Track Listing

1. Berlin
2. Lady Day
3. Men of Good Fortune
4. Caroline Says I
5. How Do You Think It Feels
6. Oh, Jim
7. Caroline Says II
8. Kids
9. Bed
10. Sad Song

Product Details

• Amazon Sales Rank: #27270 in Music
• Brand: REED,LOU
• Released on: 1998-03-24
• Number of discs: 1
• Format: Original recording remastered
• Dimensions: .22 pounds

Album Description
Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. BMG. 2008.

Amazon.com
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

Customer Reviews

Reed's Accidental Masterpiece.
I bought BERLIN after reading Victor Bockris's brutal biography of Reed, TRANSFORMER. It was hailed as a "masterpiece" throughout the book, and having been a big fan of Reed and VU for years, AND since it had just been re-issued on CD, I snatched it up. I had no idea what a surprise I was in for. Having heard many of the VU versions of these songs, and based on my other Reed discs, I was completely stunned by the theatrical-German-tavern orchestration, and the blatant violence (particularly misogyny) in the lyrics. None of this turned me off of the album, as I was determined to see it as a testament of a certain state of mind, which was discussed at length in TRANSFORMER. And according to the book the recording of this album was a catastrophe, what with Reed's increasing dependence on speed, and his emotional state. Knowing this, it is amazing that the album turned out as well as it did. But like so many other "masterpieces" it wasn't hailed as such until much, much later, when it could be listened to within its own context, and not just as the follow-up to the album TRANSFORMER. This leads me to my calling it an "accidental masterpiece," as obviously Reed's vocals aren't up to par, there's nary a Reed-guitar crunch in sight, and much of the orchestration is close to being absurdly overwrought. However, my reason for giving it five stars is that it IS a perfect testament to Reed's state of mind/being at that particular time, flaws and all. Not many albums achieve this. One last thing, I wish people would stop with the: "I like the VU version of this-or-that song better." I happen to like Reed's later takes on those songs, and in this case think that the BERLIN version of "Sad Song" is much more powerful than the original.

Lou Reed mines the beauty of despair.
It's sometimes hard for me to think about "Berlin" without conjuring up Mike Myers' Saturday Night Live character, Dieter (the host of "Sprockets"). Like Dieter ("I find your agony delicious"), Reed seeks -- and finds, in abundance -- the beauty in pain and despair on this unforgettable album.

"Berlin" is all about darkness and decadence, though not the kind Lou Reed explored on "Transformer", his previous release. Rather than continuing with that disc's celebration of camp fruitery, "Berlin" takes a major turn onto seriously grim sidestreets littered with broken souls. A conceptual meditation on feelings most of us would rather not acknowledge, "Berlin" is a bitter narrative about the cruelty people can inflict on each other in the supposedly safe confines of a relationship.

The most amazing thing about "Berlin", however, isn't the subject matter, it's the music. Producer Bob Ezrin assembled an array of the era's most talented musicians (including Steve Winwood, Jack Bruce, Aynsley Dunbar and Tony Levin) and embroidered the album with lush, breathtaking string and wind orchestrations. The music and lyrics offset each other in stark contrast, much the same way a German expressionist film utilizes black and white.

Throughout, Reed delivers his trademark off-key vocals with a more pronounced sense of detachment than is usual even for him; on "Berlin" he's not so much an impartial observer, but a willing accomplice to the proceedings who angrily refuses to do anything about the destiny unfolding before him.

"Berlin" has been blasted as the ultimate downer of Reed's career -- quite an accomplishment, given the breadth of his depressive catalogue. Which is fair enough, for the faint of heart. For the rest of us, "Berlin" is a groundbreaking masterpiece.

an absolute masterpiece
I am a Lou Reed fan. Generally, I've always preferred his live performances, CD and DVD. However, without question, this album is a masterpiece.

Make no mistake, this is a top ten album of all time.

The emotional content of this album is unparalleled. The orchestration, the music, and the lyrics are virtually unrivaled.

I read another review which made reference to Pink Floyd's, " The Wall." I love that album; I love Pink Floyd; painful to say, " The Wall" pales in comparison to this album. I have to be honest; " Berlin" is an incredible piece of work.

Lou Reed bares it all; " Berlin" is unadulterated. It's deceptively simple; it's raw and easily accesssible. Maybe, " simple" is not correct. " Berlin" is just void of any pretense and bullcrap.

It/life just is: pain and suffering intermixed with beauty.

I've said enough.

I absolutely applaud this piece of work.