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Growing Up in Public [Import]

Lou Reed Audio CD
3.2 out of 5 stars  See all reviews (5 customer reviews)
Price: CDN$ 39.87 & FREE Shipping. Details
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Product Details

Product Description

Product Description

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. BMG. 2006.

Customer Reviews

Most helpful customer reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars growing up with lou Dec 26 2003
Format:Audio CD
This has got to be lou's greatest record. Stripped bare, honest and raw ( I mean, look at the cover!), musically insane , funny, tender, and scarily true , it not only says everythin' about the guy but the human condition full stop. I'm not gonna go into the historical nonsense that it was a turning point in his career. (who cares!). Basically, this is where he was at the time . It's his best work lyrically by a long shot. I don't get the feeling he's talking to you in a room , as has been most peoples comments when they hear lou, but to himself , therefore it gets right into your head, a personal journey which reaches anyone who is not scared to look at themselves face on. It also, even more than 'Ecstacy,' shows lou's love for soul music. You want a wake up call sleepy heads, then beg, borrow or steal this totally neglected gem.
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Format:Audio CD
After creating one of his most personal albums with THE BELLS (1979), Lou Reed seemed to be still on a bit of an introspective kick for the follow-up GROWING UP IN PUBLIC. But while THE BELLS saw Reed hopping trends with disco and fusion, PUBLIC finds Reed returning to matters of the heart---well, almost. The album's set-up is almost similar to that of TRANSFORMER with another close ear turned towards mainstream radio. Unsurprisingly, PUBLIC was not the commercial juggernaut that TRANSFORMER was, but it certainly deserved to be. This album seems to have a concentration for backing vocals as shown on the inspirational "How Do You Speak To An Angel", the darkly humourous and sadly-true-to-life "The Power of Positive Drinking", and the gospel-tinged "Teach The Gifted Children" (featuring a deliberate lift of "Take Me To The River"). As always, the overly commercial sound is weighed down by Reed's highly intellectual and emotional lyrics, which are his most personal since BERLIN. Seeing as how PUBLIC was released in early 1980, just as synthesizers were beginning to become an integral part of American pop music, it's no surprise there's a prevalence of those as well. For someone so hellbent on reaching the American mainstream, Lou Reed didn't hold back, that was for sure. While this album could have brought back the high commercial success of TRANSFORMER, the nearly-40 Reed maybe needed some time off after GROWING UP IN PUBLIC, and he did by taking two years off to get sober and grow up a little. This tumultuous period would be documented on his wonderful BLUE MASK.
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2.0 out of 5 stars Lou Reed - up close, personal and overwrought. June 23 2000
Format:Audio CD
Following the jazz-rock fusion of "The Bells", Lou Reed abruptly changed directions with "Growing Up in Public". A collection of very personal songs - some of them embarrassingly direct - this album may qualify as Reed's oddest offering.
At times the disc plays like a Woody Allen movie set to music: very urban, feigning hipness, and consumed with the difficulty of interpersonal relationships as its subject matter. Which is fine, except that the lyrics are often hopelessly overwrought and ill fitted to the musical accompaniment, which makes for a challenging - if not flat-out uncomfortable - listen. One is tempted to award Reed points for stretching himself as a writer, but he unfortunately relies too heavily on long-time sideman, keyboardist and co-producer Michael Fonfara, who is credited with co-authorship of all the songs. Some of the music ("So Alone", "Smiles", "Think it Over") sounds like it's straight out of an off-off Broadway musical, the likes of which might have been created by Gilda Radner's Lisa Loobner character - i.e., earnestly horrible.
A few tunes do stand out: "The Power of Positive Drinking" is a hilarious drinking anthem to raise one's glass to; "Standing on Ceremony" sports a terse lyric set against a menacing riff that accentuates its grim story of guilt and anger felt at the death of a parent; "My Old Man" is a vitriol-spewing rail against an overbearing father. Reed was clearly exploring his life and options here. He married shortly after "Growing Up in Public", and two years later he would switch labels and release his masterful album "The Blue Mask".
This was Reed's last venture with the Everyman Band, a jazz-rock combo with whom he recorded and toured throughout the latter part of the 1970s.
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4.0 out of 5 stars Literate but mainstream rock March 31 2007
Format:Audio CD
This is a very literate Lou Reed album, and not one of the critics' favourites. The music tends towards mainstream radio rock, yet it contains great songs like the title track, Love Is Here To Stay and the very catchy Power Of Positive Drinking. My other favourites include How Do You Speak To An Angel, My Old Man and Teach The Gifted Children with its poetic lyrics. The subject matter deals with relationships and the album has more of a warm, human feel than the classic works Reed is best appreciated for. By any other standard than Reed's own, this is a good rock album that has stood the test of time very well.
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0 of 1 people found the following review helpful
1.0 out of 5 stars Not worth it May 10 2002
Format:Audio CD
Lou Reed's career has as many low points as high ones. This is one of the lowest. Bland, anonymous studio musician rock with lyrics that are so over-the-top that they become unintentionally funny. Eventually, though, even the humor factor wears off and it quickly becomes unlistenable.
The scam, at the time this came out, was that this was REALLY Lou Reed - no, REALLY, the REAL Lou Reed, talking about his REAL life. Really! Honest! Of course anyone who believed that would also want to invest in Lou's shares in the Brooklyn Bridge or his offering of great real estate in South Florida.
The best thing about this album is the cover. Nothing else on here is worth bothering with. Most of Lou's output on Arista records showed him at his least interesting, and this one unfortunately is one of the worst (only surpassed by the truly abysmal "The Bells," which no one should be forced to listen to).
God bless Lou Reed, but give this one a pass.
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