Album Reviews

Lou Reed’s bleak Berlin album dropped with a thud when first released back in 1973. The fans were probably expecting Transformer 2 and a “Walk on the Wild Side” reprise, but Lou was having none of that. He was moving on and down (both chart-wise and thematically) but times eventually catch up to vision and that’s the case with Berlin.

While the original (recently reissued ineptly on vinyl by Sony/BMG—don't buy it, the sound is hard, bright and a travesty compared to the original), sporting an incredible cast of musical luminaries is still the document of record, this masterful live recording from December of 2006 is the recorded document to have—even though nasty digital overload distortion mars the powerful “Men of Good Fortune” on the otherwise excellent-sounding recording.

This live edition is more powerful and fully realized and spurred on by the live audience, the performers, including The Brooklyn Youth Chorus and a string and horn section bring the story to life—almost cabaret style as staged by Julian Schnabel. Reed’s time-weary realization brings an ironic, comfortably detachment to the story, which revolves around a catalog’s worth of man’s worst, most decadent behaviors.

Bob Ezrin reprises his producer role, aided here by Hal Willner, as does long time guitarist/collaborator Steve Hunter who puts in a stellar, powerful, shimmering performance. Backing musicians include Rob Wasserman on bass, Sharon Jones on vocals, Curtis Fowlkes on trombone and Steven Bernstein on flugel and trumpet.

Speaking of reprises, the hypnotically quavering transgendered Antony adds some authenticity and takes lead on a charmer of a reprise of “Candy Says” and Lou’s “Rock Minuet” from his album Ecstasy will appropriately turn your stomach, should you pay attention to the lyrics, which you should! Lou is in fine form throughout, by the way. And of course the set ends with "Sweet Jane."

Aside from that one inexplicable bit of horrendous distortion on the aforementioned “Masters of Fortune,” the recording quality is superb and both Stan Ricker’s double vinyl cut and the CD mastered by Bob Ludwig, sound warm, three-dimensional, intimate and exceptionally transparent and coherent. I don’t know what Stan’s source was, but if it was “redbook” CD resolution, I’m perplexed. Why don’t CDs sound as good? Perhaps, given Reed's reverence for good sound, Ricker had access to a high-rez file.

The RTI- pressed 180 vinyl sounds great (though side one of my copy was inexcusably eccentric) and the excellent packaging plus free MP3 download make it a worthwhile package for oldsters to rediscover and youngsters to learn from.