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rock troubador. He relates his tale of a love affair, strikingly surreal, as suggested by the cover of the album strewn with bodies postured in orgy fashion, or war-dead. . · The booklet of lyrics also contains photographs of a love affair which never existed. Plastic roses, photographs, broken bottles, blood-stained sheets; Reed's world of unreal love. The rise and fall of the male protagonist is depicted by hard rock. The fall of the female is characterized by slower-paced, haunting accoustics. Berlin, a song of times gone by, a small cafe a depressing piano piece which , breaks into Lady Day, the triumphant entry of Caroline, a walker of the streets, a germanic queen who enters the bars to . ' the tune of a triumphant strutting piano melody. Men of Good Fortune, featuring the primal, necessary drum beats of Ansley Dunsbar coupled with Reed's message of life and death; "Men of poor beginnings want what they have and to get it they'll die ..." also very necessary. Caroline Says I is a: pleasant rock paced effort which places female I domination over male ... "Caroline says that I'm just a toy... " Lou Reed's answer, a visual, drug sugges~ive trip. How do You Think it Feels another hard rocker with Lou Reed .at his punkish finest. l'Come here baby... " Coupled with Oh Jim, faintly suggestive of the Lizard King's tragic departti.re, we have a reversal in domination, male over female, or the shape of things to come. · Lou Reed, in his off-key Jocals, often times Dylanesque type narrations, is suggesting that a love affair or involvement, is principally a question of l domination, no romanticism. ' 1 Side two, a slower pac~d quieter movement, epitomizes the departure of Caroline, if she ever really existed. Caroline Says II, a reversal of roles, Caroline being beaten by her "boyfriend." She is ready to die. The Kids, featuring some nice acoustic guitar by Lou Reed, and some tasty lead by Steve Hunter, is another downwa:rd plunge for Caroline as her child is taken from her because of her "evil ways." The ' song ends with a baby crying, children screamin.g - mommy - this is the most ' urgent message in the world. Frightened children grow up to be frightened adults. The Bed, a surrealistic death complete with images of sex. candles and slashing of wrists along with the haunting chorus of "Oh what a feeling . .. " The album's finale Sad Song, equals

long P.layers

by the rules, except many of them don't realize the rules have changed. I suggest you . pick up a copy of Billboard and notice how the MOR charts (easy listening for older radio listeners) almost match the Top 40 'irock" charts song for song. Interesting? So, to an extent, some are right in thinking . rock was dead; it committed suicide. The knife drawn by the old stand-bys predictably disappointing with sub-standard material. The knife stuck in by these now-n 'ddle aged musicians still · holding on to their waning popularity by living on past glories. The ~nife twisted in by self-indulgent, spoiled "rockers" living in their Beverly Hills home or French chat~aus, and driving their Lincolns to their sold-out concert to sing of the joys of "truckin' "down the road penniless or expressing frustration of "no satisfaction" when he can get more than his fill of sex with hardly no effort. I mean, who're you kidding? You '11 all be needing dentures and hairpieces soon. Feeding off past glories is unforgivable. Yoµ're not babies anymore. Well, slowly but surely, there has , been .a trend developing concerning a rekindling of interest in pop consciousness/Teenage music in the 70's. A whole new generation has been weaned on- the Beatles and the 60's, as the Beatles were with Berry and the 50's. These 'new bands have matured enough musically to land contracts with companies and their recent releases have showed a strong return to the happy feelings almost given up for lost in 70's popular music. There's hope. - GARY SPERRAZZA Next: the Groups

Reed (right) has' finally lived up to all the hype about him, with his fantabulous new album, Berlin. Note Lon Chaney Jr. 'background) gawking at his idol. I left their impression on Lou Reed. He has rechanneled his realities and ·unrealities, the grotesque has a message to deliver. There are no negatives att~ched to the fact that this is a ,concept q.lbum. It is not 'so rigid so as to strangle the listener. There is much room to breathej much room for individual interpretation..Each song exists by itself as well as an entity. Lou Reed has set up tremendous pinnacles for himself to !each on this album. The musicianship on the album is excellent as is to be expected with such gac~ up' people as Jack Bruce, Ansfey DU..I\_~barBob Ezrin, Steve ~unter, Blue Weaver, B.J. Wilson and Steve Winwood to name a few. One never forgets however, that this is Lou Reed's show. There are no boring solos,, no showing ' off. ,The musicians do what Lou R,eed tells them to do. The music weaves beautifully and intrinsically with Reed's lyrics w-hich are thought-provoking to say the least, and oftentimes p_oetic. Reed also employs his special effects to a tee. Crying babies, children crying, mommy, haunting voices. These all present another level of meaning to Berlin. The , · songs themselves are straight-paced ·rockers, or slower paced ace ou stic efforts with orchestration added. Lou Reed himself is a punk-huo, a

Remember last fall when no one would wanna meet these three in a dark alley? You'd get glam-cooties. We're still not too sure about the first two but Lou

East). Guesting will be Robin Trower, ex-Procol Harum guitarist with his new group. Tickets are $6, $5,· $4 sold at ali Festival ticket outlets, including Man II and Pantastick stores. Shakin' , Street Gazette recommends this as a fine rock concert. See you there!

"The James Gang is gone, I still play with my dong, Rocky Mountain Way-eee," da-DA-Da-da, "and it's getting fatter." the self-abusing Joe Walsh, currer,itly stroking his way to success with his exciting album, The Smoker You Drink, will be at Kleinhans with ½is group Barnstorm Oct. 21 (courtesy of Festival

Lou Reed Berlin (RCA)

· "I can't stand still 'cause you got me goin' Your slacks are low and your hips are showin' I dig you girl as you're standin' there, ' Your low-cut slacks and your long black hqir I want you goin' round wit}) no one else, Cause when I'm with you, I can't control myself" .-The Troggs Dick James Music, Inc. (BMI)

"They told you in school about freedom, But when you try to be free, they never let ya' They say it's easy, nothin' to it, And now the Army's out to getcha I'm sick and tired of payin' these dues And I'm finally getti~g hip to the American ruse" -The MC5 Motor City-Cotillion (BMI)

Ghastly Screams, disjointed piano bars, German beer drinking songs, laughter: this is Lou Reed's Berlin. Lou Reed is shocking us with these sounds, the first to be heard on the album. He dares us to continue llstening, and when we do, Lou Reed's baited trap has been snapped by his listeners. Berlin, the title tune of the albhm, sets the theme for Reed's most significant contribution to the music world to date. Gone are the surreal efforts of the Velvet Jnderground, along with the glitter of Transformer. However, these times have

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STRAIT, 18 OCTOBER 1973

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STRAIT, 18 OCTOBER 1973

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