Lou went for Baroque on his third solo album, singing about such light subjects as suicide and drug abuse over grandiose Bob Ezrin production. 10-tracks. Sony.
Eternally perverse, Reed responded to having a pop hit with Transformer
by making a massive bummer of an album, built around reworked versions of a couple of older songs. Berlin
is psychologically grueling and unremittingly dark (scariest moment: "The Kids," which ends with a very long tape of children screaming in terror), but the savage contrasts of its sound have gotten more impressive with time. The big production flourishes hit like a hangover, Reed's voice sounds like he's trying to stave off emotional involvement with his lyrics because it would hurt too much, and the multi-layered textures of "Oh Jim" surge and recede like details of a nightmare. The album takes strength to hear, and rewards it. --Douglas Wolk