Lou Reed -

Lou Reed (March 2, 1942 — Oct. 27, 2013) was an American singer, musician, and songwriter from Brooklyn who emerged as the Velvet Underground frontman. He charted with “Walk On the Wild Side” from his 1972 album Transformer, a rock/burlesque set followed with Berlin, a concept album steeped in Wiemar cabaret. He released eleven further studio albums through 1986, culminating with his 1989 rock-poetry cycle New York. Across three decades, his records used amplified feedback and spoken urban reportage.

Background

Lou Reed was born Lewis Allan Reed on March 2, 1942, in Brooklyn, New York. His parents, accountant Sidney Joseph Reed and Toby Futterman Reed, raised Lou and younger sister Merrill in Freeport, Long Island.

Reed taught himself guitar from radio broadcasts and learned rhythm-and-blues and doo-wop repertory. He formed The Jades with lead singer–guitarist Phil Harris and singer Alan Walters at Freeport Junior High School. The trio drew notice at a school talent show and cut “So Blue” b/w “Leave Her for Me” in a 1958 Time Records release. Reed played guitar and backing vocals on the single; producer Bob Shad added saxophonist King Curtis to the session. He entered New York University in 1959 but returned to Freeport after a psychiatric crisis and received electroconvulsive treatment at Creedmoor State Hospital.

Reed entered Syracuse University in fall 1960 and changed his major from journalism to English. Poet Delmore Schwartz taught his creative-writing courses and became a central literary mentor. Reed hosted Excursions on a Wobbly Rail on WAER, where he programmed rhythm and blues alongside free jazz. He also led L.A. and the Eldorados at fraternity houses and clubs across central New York. Reed graduated cum laude from Syracuse College of Arts and Sciences in June 1964 with a BA in English. He returned to New York City later that year and joined Pickwick Records in Long Island City as a staff songwriter.

Reed wrote sound-alike pop for singles and budget albums, then sang and played guitar on Pickwick sessions. Staff producer Terry Philips selected him to front the Primitives on “The Ostrich,” a novelty single built on a one-note guitar tuning. Philips recruited bassist John Cale, guitarist Tony Conrad, and percussionist Walter De Maria for promotional appearances. Cale came from classical study at Goldsmiths College and sustained-tone experiments with La Monte Young’s Theatre of Eternal Music.

The Velvet Underground

The Primitives played several East Coast dates before Reed and Cale continued their own songs away from Pickwick. Reed brought guitarist Sterling Morrison into rehearsals. Cale recruited drummer Angus MacLise from the Lower East Side circle around 56 Ludlow Street. The quartet worked as the Warlocks and the Falling Spikes before Tony Conrad lent them Michael Leigh’s paperback The Velvet Underground. The musicians adopted the title before a December 1965 booking at Summit High School. MacLise quit before the paid engagement, and Maureen Tucker replaced him for the December 11 concert in New Jersey. Andy Warhol encountered the band at Café Bizarre later that month and assumed management. He added singer Nico and placed the group in the Exploding Plastic Inevitable, a series of multimedia shows with the artist’s Factory stable.

The Velvet Underground released The Velvet Underground & Nico and White Light/White Heat with Cale, then The Velvet Underground and Loaded with Doug Yule. Reed wrote most lyrics and sang most lead parts across the four albums. He divided guitar work with Morrison and rooted many songs in doo-wop and rhythm-and-blues structures. Reed wrote about New York drug transactions and sexual encounters, then turned later songs toward memory and private relationships. Cale shaped the early arrangements with electric viola, organ, piano, bass, and sustained drones. He stretched Reed’s compact forms through long tones and open-ended group improvisation.

Reed forced Cale from the lineup in September 1968 and brought in bassist–keyboardist Doug Yule. Yule added guitar and harmony vocals to his bass and keyboard roles. He shared lead vocals on the third album and sang four selections on Loaded. Reed moved toward quieter dynamics and shorter structures after Cale’s exit, while Yule supported fuller vocal harmony on the later records.

Reed left the Velvet Underground after the August 23, 1970, performance at Max’s Kansas City, before Cotillion issued Loaded. Yule carried the Velvet Underground name for one further album. Reed returned to the family home in Freeport and worked as a typist in the family tax-accounting office. He recorded acoustic demos at home and wrote poetry. RCA A&R executive Dennis Katz signed Reed to a solo contract and scheduled London sessions. Reed entered Morgan Studios with producer Richard Robinson in December 1971 and completed his self-titled solo debut for RCA.

Lou Reed

Reed released his self-titled debut solo album in May 1972 on RCA Victor.

The album recast eight songs from the Velvet Underground repertoire and added “Going Down” and “Berlin.” British session players included guitarists Steve Howe and Paul Keogh, keyboardist Rick Wakeman, bassist Brian Odgers, and drummer Clem Cattini.

“I Can’t Stand It” charges through a wiry guitar riff as Reed spits each phrase over backing replies. “Going Down” slouches beneath prominent piano and busy percussive fills, while Reed darkens each phrase with worn restraint. “Walk and Talk It” barrels through sharp turns and a blunt street-corner refrain. “Lisa Says” drifts through a gentle, shaded setting before Reed lifts a bruised farewell.

“Berlin” lingers in lounge-lit verses, then opens into an impassioned chorus. “Love Makes You Feel” settles on a plain romantic line and an unguarded plea. “Ocean” swells from metallic flourishes into a reverberant incantation, then recedes toward a final gong.

A1. “I Can’t Stand It” (2:34)
A2. “Going Down” (2:53)
A3. “Walk and Talk It” (3:38)
A4. “Lisa Says” (5:29)
A5. “Berlin” (5:13)

B1. “I Love You” (2:16)
B2. “Wild Child” (4:39)
B3. “Love Makes You Feel” (3:09)
B4. “Ride into the Sun” (3:13)
B5. “Ocean” (5:04)

Sessions spanned December 1971 through January 1972 at Morgan Studios in London, where Reed and Richard Robinson produced with engineer Mike Bobak. Robinson came to the project after producing Flamin’ Groovies’ Teenage Head; Bobak worked as part of Morgan’s in-house engineering staff.

Illustrator Tom Adams designed the cover, which joined a painted portrait with a photographic rear sleeve by Ronn Campisi. Adams was then known for his Agatha Christie paperback designs.

RCA issued “I Can’t Stand It” as a 1972 single (b/w “Going Down”). The album reached No. 189 on the Billboard 200 album chart.

Transformer

Lou Reed released his second album, Transformer, in November 1972 on RCA Victor.

David Bowie and Mick Ronson reshaped Reed’s songs through string parts, brass accents, layered backing singers, and a smaller rhythm section. Guitarist Ronson plays backup along with bassist Herbie Flowers, saxophonist Ronnie Ross, drummer John Halsey, and backing trio Thunderthighs.

“Vicious” snarls through a jagged guitar riff as Reed fires sardonic phrases. “Andy’s Chest” coils from a spare opening into hypnotic backing replies. “Perfect Day” slows to deliberate piano figures, then swells into strings before an ominous coda. “Hangin’ Round” barrels through a driving boogie and excitable taunts. “Walk on the Wild Side” saunters on doubled ascending and descending bass slides while Reed parcels five character sketches into dry, conversational lines; wordless “doo doo doo” replies mark later transitions before baritone saxophone curls through fade.

“Make Up” preens around a tipsy tuba figure and declarative chant. “Satellite of Love” surges from a cool break into a horn-shaded crescendo. “Wagon Wheel” careens through hard-charging passages, then drops into hushed asides. “I’m So Free” claps through an exuberant city chant. “Goodnight Ladies” sways through woozy brass and a saloon farewell.

A1. “Vicious” (2:55)
A2. “Andy’s Chest” (3:17)
A3. “Perfect Day” (3:43)
A4. “Hangin’ ’Round” (3:39)
A5. “Walk on the Wild Side” (4:12)

B1. “Make Up” (2:58)
B2. “Satellite of Love” (3:40)
B3. “Wagon Wheel” (3:19)
B4. “New York Telephone Conversation” (1:31)
B5. “I’m So Free” (3:07)
B6. “Goodnight Ladies” (4:19)

Sessions took place in August 1972 at Trident Studios in London, where Bowie and Ronson produced with engineers Ken Scott and Mike Stone. Scott also engineered Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars at Trident that year.

Ernst Thormahlen directed the sleeve design around Mick Rock’s front portrait and Karl Stoecker’s rear photograph. Rock also photographed Bowie’s Ziggy Stardust period, while Stoecker supplied imagery for the first three Roxy Music albums.

RCA issued “Walk on the Wild Side” in November 1972 (b/w “Perfect Day”); the single reached No. 16 on the Billboard Hot 100 and No. 10 on the UK chart. “Satellite of Love” and “Vicious” followed as singles. Transformer reached No. 29 on the Billboard 200 and No. 13 in Britain.

Berlin

Lou Reed released his third album, Berlin, in October 1973 on RCA Victor.

The ten-song cycle follows Jim and Caroline through addiction and violence. Separation leads to family collapse. Producer Bob Ezrin expanded Reed’s core performances with guitarist Steve Hunter, bassist Jack Bruce, drummer Aynsley Dunbar, keyboardist Steve Winwood, brass players Michael and Randy Brecker, orchestral arrangements, and a children’s chorus. Reed wrote all ten selections, including new treatments of “Berlin” and the Velvet Underground-era “Stephanie Says,” retitled “Caroline Says II.”

“Berlin” broods beneath severe piano blows, with Reed narrating from a distant room. “Lady Day” swirls through seedy organ phrases and feverish theatrical turns. “Men of Good Fortune” lopes between languid lines and staccato retorts. “Caroline Says I” gallops beneath syrupy orchestration before band and orchestra collide in outro. “How Do You Think It Feels” descends through a stark opening into tawdry stage-show turns. “Oh, Jim” grinds on a mechanical beat and blunt brass bursts, then dissolves into an acoustic lament.

“Caroline Says II” shivers beneath wind chimes and glacial Mellotron, then swells toward a searing climax. “The Kids” crumbles through a ragged nursery-song figure as recorded children overwhelm Reed’s restrained delivery. “The Bed” drifts through an acoustic lullaby and spectral backing phrases before an eerie electronic swarm. “Sad Song” ascends through spiralling strings and choir toward an expansive finale.

A1. “Berlin” (3:23)
A2. “Lady Day” (3:40)
A3. “Men of Good Fortune” (4:37)
A4. “Caroline Says I” (3:57)
A5. “How Do You Think It Feels” (3:42)
A6. “Oh, Jim” (5:13)

B1. “Caroline Says II” (4:10)
B2. “The Kids” (7:55)
B3. “The Bed” (5:51)
B4. “Sad Song” (6:55)

Basic sessions occurred in June and July 1973 at Morgan Studios in London, with overdubs completed at CTS Studios in London and Record Plant facilities in New York. Ezrin produced with an engineering team led by Jim Reeves, Peter Flanagan, Robin Black, Dennis Ferrante, and Shelley Yakus. The producer also completed Alice Cooper’s Billion Dollar Babies that year.

Pacific Eye & Ear designed the gatefold package around a staged domestic tableau and lyric booklet. The Los Angeles studio also created Alice Cooper’s cardboard-carton sleeve for Muscle of Love in the same period.

On the charts, Berlin reached No. 98 on the Billboard 200 and No. 7 in Britain.

Sally Can’t Dance

Lou Reed released his fourth album, Sally Can’t Dance, in September 1974 on RCA Victor.

The album marked his first solo studio project recorded entirely in the United States and contained no remade Velvet Underground songs. Keyboardist Michael Fonfara, guitarist Danny Weis, bassist Prakash John, drummer Whitey Glan, and a brass section formed the main studio cast; former Velvet Underground bassist Doug Yule joined “Billy.”

“Ride Sally Ride” parades through ornate brass and female replies before gospel accents drive a theatrical close. “Animal Language” yelps through barked and meowed interjections amid blunt brass bursts. “Baby Face” slouches beneath organ chords and sparse guitar fills.

“Kill Your Sons” stomps on a heavy riff as Reed spits each scarred recollection. “Ennui” ambles beneath piano chords while Reed drawls a bleak forecast. “Sally Can’t Dance” slinks around a rubbery bass figure and bright backing replies. “Billy” drifts through an acoustic setting as persistent saxophone shadows Reed’s measured narration.

A1. “Ride Sally Ride” (4:06)
A2. “Animal Language” (3:05)
A3. “Baby Face” (5:06)
A4. “N.Y. Stars” (4:02)

B1. “Kill Your Sons” (3:40)
B2. “Ennui” (3:43)
B3. “Sally Can’t Dance” (4:12)
B4. “Billy” (5:10)

Sessions spanned March through April 1974 at Electric Lady Studios in New York, where Reed and Steve Katz produced with engineer Mike Stone and remix engineer Ralph Moss. Stone also engineered the 1974 Queen album Queen II.

David Edward Byrd illustrated the cover from a concept by Dennis Katz, with art direction by Acy Lehman and photography by Mick Rock. Byrd brought experience from Fillmore East concert posters and Broadway advertising.

RCA issued “Sally Can’t Dance” as a 1974 single. The album reached No. 10 on the Billboard 200, Reed’s highest US album position.

Rock ’n’ Roll Animal

Lou Reed released his first live album, Rock ’n’ Roll Animal, in February 1974 on RCA Victor.

The five-track set recast Velvet Underground and solo material through arrangements led by guitarists Steve Hunter and Dick Wagner. Bassist Prakash John, drummer Pentti Glan, and keyboardist Ray Colcord completed the touring group. Hunter co-wrote the opening instrumental;

“Intro/Sweet Jane” unfurls through a long twin-guitar prologue before interlocked lines detonate into Reed’s blunt entry. “Heroin” surges between suspended passages and accelerating runs as harmonized leads give way to an organ interlude.

“White Light/White Heat” careens on a tightened riff and rapid replies. “Lady Day” strides through an amplified reading as Reed replaces studio reserve with harsh declamation. “Rock ’n’ Roll” barrels through an exuberant account before a wah-wah figure spirals into a celebratory jam.

A1. “Intro / Sweet Jane” (7:55) – Hunter / Reed
A2. “Heroin” (13:05) – Reed

B1. “White Light/White Heat” (5:15) – Reed
B2. “Lady Day” (4:00) – Reed
B3. “Rock ’n’ Roll” (10:15) – Reed

The recording came from Reed’s December 21, 1973, concert at Howard Stein’s Academy of Music in New York. Reed and former Blues Project guitarist Steve Katz produced with engineer Gus Mossler.

Acy Lehman directed the sleeve, which used concert photography by DeWayne Dalrymple. Lehman also supervised RCA packages for Sally Can’t Dance and Coney Island Baby.

RCA issued “Sweet Jane” as an April 1974 single. The album reached No. 45 on the Billboard 200 and No. 26 on the UK chart. A 2000 remaster added “How Do You Think It Feels” and “Caroline Says I” from the same concert.

Metal Machine Music

Lou Reed released his fifth studio album, Metal Machine Music, as a double LP in July 1975 on RCA Victor.

The four-side electronic composition layers guitar feedback recorded at varied speeds and assigns separate material to each stereo channel. Reed created and produced the recording alone; side four ends in a closed-loop runout on the original LP.

“Metal Machine Music, Part I” seethes from a low-mid guitar-feedback whoosh into electric rattle, high squeals, and a ringing harmonic squall as tremolo pulsations sustain constant micro-shifts. “Metal Machine Music, Part II” spirals from a brief lower-frequency entrance as each stereo channel carries a different midrange layer.

“Metal Machine Music, Part III” flickers with atonal arpeggio-like runs and pseudo-repeating motifs inside continuously modulated feedback. “Metal Machine Music, Part IV” churns from a brief low-frequency blast toward late lower-register rumbles, then repeats its final fragment in a circular loop.

A1. “Metal Machine Music A-1” (16:01)

B1. “Metal Machine Music A-2” (16:01)

C1. “Metal Machine Music A-3” (16:01)

D1. “Metal Machine Music A-4” (16:01 or ∞)

He recorded the work in his Manhattan loft with guitars, amplifiers, microphones, and a Uher tape machine. Mastering engineer Bob Ludwig prepared the original lacquers after handling Reed’s recent RCA releases.

Reed and RCA art director Acy Lehman designed the cover around an amber-tinted portrait and dense technical notes. The package continued their work from Reed’s two preceding RCA sleeves.

RCA removed the album from distribution several weeks after release. Buddah reissued it on compact disc in 2000 with notes by David Fricke, while Reed’s Sister Ray label issued a 2010 remaster across vinyl, audio DVD, and Blu-ray formats.

Coney Island Baby

Lou Reed released his sixth studio album, Coney Island Baby, in December 1975 on RCA Victor.

A four-player unit places guitarist Bob Kulick, bassist Bruce Yaw, and drummer Michael Suchorsky around Reed. “She’s My Best Friend” came from the Velvet Underground repertoire; the remaining selections appeared here for the first time.

“Crazy Feeling” skips over cheerful guitar figures, church bells, and warm backing replies. “Charley’s Girl” saunters through brisk strums and recurring doo-doo replies. “She’s My Best Friend” unfurls from delicate figures into a theatrical set piece, then loosens into a closing jam. “Kicks” creeps along a repeating bass chord as tape fragments thrust scattered party chatter into view.

“A Gift” lounges through a lackadaisical line while Reed delivers a sly mock boast. “Ooohhh Baby” barrels on a raunchy riff as Reed rushes each phrase toward a forceful break. “Nobody’s Business” shuffles through group replies before tightening into a harder ride marked by cymbal flourishes. “Coney Island Baby” drifts through a slow, delicate line as repeated phrases turn adolescent memory into an intimate pledge.

A1. “Crazy Feeling” (2:56)
A2. “Charley’s Girl” (2:36)
A3. “She’s My Best Friend” (6:00)
A4. “Kicks” (6:06)

B1. “A Gift” (3:47)
B2. “Ooohhh Baby” (3:45)
B3. “Nobody’s Business” (3:41)
B4. “Coney Island Baby” (6:46)

Sessions ran from October 18 through October 28, 1975, at Mediasound in New York, where Reed and Godfrey Diamond produced with Diamond as engineer. Michael Wendroff assisted the final mix; Diamond worked from Mediasound’s staff on New York soul and disco sessions.

Acy Lehman directed the package around a Mick Rock portrait. Rock’s other 1975 assignments included album photography for Queen and the Rocky Horror production.

RCA issued “Charley’s Girl” in February 1976 (b/w the non-album “Nowhere at All”). Coney Island Baby reached No. 41 on the Billboard 200 and No. 52 in Britain. RCA expanded the album for a 30th-anniversary edition with six bonus tracks.

Lou Reed Live

Reed released his second live album in March 1975 on RCA Victor.

The six performances complete the commercially issued selections from the Academy of Music concert used for Rock ’n’ Roll Animal. Hunter and Wagner return for the all-originals set alongside John, Glan, and Colcord. They include Lou’s 1967 VU chestnut “I’m Waiting for the Man.”

“Vicious” lashes through an incendiary guitar riff as Reed sharpens each taunt against terse band replies. “Oh, Jim” sprawls across extended lead exchanges that trade terse phrases for prolonged solo runs. “Sad Song” swells through a broad theatrical finale before added backing parts fade into crowd noise.

A1. “Vicious” (5:55)
A2. “Satellite of Love” (6:03)
A3. “Walk on the Wild Side” (4:51)

B1. “I’m Waiting for the Man” (3:38)
B2. “Oh, Jim” (10:40)
B3. “Sad Song” (7:32)

The performances came from the December 21, 1973, Academy of Music concert in New York. Steve Katz produced with engineer Gus Mossler and assistants Bruce Somerfeld and George Semkiw.

Italian fashion photographer Oliviero Toscani supplied the cover portrait. His work at the time appeared across European magazines and advertising campaigns.

The album reached No. 4 in the Netherlands and No. 42 in Australia. RCA repackaged the same program in 2003 under the title Extended Versions.

Between albums, Reed reunited with singer-songwriter Nelson Slater, a musical colleague from Syracuse University. Reed produced and played piano on Slater’s 1976 RCA album Wild Angel. Mick Rock framed the sleeve around apparent sadomasochistic imagery, a theme reinforced by “Dominating Force.”

Rock and Roll Heart

Lou Reed released his seventh studio album, Rock and Roll Heart, in November 1976 on Arista.

The album began his Arista contract and retained Fonfara, Yaw, Suchorsky, and saxophonist Marty Fogel from his mid-decade circle. Garland Jeffreys added backing parts to “You Wear It So Well,” while “A Sheltered Life” and “Follow the Leader” originated in the Velvet Underground period.

“I Believe in Love” struts through brassy surges and a buoyant good-time chant. “Banging on My Drum” charges on a crunchy, compact figure as Reed spits blunt phrases. “Follow the Leader” coils through a one-chord jam as saxophone darts across a recurring figure. “You Wear It So Well” smolders through a slow, venomous exchange as Reed and Garland Jeffreys trade repeated replies. “Ladies Pay” trudges beneath dramatic piano and a low-mixed lead figure.

“Rock and Roll Heart” jolts through rigid distortion and a broad singalong phrase. “Senselessly Cruel” parades through a stiff two-chord march with elbows-up accents. “Vicious Circle” drifts from sparse strums into a drowsy deadpan crawl. “Temporary Thing” simmers on two chords as Reed returns to an unresolved opening figure.

A1. “I Believe in Love” (2:45)
A2. “Banging on My Drum” (2:03)
A3. “Follow the Leader” (2:08)
A4. “You Wear It So Well” (4:30)
A5. “Ladies Pay” (4:15)
A6. “Rock and Roll Heart” (3:00)

B1. “Chooser and the Chosen One” (2:45)
B2. “Senselessly Cruel” (2:03)
B3. “Claim to Fame” (2:37)
B4. “Vicious Circle” (2:47)
B5. “A Sheltered Life” (2:15)
B6. “Temporary Thing” (5:19)

Reed produced the 1976 Record Plant sessions in New York with engineer Corky Stasiak and assistant Jay Krugman. Stasiak later returned for Legendary Hearts.

Mick Rock designed and photographed the cover, with art direction by Julie Harris and Steve Ridgeway. Rock also supplied Reed portraits for Transformer and Coney Island Baby.

Arista issued “I Believe in Love” and “Rock and Roll Heart” as singles. The album reached No. 24 in the Netherlands and No. 68 in Australia.

Street Hassle

Lou Reed released his eighth studio album, Street Hassle, in February 1978 on Arista.

Street Hassle joins German concert recordings with New York studio material through binaural processing. The three-part title suite includes an uncredited spoken passage by Bruce Springsteen. Guitarist Stuart Heinrich, keyboardist Fonfara, saxophonist Fogel, and drummer Suchorsky lead the returning cast.

“Gimmie Some Good Times” stumbles from a taunting dialogue into a loose riff and rough unison lines. “Dirt” rumbles beneath a grinding guitar figure while Reed repeats terse accusations. “Street Hassle” drifts on a repeating string figure, breaks into a cold spoken scene, then narrows around Springsteen’s recitation before Reed pleads through a closing lament.

“Real Good Time Together” lurches through a staccato drone and heavy echo before backing replies trigger a noisy coda. “Shooting Star” barrels on a raw, simple riff while Reed slurs across uncertain pitches. “Leave Me Alone” grinds on an unchanging figure as Reed speed-spits blurred lines through electronic squalls. “Wait” skips beside female replies, halts for four drawn-out oohs, then resumes a rough sprint.

A1. “Gimmie Some Good Times” (3:15)
A2. “Dirt” (4:43)
A3. “Street Hassle” (10:53)
“Waltzing Matilda” (3:20)
“Street Hassle” (3:31)
“Slipaway” (4:02)

B1. “I Wanna Be Black” (2:55)
B2. “Real Good Time Together” (3:21)
B3. “Shooting Star” (3:11)
B4. “Leave Me Alone” (4:44)
B5. “Wait” (3:13)

Sessions spanned March through October 1977 at Record Plant in New York and concert venues in Munich, Wiesbaden, and Ludwigshafen. Reed and Richard Robinson produced with studio engineer Rod O’Brien and German binaural engineers Manfred Schunke and Heiner Friesz. Robinson returned six years after co-producing Reed’s debut.

Pacific Eye & Ear designed the sleeve with photography by Saint-Jivago Desanges. The studio’s prior work for Reed included the gatefold package for Berlin.

On release, Street Hassle reached No. 89 on the Billboard 200, No. 24 in Australia, and No. 9 in New Zealand.

Live: Take No Prisoners

Lou Reed released his third live album, Live: Take No Prisoners, as a double LP in November 1978 on Arista.

The program intersperses ten songs with extended spoken passages from a Bottom Line engagement. Heinrich, Fonfara, Fogel, bassist Ellard Boles, drummer Suchorsky, percussionist Angela Howell, and backing singer Chrissy Faith form the stage group.

“Sweet Jane” loiters over a patient vamp while Reed unspools jokes and heckling before band erupts into short full-band bursts. “Satellite of Love” surges through a powerhouse reading with Reed locked to band. “Pale Blue Eyes” swerves through wheezing organ and a bittersweet croon before howling saxophone meets discordant backing replies. “Berlin” broods as Reed shifts from a croaked croon to a hoarse recital, carrying a restored verse through club-room hush.

“I’m Waiting for the Man” / “Temporary Thing” crawls through a slow character monologue, then erupts into cumulative electronic din. “Coney Island Baby” glows through an impassioned reading as Reed folds adolescent asides into a rough, affectionate pledge.

“Street Hassle” lurches through spoken scenes before bass surge and distortion drive closing minutes toward a dissonant roar. “Walk on the Wild Side” shuffles beneath a prolonged monologue as Reed turns character sketches into comic detours and club-room repartee. “Leave Me Alone” rants across a fixed drone while feedback and electronic squeals thicken around each line.

A1. “Sweet Jane” (10:44)
A2. “I Wanna Be Black” (6:27)
A3. “Satellite of Love” (7:06)

B1. “Pale Blue Eyes” (7:36)
B2. “Berlin” (6:13)
B3. “I’m Waiting for the Man / Temporary Thing” (13:59)

C1. “Coney Island Baby” (8:37)
C2. “Street Hassle” (13:15)

D1. “Walk on the Wild Side” (16:54)
D2. “Leave Me Alone” (7:29)

Recordings came from Reed’s May 17–21, 1978, run at the Bottom Line in New York. Reed produced, while Manfred Schunke engineered and mixed the binaural tapes at Delta Studio in Wilster with assistant René Tinner.

Brent Bailer received sleeve credit for illustrations later established through litigation as work by Spanish artist Nazario. The underlying image first appeared in a 1970s magazine before Arista reproduced it.

Reed sang with Genya Ravan on “Aye Co’lorado” from her 1978 album Urban Desire. Nils Lofgren recorded the Reed co-writes “A Fool Like Me” and “I Found Her” on the 1979 album Nils. “I’ll Cry Tomorrow,” written with Dick Wagner, completed Reed’s three-song contribution to the record.

The Bells

Lou Reed released his ninth studio album, The Bells, in May 1979 on Arista.

Members of the Everyman Band supplied the main ensemble: keyboardist Fonfara, saxophonist Fogel, bassist Ellard Boles, and drummer Suchorsky. Don Cherry played trumpet on “All Through the Night.” Nils Lofgren co-wrote three songs as Reed contributed to Lofgren’s album Nils in the same period.

“Stupid Man” scampers on a bouncy piano figure while Reed quavers through a frantic homeward plea. “Disco Mystic” churns beneath a repeated chant that slips in and out of mix before a gong punctures closing stretch. “I Want to Boogie With You” sways through a street-corner plea as backing replies shadow Reed and a bright guitar line cuts across mix. “With You” writhes under a high, harried quaver while band scatters loose interjections. “Looking for Love” barrels through a blunt three-chord run and rousing saxophone bursts.

“City Lights” strolls beneath keyboard figures as Reed sinks into a muted croak before a whistled exit. “All Through the Night” cruises on an unhurried bass line as party chatter and muted trumpet drift across room. “Families” circles a nagging repeated phrase while Reed turns family distance into a strained homecoming. “The Bells” broods on a menacing three-note figure and droning synthesizer, then climbs through an ascending progression as Reed recites beneath free-form interjections.

A1. “Stupid Man” (2:33) – Reed / Lofgren
A2. “Disco Mystic” (4:30) – Reed / Boles / Fogel / Fonfara / Suchorsky
A3. “I Want to Boogie with You” (3:55) – Reed / Fonfara
A4. “With You” (2:21) – Reed / Lofgren
A5. “Looking for Love” (3:29) – Reed
A6. “City Lights” (3:22) – Reed / Lofgren

B1. “All Through the Night” (5:00) – Reed / Cherry
B2. “Families” (6:09) – Reed / Boles
B3. “The Bells” (9:17) – Reed / Fogel

Reed recorded the album at Delta Studio in Wilster with executive producer Fonfara, engineer René Tinner, and binaural mix engineer Manfred Schunke. Tinner also assisted Schunke on Live: Take No Prisoners.

Donn Davenport and Howard Fritzson directed the sleeve around a portrait by New York fashion photographer Garry Gross. Davenport and Fritzson worked within Arista’s visual department.

Arista issued “City Lights” as an August 1979 single. The Bells reached No. 130 on the Billboard 200 album chart.

Growing Up in Public

Lou Reed released his tenth studio album, Growing Up in Public, in April 1980 on Arista.

Michael Fonfara and Reed co-wrote all eleven songs and worked with guitarist Chuck Hammer, bassist Ellard Boles, drummer Suchorsky, and percussionist Michael Dawe. The album closed Reed’s sequence with the Everyman Band circle.

“How Do You Speak to an Angel” stutters through an innocent dance before a menacing bridge and handclap breakdown release a crashing guitar-synth solo. “Growing Up in Public” skitters across sparse backing as a six-note sliding bass figure repeats beneath crowded phrasing. “So Alone” spills Reed’s rapid lines across brisk, uncluttered accompaniment. “Think It Over” settles into gentle fingerpicked notes and piano chords before a restrained coda.

A1. “How Do You Speak to an Angel” (4:08)
A2. “My Old Man” (3:15)
A3. “Keep Away” (3:31)
A4. “Growing Up in Public” (3:00)
A5. “Standing on Ceremony” (3:32)

B1. “So Alone” (4:05)
B2. “Love Is Here to Stay” (3:10)
B3. “The Power of Positive Drinking” (2:13)
B4. “Smiles” (2:44)
B5. “Think It Over” (3:25)
B6. “Teach the Gifted Children” (3:20)

Sessions took place in January 1980 at AIR Studios in Montserrat, where Reed and Fonfara produced with engineer Corky Stasiak and assistant Tony George. AIR founder George Martin opened the Caribbean facility the previous year.

Howard Fritzson designed the sleeve around a Mick Rock photograph. Fritzson continued from The Bells, while Rock resumed a Reed partnership established on Transformer.

Arista issued “The Power of Positive Drinking” as a single. The album reached No. 158 on the Billboard 200 album chart.

Paul Simon cast Reed as record producer Steve Kunelian in the 1980 film One-Trick Pony. Kiss recorded three Reed co-writes for the 1981 album Music from “The Elder.” “Dark Light” and “Mr. Blackwell” joined the single “A World Without Heroes.”

The Blue Mask

Lou Reed released his eleventh studio album, The Blue Mask, in February 1982 on RCA.

A new quartet paired Reed with guitarist Robert Quine, bassist Fernando Saunders, and drummer Doane Perry. Separate stereo channels divided Reed and Quine, while the rhythm section recorded with minimal auxiliary support.

“My House” ambles over sparse guitar figures and closes with a loose jam that nears mayhem. “Underneath the Bottle” rumbles at a fixed midtempo as bent notes and high bass fills punctuate Reed’s blunt confession. “The Gun” stalks through ominous cymbal taps and a repeating riff while Reed lowers each threat into cold narration. “The Blue Mask” erupts from feedback squalls into a fast march, then accelerates through a frenzied solo before distortion swallows closing bars.

“Waves of Fear” convulses around a single bent note, halts for a breathless recitation, then returns beneath an extended lead break. “The Day John Kennedy Died” drifts through quiet chords and soft backing replies with Reed holding a measured elegy. “Heavenly Arms” swells on broad power chords before repeated “Sylvia” phrases meet doo-wop replies.

A1. “My House” (5:25)
A2. “Women” (4:57)
A3. “Underneath the Bottle” (2:33)
A4. “The Gun” (3:41)
A5. “The Blue Mask” (5:06)

B1. “Average Guy” (3:12)
B2. “The Heroine” (3:06)
B3. “Waves of Fear” (4:11)
B4. “The Day John Kennedy Died” (4:08)
B5. “Heavenly Arms” (4:47)

Sessions took place in October 1981 at RCA Studios in New York, where Reed and Sean Fullan produced with Fullan as engineer. Fullan worked from RCA’s New York staff and continued with Reed on related mixes.

Sylvia Reed designed the blue-tinted cover around Mick Rock’s 1972 Transformer portrait. The reuse linked a current sleeve to Reed’s first major solo image.

On the charts, The Blue Mask reached No. 169 on the Billboard 200 and No. 15 in France.

Legendary Hearts

Lou Reed released his twelfth studio album, Legendary Hearts, in March 1983 on RCA.

Quine and Saunders remained from The Blue Mask, while drummer Fred Maher replaced Perry. Final mixes reduced much of Quine’s guitar and retained the four-player format across all eleven songs. Every selection credits Reed alone.

“Legendary Hearts” sways on a dominant bass figure as Reed softens repeated phrases into a guarded pledge. “Don’t Talk to Me About Work” darts through a one-note jab and dry, no-frills beat. “Make Up Mind” ticks through slow staccato phrases while brief guitar bursts answer Reed’s measured delivery. “Martial Law” claws along a blues-hewn riff with terse electric cries between lines. “The Last Shot” lurches through a bare, boozy setting as Reed holds each phrase close to speech.

“Turn Out the Light” murmurs over sparse, tireless backing before an open instrumental passage carries closing bars. “Bottoming Out” descends through a falling progression before Reed repeats its central phrase four times. “Home of the Brave” broods at a slow tread as distant feedback hovers behind an impassioned plea.

A1. “Legendary Hearts” (3:23)
A2. “Don’t Talk to Me About Work” (2:07)
A3. “Make Up My Mind” (2:48)
A4. “Martial Law” (3:53)
A5. “The Last Shot” (3:22)
A6. “Turn Out the Light” (2:45)

B1. “Pow Wow” (2:30)
B2. “Betrayed” (3:10)
B3. “Bottoming Out” (3:40)
B4. “Home of the Brave” (6:49)
B5. “Rooftop Garden” (3:04)

Reed produced the 1982 RCA Studios sessions in New York with engineer Corky Stasiak and associate producer Jim Crotty. Stasiak returned from Rock and Roll Heart and Growing Up in Public.

Sylvia Reed conceived the cover, while photographer Waring Abbott supplied the portrait and art direction. Abbott remained Reed’s principal sleeve photographer through New Sensations, Mistrial, and New York.

The album reached No. 159 on the Billboard 200 album chart.

Reed wrote and recorded “Little Sister” for Allan Arkush’s 1983 film Get Crazy. The animated feature Rock & Rule used him as Mok’s singing voice on “My Name Is Mok” and “Triumph.”

New Sensations

Lou Reed released his thirteenth studio album, New Sensations, in April 1984 on RCA.

Saunders and Maher formed the rhythm section, while keyboardist Peter Wood, violinist L. Shankar, trumpeters Randy Brecker and Jon Faddis, saxophonist Michael Brecker, and auxiliary singers expanded selected arrangements.

“I Love You, Suzanne” strums from a teasing spoken challenge through jangly guitar figures and terse lead flashes. “Endlessly Jealous” coils around a bright riff while Reed tightens each line into jealous panic. “My Red Joystick” scampers through fuzzed chord changes and bright backing replies. “New Sensations” fades in on a pastoral lope as buoyant bass figures carry Reed’s roadside monologue.

“What Becomes a Legend Most” unfurls from synth-cello into spacious chords and broad backing replies. “My Friend George” lopes on a steady beat while Reed narrates with rueful calm. “High in the City” glides across synthetic horn punches and a steel-pan figure beneath gritty street detail. “Down at the Arcade” charges on a blunt repeating riff and brisk forward drive.

A1. “I Love You, Suzanne” (3:19)
A2. “Endlessly Jealous” (3:57)
A3. “My Red Joystick” (3:36)
A4. “Turn to Me” (4:22)
A5. “New Sensations” (5:42)

B1. “Doin’ the Things That We Want To” (3:54)
B2. “What Becomes a Legend Most” (3:36)
B3. “Fly into the Sun” (3:04)
B4. “My Friend George” (3:51)
B5. “High in the City” (3:27)
B6. “Down at the Arcade” (3:40)

Sessions took place at Skyline Studios in New York, where Reed and John Jansen produced with assistant engineers Dan Nash and Roger Moutenot. Jansen came from engineering and production work with artists including Supertramp and the Rolling Stones.

Waring Abbott photographed and directed the cover. His portrait extended the visual sequence begun on Legendary Hearts.

RCA issued “My Red Joystick” in April 1984, followed by “I Love You, Suzanne” in May. New Sensations reached No. 56 on the Billboard 200 and No. 92 in Britain.

Reed recorded “September Song” for the 1985 Kurt Weill tribute Lost in the Stars. Artists United Against Apartheid enlisted him for the title track of Sun City. The Perfect soundtrack included his original “Hot Hips,” and Reed sang Walt Aldridge’s “My Love Is Chemical” for White Nights. Sam Moore shared “Soul Man” with Reed for the 1986 film soundtrack.

Mistrial

Lou Reed released his fourteenth studio album, Mistrial, in April 1986 on RCA.

Fernando Saunders co-produced and supplied bass, keyboards, programming, and backing parts. Guitarist Eddie Martinez, drummer J. T. Lewis, and programmer Sammy Merendino joined the main cast; Jim Carroll appeared on “Video Violence,” while Rubén Blades sang on “I Remember You” and “Tell It to Your Heart.”

“Mistrial” marches on a mechanized thump as dual guitar lines flare into a crawling solo. “No Money Down” skitters across a brisk electronic beat while saxophone bursts answer Reed’s detached delivery. “Video Violence” hammers one chord beneath an insistent lead figure and blunt refrain.

“The Original Wrapper” rattles through synthetic maraca ticks and slap bass while Reed barks terse rap phrases. “Mama’s Got a Lover” stomps around a circular riff, then turns each verse through a sharp turnaround before a caustic solo. “I Remember You” circles a clean figure as colliding leads and close male harmonies soften Reed’s streetwise drawl. “Tell It to Your Heart” recedes at a languid crawl while distant harmonies shadow an earnest plea.

A1. “Mistrial” (3:20)
A2. “No Money Down” (3:10)
A3. “Outside” (3:02)
A4. “Don’t Hurt a Woman” (3:59)
A5. “Video Violence” (5:35)

B1. “Spit It Out” (3:39)
B2. “The Original Wrapper” (3:37)
B3. “Mama’s Got a Lover” (4:12)
B4. “I Remember You” (3:13)
B5. “Tell It to Your Heart” (5:11)

Sessions took place at the Power Station in New York, where Reed and Saunders produced with recording engineer Dave Greenberg. Bruce Lampcov handled digital mixing and additional recording.

Sylvia Reed designed the cover around Waring Abbott’s portrait. Abbott’s concurrent Reed work also included tour and publicity photography.

RCA issued “The Original Wrapper” and “No Money Down” in April 1986 on matching single formats. The album reached No. 47 on the Billboard 200, No. 69 in Britain, and No. 47 in Australia.

Reed contributed “Something Happened” to the 1988 Permanent Record soundtrack. Tom Tom Club enlisted him for guitar and backing vocals on their version of “Femme Fatale” from Boom Boom Chi Boom Boom. Rubén Blades featured his voice on “Hopes on Hold” and “Letters to the Vatican” from Nothing but the Truth. Reed also sang on “The Calm Before the Storm.” Rob Wasserman paired with him for “One for My Baby (And One More for the Road)” from Duets.

New York

Lou Reed released his fifteenth studio album, New York, in January 1989 on Sire.

The fourteen-song sequence addresses housing, race, religion, public corruption, environmental damage, and urban poverty through a four-player group with guitarist Mike Rathke, bassist Rob Wasserman, and drummer Fred Maher. Maureen Tucker joined two tracks, and Dion supplied backing parts to “Dirty Blvd.” Reed wrote thirteen songs and co-wrote “Beginning of a Great Adventure” with Rathke.

“Romeo Had Juliette” rattles from a click-clack entrance as one wiry guitar phrase wheels beneath Reed’s dense city reportage. “Dirty Blvd.” spits a three-chord riff through a stripped-down drive before Dion DiMucci carries its coda in high backing lines. “There Is No Time” careens across a blazing-fast figure while Reed fires each demand in terse bursts.

“Good Evening Mr. Waldheim” snarls through lean distortion as Reed drives a taut political harangue. “Strawman” surges on urgent chords toward a broad, accusatory climax. “Dime Store Mystery” broods through opposing lead figures, anguished cello, and gentle percussion before feedback fractures closing bars.

A1. “Romeo Had Juliette” (3:09)
A2. “Halloween Parade” (3:33) – addresses the AIDS crisis from the standpoint of a grieving longtime partygoer of the Lower East Side gay community.
A3. “Dirty Blvd.” (3:29)
A4. “Endless Cycle” (4:01)
A5. “There Is No Time” (3:45)
A6. “Last Great American Whale” (3:42)
A7. “Beginning of a Great Adventure” (4:57) – Reed / Rathke

B1. “Busload of Faith” (4:50)
B2. “Sick of You” (3:26)
B3. “Hold On” (3:24)
B4. “Good Evening Mr. Waldheim” (4:35) – takes aim at then-recent presidential candidate Jesse Jackson for the “common ground” overture he made to president-elect George H.W. Bush after the 1988 general election.
B5. “Xmas in February” (2:55)
B6. “Strawman” (5:54)
B7. “Dime Store Mystery” (5:01)

Sessions spanned May through October 1988 at Mediasound Studio B in New York. Reed and Maher produced with recording engineer Jeffrey Lesser and assistant Victor Deyglio; Maher also supervised rhythm recording and mixes.

Spencer Drate designed the package from Sylvia Reed’s concept and Waring Abbott’s photography. Drate later joined Judith Salavetz and Sylvia on Magic and Loss.

Sire issued “Dirty Blvd.” in February 1989; the single held No. 1 on Billboard’s Modern Rock Tracks chart for four weeks. Two further singles followed. New York reached No. 40 on the Billboard 200 and No. 14 in Britain. Rhino expanded the album as a multi-disc deluxe edition in September 2020 through the label’s archival series.

Simple Minds enlisted Reed for additional lead vocals on “This Is Your Land” from the 1989 album Street Fighting Years. Dion used his backing vocals on Yo Frankie. The environmental project One World One Voice followed as a 1990 album and film.

Songs for Drella

Lou Reed and John Cale released Songs for Drella in April 1990 on Sire.

The fifteen-song cycle traces Andy Warhol’s work, relationships, public image, and death from alternating viewpoints. Reed used guitar and Cale played keyboards and viola; no rhythm section or auxiliary ensemble appears. The pair wrote all selections together.

“Smalltown” plinks through percussive piano and a sing-song incantation before a sudden pause stops its jaunty run. “Open House” broods beneath warm chords as viola sustains Reed’s intimate narration. “Style It Takes” lilts across spare keyboard figures while Cale repeats its closing phrase and Reed chants Warhol film names. “Work” zigzags through jagged distortion as Reed snaps each maxim into hard, compact phrases.

“Images” grates on atonal guitar bursts while repeated declarations tighten Reed’s delivery. “Slip Away (A Warning)” coils at a slow crawl as a hypnotic figure loops beneath Reed’s warning. “A Dream” recites Warhol’s diary fragments through Cale’s measured speech and a wavery atmosphere. “Forever Changed” jolts through near-frantic chords, halts at chamber-like pauses, then releases a stinging lead. “Hello It’s Me” softens into an elegiac farewell as Reed addresses Warhol with plain regret.

A1. “Smalltown” (2:04)
A2. “Open House” (4:18)
A3. “Style It Takes” (2:54)
A4. “Work” (2:38)
A5. “Trouble with Classicists” (3:42)
A6. “Starlight” (3:28)
A7. “Faces and Names” (4:12)

B1. “Images” (3:31)
B2. “Slip Away (A Warning)” (3:05)
B3. “It Wasn’t Me” (3:30)
B4. “I Believe” (3:18)
B5. “Nobody but You” (3:46)
B6. “A Dream” (6:33)
B7. “Forever Changed” (4:52)
B8. “Hello It’s Me” (3:13)

Sessions spanned December 1989 through January 1990 at Sigma Sound in New York, where Reed and Cale produced with recording engineer Jeremy Darby. Mike Rathke assisted production and mixing; Victor Deyglio, Mike Scalcione, and Greg Wong assisted the engineering team.

Tom Recchion and Sylvia Reed directed the package around Billy Name’s Warhol portrait and James Hamilton’s photograph of Reed and Cale. Name served as the Factory’s resident photographer, while Hamilton worked as a New York editorial portraitist.

Sire issued “Nobody but You” as a German single (b/w “Style It Takes”); extended formats added “A Dream.” The album reached No. 103 on the Billboard 200 and No. 22 in Britain.

Maureen Tucker enlisted Reed for guitar on “Fired Up” and “I’m Not” from the 1991 album I Spent a Week There the Other Night. The Until the End of the World soundtrack introduced an early extended mix of “What’s Good.” Vince Gill featured Reed on backing vocals for “Under These Conditions” from the 1992 album I Still Believe in You.

Magic and Loss

Lou Reed released his sixteenth studio album, Magic and Loss, in January 1992 on Sire.

The fourteen-part sequence examines illness, death, mourning, memory, and survival following the deaths of songwriter Doc Pomus and a friend identified as Rita. Rathke, Wasserman, and percussionist Michael Blair form the core group; jazz singer Jimmy Scott appears on “Power and Glory.” Reed wrote nine tracks alone and composed five with Rathke.

“What’s Good” jolts through a jaunty figure and economical accents as Reed parcels each paradox into blunt phrases. “Power and Glory” lopes through a loose, slower ascent while Jimmy Scott answers Reed with high, incantatory cries. “Magician” hovers in a sparse hush around Reed’s inward murmur. “Sword of Damocles” strides on acoustic chords and Casio-guitar flashes beneath an unguarded address. “Dreamin’” drifts through spare backing as Reed delivers each memory from a faraway remove.

“Harry’s Circumcision” sways through a slow waltz while Reed recites its grotesque reverie. “Gassed and Stoked” grinds on metallic distortion and fired-up lead exchanges. “Magic and Loss” trudges through a two-chord synth progression as electric upright bass rounds Reed’s subdued closing phrases.

A1. “Dorita – The Spirit” (1:07) – Reed
A2. “What’s Good – The Thesis” (3:22) – Reed
A3. “Power and Glory – The Situation” (4:23) – Reed / Rathke
A4. “Magician – Internally” (6:23) – Reed
A5. “Sword of Damocles – Externally” (3:42) – Reed
A6. “Goodby Mass – In a Chapel Bodily Termination” (4:25) – Reed
A7. “Cremation – Ashes to Ashes” (2:54) – Reed
A8. “Dreamin’ – Escape” (5:07) – Reed / Rathke

B1. “No Chance – Regret” (3:15) – Reed
B2. “Warrior King – Revenge” (4:27) – Reed
B3. “Harry’s Circumcision – Reverie Gone Astray” (5:28) – Reed
B4. “Gassed and Stoked – Loss” (4:18) – Reed / Rathke
B5. “Power and Glory, Part II – Magic – Transformation” (2:57) – Reed / Rathke
B6. “Magic and Loss – The Summation” (6:39) – Reed / Rathke

Sessions ran from April 1 through April 27, 1991, at the Magic Shop in New York. Reed and Rathke produced with recording and mix engineer Roger Moutenot and assistant Shannon Carr. Moutenot moved from his assistant role on New Sensations to principal engineer.

Spencer Drate, Judith Salavetz, and Sylvia Reed designed the package with photography by French artist Louis Jammes. Drate returned from New York, while Salavetz began a continuing design partnership with him.

Sire issued “What’s Good” in January 1992 (b/w “The Thesis”); the single spent three weeks at No. 1 on Billboard’s Modern Rock Tracks chart. The album reached No. 80 on the Billboard 200 and No. 6 in Britain.

Reed performed Bob Dylan’s “Foot of Pride” at the October 1992 Madison Square Garden tribute concert; Columbia issued the performance on the 1993 album The 30th Anniversary Concert Celebration. He recorded Victoria Williams’s “Tarbelly and Featherfoot” for Sweet Relief and contributed “Why Can’t I Be Good” to the Faraway, So Close! soundtrack.

Laurie Anderson co-wrote “In Our Sleep” with Reed, who added guitar and vocals to her 1994 album Bright Red. The Smithereens used his guitar solos on “Point of No Return” and “Long Way Back Again” from A Date with the Smithereens. David A. Stewart enlisted Reed for guitar on “You Talk a Lot” from Greetings from the Gutter.

Nils Lofgren issued another Reed collaboration, “Life,” on the 1995 album Damaged Goods. Reed contributed “You’ll Know You Were Loved” to the Friends soundtrack.

Set the Twilight Reeling

Lou Reed released his seventeenth studio album, Set the Twilight Reeling, in February 1996 on Warner Bros.

Saunders and drummer Tony “Thunder” Smith form the principal trio with Reed. Saxophonists Oliver Lake and J. D. Parran, trumpeter Russell Gunn, pianist Roy Bittan, percussionist Mino Cinelu, and Laurie Anderson appear on selected tracks.

“Egg Cream” crackles from feedback into a distorted three-chord drive and rough, declarative chant. “NYC Man” saunters on a cool bass line as arranged horns shade Reed’s urbane city sketch. “Finish Line” rises from acoustic figures into a grand piano-led climax. “Trade In” frets through nervous chord changes while Reed delivers its pledge with tender directness. “HookyWooky” rattles through a brisk stomp and playful repeated phrases.

“The Proposition” slides along a gentle lead figure and slow, restrained motion. “Riptide” surges from a heavily processed guitar entrance into grungy changes and inflamed soloing. “Set the Twilight Reeling” crests from acoustic reflection into an impassioned electric coda.

1. “Egg Cream” (5:18)
2. “NYC Man” (4:56)
3. “Finish Line” (3:24)
4. “Trade In” (4:59)
5. “Hang On to Your Emotions” (3:46)
6. “Sex with Your Parents (Motherfucker), Part II” (3:37)
7. “HookyWooky” (4:19)
8. “The Proposition” (3:27)
9. “Adventurer” (4:18)
10. “Riptide” (7:46)
11. “Set the Twilight Reeling” (5:04)

Recording took place in 1995 at the Magic Shop in New York, while “Sex with Your Parents” came from an Independence Day performance at the Roof. Reed produced with engineer and mixer Steve Rosenthal, assistant engineer Joe Warda, and production coordinator Struan Oglanby. Rosenthal later founded the archival restoration facility Magic Shop.

Stefan Sagmeister directed and designed the package with a portrait by Timothy Greenfield-Sanders and an “Orbit Dog” detail by Tony Fitzpatrick. The tinted jewel case concealed the yellow rays until the booklet left the blue-purple plastic.

Warner Bros. issued “HookyWooky” and “NYC Man” as singles. The album reached No. 110 on the Billboard 200 and No. 26 in Britain.

Reed supplied music and lyrics for Robert Wilson and Darryl Pinckney’s Time Rocker, which premiered at Hamburg’s Thalia Theater in June 1996. His cover of Doc Pomus and Mort Shuman’s “This Magic Moment” appeared on the 1997 Lost Highway soundtrack. The BBC ensemble recording of “Perfect Day” opened and closed with Reed; the Children in Need single reached No. 1 on the UK Singles Chart.

Ecstasy

Lou Reed released his eighteenth studio album, Ecstasy, in April 2000 on Reprise.

The album examines marriage, fidelity, desire, separation, and memory across fourteen tracks. Rathke, Saunders, and Smith return as the main group, joined by percussionist Don Alias, violinist Laurie Anderson, cellist Jane Scarpantoni, and a horn section led by Steven Bernstein. “Future Farmers of America” and “Turning Time Around” adapt material from Reed’s stage collaboration Time Rocker.

“Paranoia Key of E” struts from a spare, halting entrance into an insistent two-chord drive and darting lead exchanges. “Mystic Child” grinds in place on a blunt chord cycle and dense electric interplay. “Mad” simmers through a sly saunter as brass replies tighten around Reed’s agitated phrases. “Ecstasy” coils around a serpentine minor-key riff while cello shadows Reed’s obsessive address. “Turning Time Around” slows into a plain, measured plea and subdued closing passage.

“Rock Minuet” sways in three-quarter time as electric violin threads Reed’s continuous lead. “Like a Possum” bludgeons a two-chord drone beneath gargantuan guitar noise and prolonged declamation. “Big Sky” ascends through broad full-band surges toward an exultant release cry.

A1. “Paranoia Key of E” (4:28)
A2. “Mystic Child” (5:02)
A3. “Mad” (4:29)
A4. “Ecstasy” (4:25)

B1. “Modern Dance” (4:09)
B2. “Tatters” (5:56)
B3. “Future Farmers of America” (3:01)
B4. “Turning Time Around” (4:22)
B5. “White Prism” (4:00)

C1. “Like a Possum” (18:03)
C2. “Rouge” (1:01)

D1. “Rock Minuet” (6:55)
D2. “Baton Rouge” (4:55)
D3. “Big Sky” (6:32)

Sessions took place at Sear Sound in New York, where Reed and Hal Willner produced with recording and mix engineer Tim Latham. Dave Fisher assisted recording, while Ben Holt assisted the mix. Willner and Reed continued their partnership on The Raven.

Sagmeister Inc. designed the package, with creative direction by Stefan Sagmeister and photography by Timothy Greenfield-Sanders. The pair continued the visual partnership established on Set the Twilight Reeling.

On release, Ecstasy reached No. 183 on the Billboard 200, No. 54 in Britain, and No. 20 in Norway.

Later Activity

Reed adapted Edgar Allan Poe texts for the 2003 album The Raven and issued Hudson River Wind Meditations four years later. He staged Berlin in full at St. Ann’s Warehouse in Brooklyn in December 2006, with Bob Ezrin revising the arrangements and Julian Schnabel directing the production; a concert film and live album followed. Metallica and Reed released the 2011 collaborative double album Lulu. He died from liver disease at his East Hampton home on October 27, 2013, six months after a liver transplant.

Discography: