sparkospunky's Full Review: Walk on the Wild Side: The Best of Lou Reed by Lou...
Walk On The Wild Side: The Best Of Lou Reed, was released in 1977, and the album is an excellent representation of this man's music up to that time. The songs on the album demonstrate what a great songwriter Lou Reed is, and I think everyone will agree that he has one of the most distinctive sounding voices in the annals of rock n' roll music.
The album lacks nothing in the production department either. When you have guys like David Bowie, Mick Ronson, Steve Katz, Godfrey Diamond, Richard Robinson and Lou Reed engineering your record, you know you will have a quality production. Ronson and Bowie also helped in arranging some of the tracks, and lend vocal support in a few places also.
The tracks, and a few words about each, is as follows:
1. Satellite Of Love--This is one of his most beautiful songs--it's fueled by a strong, classical-sounding piano, and The Thunderthighs (Bowie and Ronson) contribute some shimmering background vocals. The bridge is almost a musical contradiction when compared to the beauty of the verses, but the contrast works well. The building of musical and vocal layers at the end really give this song a lush finale.
2. Wild Child--The musical arrangement in this one is simple and raw, featuring only guitar, bass and drums, and of course some fine vocals by Reed. The verses are actually several vignettes of people that he describes in his unique lyrical way. The lead guitar solo that closes the song out is just as raw as all that has preceded it, and it provides a fine closing touch.
3. I Love You--A very delicate number featuring the acoustic guitar, some tasteful electric guitar licks, and Reed's yearning, poignant vocals. When the drums and bass guitar join, the song takes on a galloping meter, before closing as it began, with the acoustic guitar-electric guitar interplay.
4. How Do You Think It Feels--Gloomy bass guitar notes, accompanied by a tinkling piano, start this one, which features vintage Lou Reed vocals. The song itself has a stilted feel, due to the odd rhythmic line of the drums and bass guitar. Horns make accented appearances, and the lead guitar solo gets the job done. The best line is "How do you think it feels, to only make love by proxy?".
5. New York Telephone Conversation--No Lou Reed album would be complete without a little avante garde experimentation, and this one fills the bill. Not a favorite of mine, but a very interesting listen nonetheless. The lyrics deserve a very close inspection.
6. Walk On The Wild Side--Lou Reed's most well-known song. Musically, the song features a sliding bass guitar line and an acoustic guitar, and the arrangement is simple. The Thunderthighs make another stunning appearance with background vocals, and the saxophone solo at the end is jazzy and gives the song a feel that I can't quite describe. The lyrics are mostly sexual, sometimes overtly, sometimes implicit--suffice it to say that most of the lyrical references are about deviant sex, a favorite Reed subject.
7. Sweet Jane--Lou Reed's version of his own song is heavy and ponderous, much different than the bright, upbeat Mott The Hoople offering, but it's his song and he can do it any way he wants to. I like both versions, but Reed's features some of the best guitar solo work that you'll every hear, bluesy, yet well-fitted to the rock n' roll context. This one was recorded live and placed on his Rock n' Roll Animal album. The guitarists are Dick Wagner and Steve Hunter, and they really put on a show. The lyrics tell an interesting story, which is another Lou Reed strength--telling a story within the framework of a rock n' roll song.
8. White Light/White Heat--Another live recording off of Rock n' Roll Animal, featuring some more guitar work by Hunter and Wagner. The slide guitar licks are vicious, and the song is some of the most driving rock n' roll that you'll ever hear. The lyrics describe heroin use, a subject that Reed had personal knowledge about--"White light goin', messin' up my mind, dont' you know it's gonna make me go blind." Pentti Glan's bass guitar work is outstanding.
9. Sally Can't Dance--The beat to this one is staccato, and it feels like the players are struggling against each other. There's a lot going on musically, with horns adding good accents with the beat. The lead guitar work blends well with the other instruments, tasteful but not overpowering. The bass guitar line sounds like a second lead instrument. Reed's vocals are more animated than usual and provide a refreshing break from his usual droning style.
10. Nowhere At All--A dirty, distorted guitar drives this song--it's raw, primative, and all of the players are enslaved to the beat. The lead guitar licks contribute to the nasty tone of the song, and Reed's high range vocals are again against the norm.
11. Coney Island Baby--A really beautiful song, and here's why: Reed uses major seventh chords to create a nostalgic feel that instills a sense of longing in the listener. The electric guitar fills add to the effect, complete with "springtime" reverb. Reed's spoken, almost mumbled lyrics at the beginning only serve to emphasize the delicacy of his voice when he begins singing. The tasteful background vocals provide just the right touch to make this tune a masterpiece. One of my favorites by Lou Reed
As I've written this review, I've listened to this album, and I realize that it's better than I remembered. The music is really the full spectrum of Lou Reed up to 1977, and I recommend that you give it a listen if you want to learn about this great writer, vocalist and musician.
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