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Customer reviews

4.7 out of 5 stars
43
New York
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Price:£8.19


on 22 November 2017
"Transformer" is okay, perhaps most interesting because of its Bowie / Ronson involvement. "Berlin" is better but very "dark" for many people's taste. But "New York" is surely Lou Reed's best album. High energy, great songs. Highly recommended.
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on 25 March 2017
This album has aged well. I recently got a copy, having owned it on vinyl all those years ago. The production is crisp and unfussy and Lou sings great on every track. This is a very strong collection of songs, with no weak tracks spoiling the flow. Love it.
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on 16 June 2017
fab
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on 29 August 2017
All very perfect
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on 13 November 2017
Marvellous
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on 3 December 2013
Hi amazoneans started following lou reed as a 70s rocker,the guy was not only brilliant,he was thirty years ahead of his time!(may he rock in peace).This folks is one of the best dammed albums you will ever listen to,no matter what your taste.bumper.
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TOP 500 REVIEWERon 1 March 2013
This 1989 masterpiece from Brooklyn's finest is (certainly for 1989) something of a blast from the past, representing as it does one of the most virulent 'protest albums' I can recall hearing (though perhaps not surprising, given that it came at the end of two presidential terms of Ronald 'cupcake' Reagan). And, I guess, as they say, protest and disaffection often provoke great levels of creativity - as is evidenced by New York, whose consistent levels of musical and (particularly) lyrical dexterity make this album just possibly my favourite ever solo work by Reed.

New York really represents something of a 'back to basics' approach for Reed as the album's sound reverts to a predominantly small band (and quite sparse) sound, with Rob Wasserman's electric upright bass and album co-producer Fred Maher on drums lending a generally (though not exclusively) light touch. The band's overall sound therefore gives Reed's guitar plenty of room for a number of nicely judged solos and his (and Mike Rathke's) guitar(s) consistently impress. Strangely enough, the album's generally light sound adds a nice touch of dark irony for what is one of Reed's most angry set of songs. There is a pervading theme of despair with the broken state of urban New York, as Reed laments in the face of (perhaps ironically) promiscuous lifestyles (Halloween Parade), lack of concern for the environment (The Last Great American Whale), religion (Busload Of Faith), Vietnam (the sublime Xmas In February) and just about everything else (in the hilariously light Sick Of You and the rocking Hold On).

There is another brilliant example of 'light irony' on (for me) one of the album's highlights, Endless Cycle, with its apparently hopeless plea against family histories of addictions to drugs, drink and violence. Similarly, both Dirty Boulevard (with its reference - one of a number - to the 'statue of bigotry') and the call to action that is There Is No Time ('this is no time for my country right or wrong remember what that brought') are both intoxicatingly vibrant. Good Evening Mr Waldheim, on the other hand, is a brilliantly inventive gem with a compelling rhythm and hook, in which Reed targets all and sundry, from the Austrian president (at the time of New York's recording) and (alleged) Nazi sympathiser, Kurt Waldheim, through to Jessie Jackson, outspoken Islamist Louis Farrakhan and the Pope ('can anyone shake your hand or is it just that you like uniforms and someone kissing your hand'). And, finally, to the album's other real rocker, the superb Strawman, on which Reed's guitar again excels (in feeling rather than technique per se) and his lyrical targets include wasteful affluence (movies, movie stars, $60K limos, space rockets/shuttles, skyscrapers), corrupt politicians, racist preachers and TV evangelists (in particular, Jimmy Swaggart).

Simply a must-have album, and one that, as Reed's sleeve notes suggest, should be listened to in its entirety in order to be able to fully absorb the album's message.
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on 15 June 2006
In 1989- seventeen years on from 'Transformer' his most acclaimed work, Lou Reed turned his attention to the sleazier side of his hometown to find inspiration for 'New York'- his fifteenth solo studio album.
He writes in his liner notes that 'New York' should be taken in one sitting, as if it were a film or play, and after listening it's not difficult to see why. From beginning to end the listener is taken on a musical tour through the drug fuelled, crime - ridden, destitute streets of the Big Apple - which at the time was one of the most dangerous cities on earth.
The album kicks off with Reed's '1-2-3-4' counting - in the opening bars of 'Romeo Had Juliet' with it's dark,twisted lyrics -"Caught between the twisted stars,the plotted lines,the faulty map that brought Columbus to New York."
The musical pace then slows down with 'Halloween Parade (AIDS)' but then leads into arguably the finest song on the album - the perverse, yet mesmeric 'Dirty Blvd'. With it's dirty guitar riff and hollow snare drum it's a tale of Pedro, a young kid with nine siblings living in a squalid squat and beaten by their father - fellow New Yorker Dion Dimucci appears on backing vocals.
The stark and disturbing theme of child abuse continues on 'Endless Cycle' with it's detached, simple guitar loop.
'There Is No Time' rocks along vibrantly while the subdued 'Last Great American Whale' is poignant in it's subject - the destruction of our natural environment and fellow creatures.
Lou also vents his spleen from several directions - attacking politicians ('Good Evening Mr Waldheim' and 'Strawman') and the treatment of Vietnam vets ('Xmas In February')-'Sam stares at the Vietnam wall,it's been a while now that he's home,his wife and kid have left,he's unemployed,he's a reminder of the war that wasn't won'.
Genius a much overused word but it comes close to describing the lyrics on this album. The music is exceptional here as Lou surrounds himself with guitarist Mike Rathke and the rythym section of Rob Wasserman and Fred Maher give the album a tight and raw garage feel.Ex Velvet Underground drummer Maureen Tucker plays on the Andy Warhol tribute'Dime Store Mystery'.
'New York' is widely regarded as Lou Reed's masterpiece and on it's release Lou said that this is as good as he gets.
Artists tend to say this, but although decades have passed since it's release, many of us would find it difficult to disagree with Lou's statement.
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on 7 March 2014
This album was a real return to form for Lou.

It is very strong on narrative - he has a host of stories to tell about life in New York, often focussing on the underbelly of society.

Reed proves what we all knew - that he is a poet - his words and prose resonate and the accompaniment, whilst often sparse, is well measured.

I have found myself playing this on a regular basis - it is quite a compulsive listen.
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on 16 November 2002
Lou Reed closed out the 80's with his best album in a long time, not only is it art but it is street art.

When I say that I mean the tales of "New York" that Mr Reed has woven about the life on the mean streets of one of the world's capitals come across as so real as to create the smells and sounds of what he is singing about.

The delivery that Mr Reed can't really be called singing, it's more like talking in pitch. The wordplay that is used to great effect here is like a modern day "Mickey Spillane" or "Raymond Chandler" novel. As always Lou has a swipe at the America society with humour and intelligence that is his trade mark.

This album is both well produced and played and will be around a long time for people who like their music with a sting in the tale, so do your self a favour and buy it and buy it NOW...
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