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Lou Reed / Between Thought and Expression: The Lou Reed Anthology - Disc 2 of 3





Lou Reed

Between Thought and Expression: The Lou Reed Anthology - Disc 2 of 3


Tracks: 13, total time: 71:19, year: 1992, genre: Rock

Between Thought and Expression: The Lou Reed Anthology - Disc 2 of 3
© 1992 RCA/BMG Music

Originally Released April 14, 1992

AMG EXPERT REVIEW: In October 1990, Lou Reed interviewed Vaclav Havel, playwright, poet, president of the newly emancipated Czechoslovakia, and -- surprisingly? -- a Velvet Underground fan. During the course of their conversation, Havel handed Reed a book."These are your lyrics, hand-printed and translated into Czechoslovakian. There were only 200 of them. They were very dangerous tohave. People went to jail." Nobody will go to jail for owning Between Thought and Expression, but Reed's lyrics remain dangerous-- not, as in Communist Czechoslovakia, for what they are, but for what they say. Deactivating society's most fail-safe mechanisms, he tells secrets, lifts shrouds, and, at his best, depicts a reality so harsh, so harrowing, that it becomes almost fantastical.Nobody could live like that. Nobody could love like that. And, surely, nobody could think like that. Between Thought and Expression, three discs and four hours culling Reed's own personal favorites from a then-25-year career, presents that reality without distraction. From the Velvets through to the end of the '80s, with diversions through most of the intriguing alleyways that Reed glanced down during that latter decade, the box is strongest where Reed is at his most powerful -- the inevitable sequence that ran between 1972-1974 most of all. But reevaluate Reed's '80s output and you will be pleasantly surprised, while even the nadir of Rockand Roll Heart proves salvageable. For the collectors, a handfulof unreleased cuts include early versions of "Downtown Dirt" and"Leave Me Alone," plus "Here Comes the Bride" emerges a Take No Prisoners outtake that is just as much fun as the rest of that album. "America (Star Spangled Banner)" sounds uncannily like one ofthose '60s pop classics that punk bands used to speed up, and there's also a new live version of "Heroin," to do with what you will. Indeed, if you ignore the absence of a handful of personal favorites (and overlook the fact that anyone who doesn't already own most of them probably thinks Lou Reed is an instrument that youplay in the bathroom), you've got every key track in Reed's pre-New York repertoire, with even the oft-dismissed Metal Machine Music making a 92-second cameo appearance to keep the pedants at bay. Taking Reed's career stage by stage, there are better collections than this out there -- the Legendary box that splits betweenhis two stints on RCA for one. But as a solid overview backed byan informative, Reed-approved booklet, Between Thought and Expression readily lives up to its maker's reputation. And that of hislyrics. -- Dave Thompson


Half.com Details
Producer: Bob Ezrin, David Bowie, Fernando Saunders, Godfrey Diamond, Jim Campbell (Compilation), Jim Campbell, John Jansen, Lou Reed, Michael Fonfara, Mick Ronson, Richard James Burgess, Richard Robinson, RobBowman (Compilation), Rob Bowman, Sean Fullan, Steve Katz

Album Notes
Contains material from LOU REED (1972) through MISTRIAL(1986) plus 2 Velvet Underground songs, 4 previously unreleasedstudio tracks, an excerpt from METAL MACHINE MUSIC, a 12-minute live version of "Heroin" (featuring Don Cherry) and a live versionof "Voices Of Freedom" from 1987 with Youssou N'Dour and Peter Gabriel singing backup and Rick Bell on saxophone. It comes packaged in a 6" x 12" longbox and includes a 44-page booklet with liner notes by Rob Bowman and insights provided by Lou Reed in recentinterviews.

Personnel: Lou Reed (vocals, guitar, acoustic guitar, piano, guitar synthesizer, background vocals); Caleb Quaye (guitar, piano); Stuart Heinrich, Steve Wagner (guitar, backgroundvocals); Chuck Hammer, Dick Wagner, Mick Ronson, Robert Quine, Steve Howe, Steve Hunter, Paul Keogh, Bob Kulick (guitar); Lakshminarayana Shankar (electric violin); Peter Gabriel (fiddle, background vocals); Marty Fogel (ocarina, saxophone, Fender Rhodes piano); Peter Wood (accordion, keyboards); Rick Bell (saxophone); Michael Brecker (tenor saxophone); Don Cherry , Randy Brecker (trumpet); Jon Pierson (bass trombone); Michael Fonfara (piano, Clavinet, organ, keyboards, ARP synthesizer, background vocals); Bob Ezrin (piano, Mellotron); Rick Wakeman (piano); Steve Winwood (harmonium, organ); Ray Colcord (keyboards); Barry DeSouza, Fred Maher,John Halzey, Bob Meday, Whitey Glan, Aynsley Dunbar, B.J. Wilson, Michael Suchorsky (drums); Clem Cattini, Sammy Merendino (percussion); Fernando Saunders (programming, drum programming, background vocals); Michael Wendroff, Connie Harvey, Eric Troyer, JoanneVent, Genya Ravan, Angela Howard, Crissie Faith, Christine Wiltshire, Helene Francois, Ellard Boles, Jo'Anna Kameron, Jim Carroll, Jocelyn Brown, Rubén Blades, Youssou N'Dour, Kay Garner, Rory Dodd (background vocals).

Liner Note Author: Rob Bowman.

Recording information: Academy Of Music, New York, NY (01/1972-03/1987); Air Studios, Montserrat (01/1972-03/1987); Bottom Line, NewYork, NY (01/1972-03/1987); Delta Studio, Wilster, Germany (01/1972-03/1987); Electric Lady Studios, New York, NY (01/1972-03/1987); London Palladium, London, England (01/1972-03/1987); Lou Reed's Home Studio (01/1972-03/1987); Media Sound Studios, New York, NY (01/1972-03/1987); Morgan Studios, North London, England (01/1972-03/1987); Munich, Weisbaden & Ludwigshafen, Germany (01/1972-03/1987); Power Station Studios, New York, NY (01/1972-03/1987); RCA Recording Studios, Studio C, New York, NY (01/1972-03/1987); Record Plant Studios, New York, NY (01/1972-03/1987); Roxy Theatre, Hollywood, CA (01/1972-03/1987); Skyline Studios, New York, NY(01/1972-03/1987); Trident Studios, London, England (01/1972-03/1987).

Photographer: Keith Miller.

Lou Reed's post-Velvets work is a tangle of genre-hopping, role-playing, decadence and inspiration, full of glorious peaks and curious valleys. A comprehensive trail through Reed's work is blazed by this worthwhile three-disc set. Reed took the urban poet-junkie ethic he perfected with the Velvet Underground and put it through as many artistic filters as he could think of throughout the '70s: glam rock, art-rock(Steve Howe and Rick Wakeman played on his first album!), avant-garde noise and of course, Velvets-style ...

Industry Reviews
...touches all his stylistic bases...a consistently strong portrait of a serious, evolving artist...the track selection is largelyon the money... - Rating: A- -- Entertainment Weekly (05/15/1992)

4 Stars - Excellent - ...a respectable collection... -- Q(05/01/1992)


AMAZON.COM CUSTOMER REVIEW
Excellent survey ofLou Reed's RCA/Arista recordings, April 25, 2004
By A Customer

Lou Reed's solo career is notoriously erratic, and for anyonelooking for a good introduction or a good summary, this is yourbest choice. A three CD set over three hours long, it has almosteverything going for it. Everything's been remastered by Bob Ludwig from the original sources (in many cases, much better than other currently available CD's), the extensive liner notes by Rob Bowman is very well-written, incorporating a great deal of input byLou himself, and the track selection by Lou and Bowman is very good. Every studio Lp recorded from 1972 (Lou's self-titled solo debut) to 1986 (MISTRIAL, his final Lp with RCA) is covered as well as a handful of choice live cuts and rarities. Every importantaspect is given equal representation, from tender confessionals ("Think It Over"), raging confessionals ("The Blue Mask," "The Last Shot") political anthems ("Voices Of Freedom"), avant-garde experiments ("The Bells"), and even expert pop ("My Friend George").

This is almost everything you'd want from Lou Reed's RCA/Arista output (later Sire/WB albums like NEW YORK and MAGIC AND LOSSare worth owning), but it's not definitive. A few key tracks aremissing, at very least, "Perfect Day" from TRANSFORMER, "I WannaBe Black" from STREET HASSLE which Lou was hesitant to include, "Families" or "All Through The Night" from THE BELLS, a few more tracks from THE BLUE MASK and LEGENDARY HEARTS, and "I Love You Suzanne" from NEW SENSATIONS (his finest pop hit ever).

It's a minor complaint, because TRANSFORMER is a popular album, THE BELLSis love-it-or-hate-it (some think it's one of his best, others think it's a career killer), and THE BLUE MASK, LEGENDARY HEARTS,and NEW SENSATIONS are three rock-solid albums, arguably Lou's best run, so anyone who misses those tracks will probably buy the albums.

Normally I wouldn't recommend a three-CD box set as a first purchase, but in used condition, this set can be found CHEAP. Look around on ebay, or better yet here (as of this writing, there are THREE complete sets selling here for less than $10). Whypay $12 for one of Lou's subpar single disc collections, or a two-disc "NYC Man" when you can get this set for less? A nice introduction, after this set, check out THE BLUE MASK and NEW YORK, andif you still want more, check out TRANSFORMER, LEGENDARY HEARTS,and NEW SENSATIONS for Lou's more accessible side, and THE BELLS, BERLIN, and MAGIC AND LOSS for Lou's darker, somewhat more experimental side.


AMAZON.COM CUSTOMER REVIEW
The ups and downsof Lou (mostly the ups), August 30, 2000
By Brian D. Rubendall (Oakton, VA)

Lou Reed's recorded catalog is frustrating forthe average music buyer. He has plenty of great songs that are buried onto mediocre or ill-conceived albums. Fortunately, "BetweenThought and Expression" contains many of his best moments from before the release of 1989's "New York" album. The best part is that it contains six cuts from his best 1970s album "Berlin" and mercifully contains only a short snippet from the atrocious doubledisc "Metal Machine Music" album that nearly destroyed his career. His biggest hit single "Walk on the Wild Side" is here along with his smokin' extended live version of "Sweet Jane." The only truly regrettable exclusion is "Wild Child" which is one of his best songs. Overall, this is a fine anthology album from one of rock's most eccentric figures.


AMAZON.COM CUSTOMER REVIEW
Who's gonna argue with Lou?, July 14, 1999
By A Customer

Lou Reed hand picked the cuts on this compilation, and where one could nit-pick over the selection presented it stands up as a whole quite well. If Lou thought the songs worthy of inclusion in a retrospective of his career he had good reason. Collectively these performances create a considerable statement. Where Lou had his down moments, his brilliance is what perseveres. Slumps are unavoidablewhen one succumbs to the temptations of drug addiction. Still, the artist, like his music, has survived well. There are a numberof unreleased cuts here that make it worthwhile for the fan(atic)s who have much of his work. Lou Reed, like Patti Smith, is one of the greatest voices of New York/American rock and roll. Voicesof the street, voices of depth, integrity, and power. Highly recommended...Simon


AMAZON.COM CUSTOMER REVIEW
Lou Reed between depth and breadth, June 7, 2006
By Todd Bartholomew (Atlanta, GA USA)

"Between Thought and Expression" is a good startingpoint or survey of Lou Reed's career while on the RCA and Aristalabels, but much like the man himself it can be erratic and challenging and is far from a complete picture. Reed has made a careerout of challenging people's perceptions of him as a vocalist, songwriter, and musician and if anything this box set will reaffirmthat! Reed played an active role is the song selections and sequencing rather than having outside individuals tamper with how heis projected to the world; typically him isn't it? Many of Reed'smost memorable tracks (I can't really call them hits; he never had that many) are all here and included are many other surprisesincluding "Metal Machine Music" from the widely panned eponymousrelease. Along the way "Between Though..." shows Lou Reed's (dareI say) maturity as an artist and showcases his considerable songwriting talents. Daresay that "The Original Wrapper" is no "SweetJane" but then again Lou was, and is, all about challenging whoyou perceive him to be. Yes, there are tracks I'd like to have had included here and others I could do without, but this is good enough for a start. Prepare to be challenged!


AMAZON.COM CUSTOMER REVIEW
Evidence of an uneven career., October 1, 1998
ByStephen Caratzas (Brooklyn, New York)

"Between Thought and Expression" is an uneven and disappointing collection that catalogs the wildly uneven and disappointing career of Lou Reed. Which is to say, it's an accurate representation, I guess. Which is toobad, really, because the high points of Reed's career are indeedvery high, but the lows are almost unplummable.
Song selectionis very strange: disc one features six, count 'em, SIX songs from"Berlin"--why didn't they just throw the whole damn thing on? Beginning to understand the uneven factor? On the plus side, the best three songs from "Transformer" are here: "Vicious", "Satelliteof Love", and, of course, "Walk on the Wild Side". Also a plus,the live version of "Sweet Jane" is kept intact with Steve Hunter's intro. But where is "Sally Can't Dance"?

Disc two featuresthe best cross-section of Reed's output, concentrating on the drug-addled 70s. Some of the tunes are presented in edited versions,which is always frustrating, but there is an interesting assortment of previously unreleased tracks which is great--the first time you hear them, anyway. The inclusion of a snippet from everybody's fave desert island disc, "Metal Machine Music", is a ballsy maneuver.

The third disc, though it has a nice collection of tunes from "The Blue Mask" and "Legendary Hearts"--two of Reed's better albums--slips badly into mediocre crap like "My Friend George" (in lieu of "I Love You, Suzanne"!??!), "The Original Wrapper", and "Tell it To Your Heart".

All in all, this is Lou Reed for better AND worse. Maybe a tighter two-CD set would have been abetter, and less revealing, idea. See John Cale's "Seducing Downthe Door" for the right career retrospective recipe.


AMAZON.COM CUSTOMER REVIEW
A Great post-Velvets Summation, March 7, 2003
By S. Finefrock (Raleigh, NC)

One could argue that Lou Reed peaked early in his career. His first band the vaunted VelvetUnderground's influence re-wrote rock and roll's codes of values(at some level at least)in their short exsitance of 1966 through1970. Their four studio albums have defined a style which stillhas impact today, some thirty years after they broke up. Though Lou's solo career never reached those daunting levels consistantly, this box shows that some of that early magic has continued wellinto the 80's.

Reed's solo career has been filled with numerous peaks (THE BLUE MASK, BERLIN, TRANSFORMER), valleys (METAL MACHINE MUSIC, MISTRIAL, ROCK AND ROLL HEART) and a whole lot of inbetweens. This collection contains the highlights from his good albums and rescues a number of great tracks from his lesser works,and has a generous helping of good, quality unreleased and raretracks to boot.

Any VU or Lou Reed fan would be well advisedto check this out, especially if there are gaps in your collection. I'm sure that anyone would add and subtract certain selections, as I would, but overall this is of excellent quality.


AMAZON.COM CUSTOMER REVIEW
Hey, I wish I could have written any TWOof these..., June 17, 1999
By A Customer

People snipe at Reed, and not without reason. "Uneven" production probably best defines him (some level similar charges at Neil Young), but overall status as a founding member of VU qualifies for some sort of sainthood in my book. Had he stopped after the Velvets split, he'd still be a giant. Again, though, some might wish Lou HAD hung it upsooner rather than later. I say: let him shake out whatever he'sgot left. It's all gravy, baby.


AMAZON.COM CUSTOMER REVIEW
Yup!, January 21, 2002
By Gary - See all my reviews

This review is from: Between Thought & Expression (Audio CD)
Those still trying to ward off the 'Ecstasy' CD can put down their crucifix's and play a little reminder of when the old groaner could turn out the odd diverting ditty. His voice has been likened to thecreaking door of Frankenstien's castle, and he can be self indulgent with it live, often irritatingly refusing to keep time. Here,the live cuts keep this under control. 'Berlin' needs to be heard as a whole and room could have been made there for a couple ofother rarities. Overall, ain't got no complaints.

1.3:16Nowhere At All (Non LP B-Side - 1975)
2.6:03Kicks (from ''Coney Island Baby'' - 1975)
3.4:18Downtown Dirt (Outtake from ''Coney Island Baby'' - 1975)
4.3:07Rock And Roll Heart (from ''Rock And Roll Heart'' - 1976)
5.2:53Vicious Circle (from ''Rock And Roll Heart'' - 1976)
6.5:16Temporary Thing (from ''Rock And Roll Heart'' - 1976)
7.3:23Real Good Time Together (from ''Street Hassle'' - 1978)
8.5:33Leave Me Alone (Outtake from ''Coney Island Baby'' - 1975)
9.12:20Heroin (Live at the Roxy Theatre, LA - 1976)
10.6:08Here Comes The Bride (Outtake from ''Take No Prisoners'' - 1978)
11.11:00Street Hassle (from ''Street Hassle'' - 1978)
12.1:34Metal Machine Music (from ''Metal Machine Music'' - 1975)
13.6:30The Bells (from ''The Bells'' - 1979)


Discid: rock / c510b50d