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More often than not I disagree with the critics' assessment of Lou Reed albums. There are some great melodic songs here, like the poignant Billy that tells the story of a childhood friend, the fierce Kill Your Sons (an autobiographical narrative of psychiatric shock treatment), the title track with its nervous but gripping rhythm, and New York Stars which is reminiscent of tracks like New York Conversation and Vicious from Transformer. Just like on the latter album, an atmosphere of decadence pervades the work. Sure, the attitude is cheap, nasty and cynical (except on Billy) but it works in the context and Lou uses his best singing voice here for a change. The arrangements are fine and the music is very accessible overall. Those who like albums like Transformer and Berlin should find enough to appreciate on Sally Can't Dance.
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TOP 500 REVIEWERon 12 March 2014
I am not entirely clear why Lou Reed supposedly disliked this album.

It is not his strongest release, but it has a whole lot going for it. Like many of his albums, he turns story teller and offers up a good selection of compositions. We have some great rock 'n' roll, some more subtle offerings and some great saxophone.

The album is quite strong on melody and hangs together well - worth seeking out.
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TOP 500 REVIEWERon 12 March 2014
I am not entirely clear why Lou Reed supposedly disliked this album.

It is not his strongest release, but it has a whole lot going for it. Like many of his albums, he turns story teller and offers up a good selection of compositions. We have some great rock 'n' roll, some more subtle offerings and some great saxophone.

The album is quite strong on melody and hangs together well - worth seeking out.
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TOP 500 REVIEWERon 12 March 2014
I am not entirely clear why Lou Reed supposedly disliked this album.

It is not his strongest release, but it has a whole lot going for it. Like many of his albums, he turns story teller and offers up a good selection of compositions. We have some great rock 'n' roll, some more subtle offerings and some great saxophone.

The album is quite strong on melody and hangs together well - worth seeking out.
0Comment|Was this review helpful to you?YesNoReport abuse
TOP 500 REVIEWERon 12 March 2014
I am not entirely clear why Lou Reed supposedly disliked this album.

It is not his strongest release, but it has a whole lot going for it. Like many of his albums, he turns story teller and offers up a good selection of compositions. We have some great rock 'n' roll, some more subtle offerings and some great saxophone.

The album is quite strong on melody and hangs together well - worth seeking out.
0Comment|Was this review helpful to you?YesNoReport abuse
TOP 500 REVIEWERon 12 March 2014
I am not entirely clear why Lou Reed supposedly disliked this album.

It is not his strongest release, but it has a whole lot going for it. Like many of his albums, he turns story teller and offers up a good selection of compositions. We have some great rock 'n' roll, some more subtle offerings and some great saxophone.

The album is quite strong on melody and hangs together well - worth seeking out.
0Comment|Was this review helpful to you?YesNoReport abuse
More often than not I disagree with the critics' assessment of Lou Reed albums. There are some great melodic songs here, like the poignant Billy that tells the story of a childhood friend who died in Vietnam, the fierce Kill Your Sons (an autobiographical narrative of psychiatric shock treatment), the title track with its nervous but gripping rhythm, and New York Stars which is reminiscent of tracks like New York Conversation and Vicious from his classic Transformer album. Just like on the latter, an atmosphere of decadence pervades the work. Sure, the attitude is cheap, nasty and cynical (except on Billy which is a tender song of regret) but it works in the context and Lou uses his best singing voice here for a change. The arrangements are fine and the music is very accessible overall. Those who like albums like Transformer and Berlin should find much to appreciate on Sally Can't Dance.
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on 9 November 2013
It's said that Lou hated this album as do many critics. Well, I liked it at the time it came out and like it even more now. It's certainly commercial though no more so than Transformer which is considered a classic and the lyrics indicate that Lou wasn't in a particularly good place when writing it but there is also humour to be found in them and the whole thing has an atmosphere that I just like. The band is very good and so are the arrangements. Animal Language, for example, may be lyrically silly but the music is excellent. There's a funky feel to quite a few of the songs which is very much of its time considering Bowie did Young Americans and the Stones Black and Blue during the same period. For me, the run of Lou Reed albums from the first through to Coney Island Baby were all sublime and this is no exception. The bonus track on this release is very good too.
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on 25 October 2006
I read elsewhere on amazon that this album is execrable. Aaaah the joys of human perception. I believe even Lou hates this one But! not the story from where I sit. This is a joy. The band are so good on this, ss anyone who saw the band on tour will testify. Reed picked up the leftovers of New York band Rinoceros and what a sound. Danny Weiss scratchy guitar playing - fantastic. Like the trick the Beatles use all the time - just wee bits of promise on the fade outs or phrases used once and never again.

Title track smoothed over for the NYC man compilation. Live versions of Kill Your Sons released instead of the real one. Even Animal Language - free from the shackles of being literate Reed shows his rythmic lyrical genius.

Sometimes being Lou must be a heavy burden - on this one he went out incognito for a while. If you don't like it you're a snob.
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