fictional take on some real lives...or vice versa? Whatever...a stellar cast of musicians accompany Reed and Ezrin, including Jack Bruce, Steve Hunter, Tony Levin, Dick Wagner, Blue Weaver, BJ Wilson and Steve Winwood. Reed hadn't been to Berlin at the time, but the allusion to that city of decadence (then known as West Berlin), or its earlier Weimar incarnation had a resonance. Bowie and Iggy would tap into Berlin later on, and this record seems to have been of influence.
Berlin is a great album, I don't really want to single out one track, since they are intended to work together, and are more effective if listened to in that way. In these times when people only download the few tracks they immediatly like from an LP, this is something that matters. Some of the music is almost a bit proggy, not that far from early Genesis or Peter Gabriel - especially 'Men of Good Fortune.' The first 'Caroline Says' is a string driven joy, which seems quite upbeat with the refrain, "...but of course I thought I could take it all!" The mood is tempered by the dirgey 'How Do You Think It Feels', with almost sitar guitar and an allusion to the lyrics of 'Beginning to See the Light' by the Velvets.
The centre of the LP has to be 'Oh Jim', which opens with rythms that sound like something from My Life in the Bush of Ghosts, before shifting through styles, a sleazy jazz sound that predicts 'Street Hassle', and a wonderful acoustic section towards the end. The best known song here is 'Caroline Says II', which is a reworking of 'Stephanie Says' by The Velvets (& also a relative of 'Candy Says'), and has a similar autobiographical quality to Reed's life as the later 'Kill Your Sons.' The Dark Stuff has Cale suggesting that Reed but his fist through a window at a young age, leading to the ECT alluded to in 'Kill Your Sons.' This song sounds utterly sublime, the feel is gorgeous as the chorus drifts in "...but she's not afraid to die/All of her friends call her Alaska/When she takes speed, they laugh and ask her: What is in her mind?" This song extends on the territory of Reed's popular 'Perfect Day' too, I feel - is there anything as wonderful as the song's climax, "It's so cold in Alaska..."?
Reed had told stories in song before, examples including the sleazy Querelle-territory of 'Sister Ray', the sinister 'Murder Mystery', and the Cale-vocal 'The Gift', a hilarious gothic take on unrequited love and 50s kids. Berlin was a complete LP of this stuff, the latter section the point where the narrative completely takes over, the epic 'The Kids' is just under 8 minutes and takes in Caroline losing her kids, including the infamous sequence of Ezrin's kids crying for their mummy, after allegedly being locked in a cupboard and told their mother wasn't coming back! Chilling stuff when heard on here, it's freaked out a few people I've known, and is even a bit Blair Witch Project! Though a friend laughed at the line "the Welshman in India", which must be a Cale reference - I guess he thought it was odd coming from an NY soul like Reed?
'The Bed' is the ground zero here, an acoustic driven piece that sounds like an acoustic troubadour singing from the scene of a suicide, the acoustic guitar held above the pale corpse of late Caroline. This is as dark as 'Dress Rehearsal Rag' by Leonard Cohen and not that far from the slightly deranged world of Oar by Alexander 'Skip' Spence. But there is redemption, of sorts, with the closing 'Sad Song', another track I'm sure Reed attempted to nail before? A classical feel, and a flute sound not far from several Mercury Rev records, it is a beautiful conclusion to this dark record - parts of the melody recalls 'Satellite of Love', though with spaced odd prog-guitar soloing, chiming piano, and a choir section. You wonder where Reed would have gone had Berlin been acclaimed? Though the prettiness of the music is undercut with the most quoted line, "Somebody else would have broken both her arms"!
It's great to have a remastered version of Berlin, since my old mid price cd dates back to 1989/1990 - though I hope a CD/DVD is issued of the current Berlin tour, since not everyone can make it to these acclaimed shows! Berlin is probably Reed's masterpiece, his solo career has sometimes be unsatisfying, though at least prolific. I think it's his best record, though there are some other greats alluded to above. Berlin is one of those albums you'll either get or not, it sounds pretty great here today...even if it never makes those samey old Top 100 albums of all time!
2 of 3 people found the following review helpful
5.0 out of 5 stars Bleak and brilliant,
I've become slightly obssessed with Berlin since purchasing it a few months back. Aside from the fact that it chimes with my fairly grim perspective, it's an album which can truly be called an experience in the purest sense: it's wholly immersive, which gives rise to all those 'it's like a film', it's like a book' comparisons.
In telling the story of doomed lovers Caroline and Jim, Reed certainly displays his writerly talents. He brings those characters to life vividly, and the fact that you care about them is what makes the album so ultimately devastating. The final four songs, from Caroline Says II to Sad Song, are the most emotionally visceral listening experience I have had. Those songs reduce me to tears without fail. There's something about the screams of children that will do that to you. The balance Reed strikes between compassion and harshness is perfect. He subjects his characters to every torment imaginable, but is so honest only because he loves them. He realises, like Hubert Selby Jr. before him, that his job as a writer is not to intervene and save Jim and Caroline from themselves, but to get out of the way and let events reach their inevitable conclusion.
As others have noted, the album is not a wholly depressing experience. The first half of the album is powered by the glam rock and music hall theatricality of Transformer, and is full of hooky melodies and more sass than a sassafras tree. It's a world away from an album to be admired but never listened to. The second half of the album, which charts Caroline's descent into suicide, is rendered in starker, more skeletal acoustic arrangements. But the melodies throughout are darkly beautiful. And when closer Sad Song explodes out of your speakers, the effect is almost redemptive despite the fatalism of it's lyrics.
2 of 3 people found the following review helpful
5.0 out of 5 stars Lou's Excorcism,
Personally, I always thought Lou was a better artist for his demons and his ability to express them. He needed Bob Ezrin to produce this outpouring of his emotional scars, it wasn't going to happen with Bowie's glam-happy-pop influence. His later stuff misses these dark satanic demons whereas in the earlier stuff they're often subdued by his co-contributors. His laconic tribute to Iggy on here - 'Oh Jim' (James Osterberg)- is seedy but tongue in cheek too. The other characters that populate these stories are well on the wild side of those in 'Walk on the Wild Side'. They're the scary underclass; lost, self-loathing beings who stalk the shadows of the ghettos if they get out at all. There's little glamour here - more stark, ugly, hideous reality - you get the picture?
Okay so it's desperate, gut-wrenching, bleek music but isn't that good sometimes? Something that'll prod you out of your comfort zone, stab at those painful emotions and expose your soul to the vultures? This occupies a unique niche in my collection (one of the first CD's I bought to replace my vinyl copy). Almost everything else is derivative or plagerised to some extent but no-one's been too close to this. Nothing here will be popping up in two weeks time as the music for a tampon or insurance commercial. I still play it often and, when I'm not, it still haunts my thoughts, ideas and perceptions. Buy this album, it may enrich your life but, if it doesn't, I really don't care too much - your loss. At least give yourself that opportunity.
2 of 3 people found the following review helpful
4.0 out of 5 stars Bleak, painful and beautiful,
The theme of this album is of a doomed relationship between the singer and "Caroline" his "Germanic Queen." It starts in a tone of anguished love, passes through violence and hatred and eventually, after Caroline's suicide, into pity and sadness.
Musically, much of the album has the form of a poem read with incidental music rather than of songs.
The tracks: "Caroline Says I" and "How do you think it feels" are the musical highlights of the album. On the latter, Aynsley Dunbar's drumming really works well. Indeed, the album contains a number of notable performances by some glittering names. Not the least is Jack Bruce's bass work on Men of Good Fortune.
Sad though the album is, it is not depressing. The content will pass some listeners by and the album certainly demands more than one hearing fully to appreciate its qualities.
Love it or hate it. There is no middle ground for most folks!
4 of 6 people found the following review helpful
5.0 out of 5 stars The record company hated it .....Just goes to show how wrong you can be,
Written a year after the commercial triumph that was "Transformer" ,Berlin released in 1973 , was viewed at the time by "Rolling Stone "magazine as a suicide note for Lou Reeds, career. "Goodbye Lou" they harrumphed smugly . Now Berlin , one of the most misunderstood albums in rock, is placed at number 344 in the magazines top 500.Like many a great album Berlin has undergone a critical renaissance and nowadays the consensus is that Lou Reed was right when he originally stated that Berlin is his masterpiece
Berlin is a harrowing rock opera about Jim and Caroline , a dysfunctional couple spiralling towards oblivion through drugs, violence and seedy sex. After Caroline has her children taken away by the authorities this is the last straw and she commits suicide. Reed has stated that Berlin used the then divided city as a metaphor for human discord and that he wanted to toy with the concept as though it were a play or a novel.
The resulting album is truly startling and memorable and unlike anything Reed had done before using fulsome orchestration , horns and a huge array of session musicians. These included Bob Ezrin on piano and mellotron who also produced , Jack Bruce on bass, Steve Winwood on organ and harmonium and Steve Hunter on electric guitar .Reed only contributed the acoustic guitar and the vocals of course.
Some of the songs on Berlin were re-drafts of songs that had been written and in some cases recorded earlier in Reeds career. "Sad Song" had been a demo for The Velvet Underground while "Caroline Says" is a re-write of "Stephanie Says" from "VU". The album was recorded in both New York and London at a time when Reed's marriage with his first wife was breaking up. Culminating of course in the much related tale of Ezrin locking his kids in a cupboard and telling them their mother had left so he could record their anguished wails for the song "The Kids". Ezrin has refuted this oft repeated tale and it's now accepted that the cries heard on the song are those of Ezrin,s son Joshua pleading to be let back into the house after finding the screen door locked.
When RCA first heard Berlin they were horrified-expecting Transformer 2 this dystopian trawl through others peoples misery and squalor seemed a deliberate act of sabotage. Like most record company executives they had ears made of plasticine. They failed to hear the wretched beauty of it all. Side two of the original vinyl pressing is one the most consummately gorgeous , poignant and empathetic of rock history. "Caroline Says II" , "The Kids" ,"The Bed" and the jaw dropping "Sad Song" produce miserable words set to fulsome melodies , a sleight of hand too subtle for the suits. The record company threatened not to release it at all and then trimmed 14 minutes off it so it went from a double album to a single. ( To be fair , it still works as a complete narrative)
One of the greatest albums of the 1970,s Berlin is also one of those albums like Big Stars "Sister Lovers" or "Engine" by American Music Club that inhabits a darker universe but still retains it's humanity. It is also a cautionary tale ,the sort of thing being played out in the tabloids everyday for the likes of Amy Winehouse and Britney Spears. Much like on it's release it seems not too many are listening .Their loss.
6 of 9 people found the following review helpful
5.0 out of 5 stars Reissue of 1973's masterpiece,
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This review is from: Berlin [Limited Edition Digipak] (Audio CD)
Lou Reed is a controversial one, his work following glam rock crossover Transformer (1972) being celebrated by some and relegated by others. 1989's New York seemed to be enjoyed by the critics, but ol' Lou seems to divide critics and listeners alike, some declaring albums like The Blue Mask, The Bells, Magic and Loss, Set the Twilight Reeling, Ecstasy, Coney Island Baby and (even!) Sally Can't Dance to be great works, as others object wildly. I guess pretty much everyone is in agreeememnt on The Raven though? Berlin, and its later reaction, Metal Machine Music, are something else though - so, here we are, in Berlin again - odd that people have raved over Reed's tour of Berlin directed by Julian Schnabel, while completely ignoring his recent Enoesque ambient LP!
The story of Berlin can be found in Reed's relationship with Nico, critics like Lester Bangs (who had many an encounter with Reed - see Psychotic Reactions & Carburettor Dung - as well as one chapter in Nick Kent's recently reissued The Dark Stuff) seemed to think this was just cruel. Reed's recent divorce may have been a catalyst, or perhaps he had viewed Transformer as a more commercial refinement of aspects of the Velvets - and now back to something more artistic. Maybe Lou considered some works "entertainments" and others more serious, like Graham Greene? Berlin falls into the latter group, like Gene Clark's No Other, it appears to have been intended to be a double LP that the record company nixed. Reed with producer Bob Ezrin (Alice Cooper, Pink Floyd) assembled a vast cast of supporting musicians including Steve Winwood, Blue Weaver & Jack Bruce and set about turning Reed's aural novel or musical film of the life of Caroline and Jim. I have the old CD reissue, and it sounds terrible compared to this - there are no extra tracks, just a remastered CD in a shiny paper sleeve with nice photos and lyrics in the booklet. So...well worth getting if you already have it...and I can't say I've listened to it since something like 1997/1998 when I cut out certain unhealthy albums like The Holy Bible and Dog Man Star...but boy, Berlin stands up. It probably is grumpy old Lou's masterpiece and one to file neatly alongside John Cale's Paris 1919 and Nico's Desertshore.
& these days, when people like to download the tracks they immediatly like to their MP3 player of choice, it's nice to be reminded that this is a very complete album. More complex and gruesome songs like Oh Jim, The Bed and The Kids probably didn't appeal on initial listening - though are probably my favourite now. I came to this LP with knowledge of a few tracks on the Retro compilation of the late 80s and Marc & the Mambas's cover of Caroline Says II (aka Caroline Says It- according to my ancient tape of it!). It should be noted that bits of Berlin did come out before - the title track was performed in Paris with Cale and Nico and featured on Lou's eponymous debut LP, while a trawl through bonus track/compilationville regarding the Velvets finds earlier versions of the songs that became Caroline Says II (Stephanie Says), Oh Jim (Oh Gin)and Sad Song. & How Do You Think It Feels takes its title from the closing refrain of Beginning To See the Light. So, the idea that all these songs came at the same time as one complete piece is a bit of a white lie - Reed and Ezrin did fashion all 10 songs into one cohesive whole though...
Since Berlin is a complete work, it seems churlish to offer a track-by-track analysis - this is one of those records, like Baader Meinhof or Jehovahkill or Los Angeles or Alice or The First Born is Dead or [insert suggestion here], that works as a definite whole and should be listened to in one 50-odd minute session. I do have favourites though, Caroline Says II will always be a joy with those lines, "she's not afraid to die/All of her friends call her Alaska/When she takes speed/They laugh and ask her, "What is in her mind?" - a complete joy. There is a Cale comment on Lou's difficult teenage years, ECT (alluded to in Kill Your Sons) and putting his fist through a window pane - a lyric that recurs in Caroline Says II, so Berlin is partly about Lou as it is Nico, or Caroline and Jim...
I always felt that Caroline Says I is a pretty good idea of this album, if you want one track that gets the slightly bombastic, highly literate and mildly proggy album - it's all here, though it's a bit joyful, which probably doesn't capture the feel of the title track or wrist slitters like The Bed and The Kids. Oh well...I think the latter half of the LP is probably its strongest part, Oh Jim starts off with an odd rhythm that predicts a record like My Life in the Bush of Ghosts before demented jazz comes in, and finally a gorgeous stripped lone guitar and vocal. Perhaps that's the song with everything in? The Kids is the one that will scare many, I once played it to a female I knew and she said it reminded her of the Blair Witch Project (which had just come out) - the rumour is that Ezrin or Reed locked Ezrin's kids in a cupboard, told them that their mother wasn't coming home and recorded the crying and screaming. This is funny and cruel and, if true, I hope they get a royalty payment for performance. The real low has to be The Bed, a cold take on a suicide - the Perfect Day-expansion of Sad Song is one that is very welcome thereafter...
Berlin stiffed, or at least threw Lou off kilter after the relative pop success of Transformer. The rest of the 70s would be quite confused, from sarcastic dumb pop in Transformer mode (Sally Can't Dance - though Kill Your Sons is brilliant), the FU that was Metal Machine Music, the neglected The Bells and albums that were decidely hit and miss - Coney Island Baby, Street Hassle, Rock and Roll Animal. It's nice that Mr Reed is revisiting it, I do hope that a DVD/CD set comes out with that show on, particularly as it didn't venture much into the UK and the closest I got was an episode of BBC2's The Culture Show. A fine reissue of an album that should now be declared a masterpiece, and with that lovely bit of trivia that Reed hadn't been to (West)Berlin at the time. Berlin, of course, a state of mind - Bowie and Iggy and everyone else would follow in the years after...
8 of 12 people found the following review helpful
5.0 out of 5 stars Excessive highlight of Lou's 70s.,
The 70s were an odd time for Lou Reed- following his last Velvets album (the great Loaded)he went back to his parents & even held an office job. Then came the patchy eponymous debut album & then the hit Bowie-Ronson collaboration Transformer (which I'm allergic to, having listened to it constantly in my teens, as you do). Now Lou was a bit upset, being viewed as a pantomime/drag version of his earlier self- see Nick Kent's The Dark Stuff or Lester Bangs' Psychotic Reactions&Carburretor Dung. He hit upon the idea of doing a double-concept album of the real deal Lou...and at a later date he vomited up these 9-tracks.
It's bleak stuff, though I think it has a deranged sense of black comedy- The Kids famously having the cries of "Mummy" from Ezrin's daughters- who he had locked in a cupboard & told them their mom was not coming home (then the mic captured their reaction). Yes, it's that kind of album...
Prog-producer Bob Ezrin perfectly captures Lou's grandiose ambitions, supported by a cast of musicians including Jack Bruce, Steve Hunter, Tony Levin, Blue Weaver & Steve Winwood. Even stranger was the fact that Lou hadn't been to Berlin at the time- the title track sounding like Lou drunkenly lost in Visconti's The Damned (Lou would do a version of the title track in Wim Wender's sequel to Wings of Desire, Faraway So Close!. In Berlin...)
Lady Day has a lot of that sturm'n'drang thing- much of this album has been read as a slightly disguised interpretation of Nico's life. Which was not nice: "She had to go insane/It had to be that way". Though the lyrics to Caroline Says II talk about punching through a window pane- something Lou told John Cale, who told Nick Kent about it in The Dark Stuff (so some of it could be seen as autobiographical, as the later song Kill Your Sons, regarding ECT Lou was administered).
Most of this album is great, even if tracks like Men of Good Fortune & How Do You Think it Feels are desperately OTT. Caroline Says I is almost perky, falling romantic strings at odds with the downbeat nature of the rest of the album: "She is my Germanic Queen/Yeh, she's my Quee-ee-een!"
Oh Jim is the centrepiece of the album, musically having more in common with early Peter Gabriel material like Moribund the Burgermeister. The brass seems to be the recurrent motif of the album- summing up the sleaze & depravity (there's also a lovely, if scary, acoustic part towards the end). Caroline Says II is probably the best song here, despite being esentially a rewrite of the early VU-outtake Stephanie Says (see also Candy Says). It's maudlin stuff, down there with Cohen, Hardin ,Buckley, Van Morrison in Astral Weeks-mode: the usual suspects.
The Kids has some of the nastiest lyrics one will ever find (& those child screams!); The Bed doesn't help things. It opens with some beautiful acoustic guitar work- but is much darker when Lou tells us "this is the place where she layed her head...this is the place our children were conceived...this is the place where she cut her wrists/that odd & fateful night"- this shows Suede's Dog Man Star (1994) for what it really is: a nancyboy photocopy of this album. The Bed is probably my favourite song here, not that it's a very healthy track to be enamoured with.
The album ends with the oblique beauty of Sad Song- the end of credits song for the movie you were glad not to live yourself. Berlin, despite its many negative qualities, is the best Lou work of the 70s- a period when I think he made some very patchy records (Metal Machine Music apart!). He would make some much greater albums in the following decade- 1982's The Blue Mask & 1989's New York being up there with the best work of his career. This also makes lots of sense when listened to next to John Cale's Music for a New Society (1982): though lock any pills away, hide the razor-blades etc!
3 of 5 people found the following review helpful
5.0 out of 5 stars A joyous, uplifting dancefloor masterpiece.,
If you're not familiar with the work of one-man fun-factory Lou Reed, this is probably the best place to start your journey. From the four-to-the-floor stomp of hi-nrg classic "Berlin", through to the proto-handbag-house euphoria of "Sad Song" (don't be fooled by that gloomy title!), this album is guaranteed to get your party started right every time.
It's a concept album of sorts, and many of the songs deal with the perils of one Caroline - a zany party girl who likes to burn the candle at both ends. If that sounds a bit heavy, don't worry: this is Lou Reed we're talking about here, and you're never more than a few seconds away from the next LOL as you dance along.
I don't normally like songs with kids on (a bit too Pink Floyd for my taste), but for me, the zippy and thoroughly life-affirming "The Kids" is the standout track here. This being a song about the sheer energy of youth it's every bit the floor-filler you'd expect, and if you listen carefully you can just about hear the happy screams of the producer's children as they bopped wildly in the studio during the session.
Probably one of the best all-round good-time albums you're ever likely to hear; buy it, enjoy it, live it. So rinsin', in fact, that you might just think you're on one.
3 of 5 people found the following review helpful
4.0 out of 5 stars I think i'm about to puke ! !,
There's some music that's recorded with the intention to be admired at least as much as enjoyed and Berlin fits well and truly into that category.
It's actually a concept album who's subject matter is particuarly shocking. Drug abuse, sex and beatings even when mentioned in popular song has never been recounted in such explicit terms before or (as far as i know) since. Lou's icy cold retelling is at times truly horrific and the use of bombastic backing music including sax. trumpet and a choir and the voices of screaming childen is enough to keep even the hardest hearted awake at night.
Actually Berlin whatever its unpleasantness turns out to be one of Lou's most fully realised offerings. He was certainly unflinching in his intention to see it through and i don't believe there's a weak moment on the entire album. The title track 'Berlin' originally appeared on Lou's debut album 'Lou Reed' only here it's been shortened and a little slower and 'Caroline Says' originates from the Velvet Underground song 'Stephanie Says'.
It's certainly not an album i like to linger on although i do enjoy playing individual tracks from time to time. It's probably the most decadent album ever made.
Producer Bob Ezrin found it a grueling experience to work on when he muttered the immortal words ' get this turkey wrapped up quick - i think i'm about to puke !'
Nevertheless it does stand as a true Lou Reed classic.
1 of 2 people found the following review helpful
5.0 out of 5 stars Probably the best Lou Reed album ever,
By A Customer
A relationship founders in Berlin. Children being taken away from their mother - screaming. Suicide. The usual heart-warming stuff from Lou Reed. Yet this is one of the most beautiful albums I own. The arrangements and playing are wonderful, and the story is perversely uplifting - cathartic even. You can't honestly describe yourself as any sort of Lou fan if you don't love this record.
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