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Salient. Victoria University Students' Newspaper. Volume Number 39, Issue 5. March 29 [1976]

Coney Island Baby: LOU Reed (APLI 0915)

page 15

Coney Island Baby: LOU Reed (APLI 0915)

Gramophone

Many people felt that 'Sally Can't Dance', Lou Reed's last collection of studio recordings, represented the nadir in the career of a declining artist. It met with almost universal critical declamation and most reviewers went out on the note that only a dramatic resurgence in ideas and style could return Lou to any point of critical and artistic respectability. Following 'Sally', however, Lou recorded and released a double album of electronic noise entitled 'Metal Machine Music'. Deemed from the start as a commercial turkey, it bombed so badly in the States and Britain, that it consequently will not be released here.

A lethargic N.Z. tour last year with Lou looking like a total wreck except for the inclusion of a few numbers from the then forthcoming album, 'Coney Island Baby'. In concert these retained some of the bite and searing intensity associated with his best work and augered well for the album. Well, the album is out now, with these songs in a different form, and I can't be sure whether it's going to please or disappoint.

Taken as a whole, the album seems to have a reminiscent quality about it. From the cover, which features Lou as a jaded 'Cabaret' type figure in suit, bow tie and bowler hat. 'to the tunes' lyrics and vocals, which hark back to earlier albums, the L.P. seems preoccupied with the past. The anonymous backing musicians (guitar, bass, drums, backing vocals) are consistently good, putting down a clean, spare, tight sound that gives rise to a good quality production job. The guitar is particularly excellent throughout with sinewy and tasteful lines that enhance the relaxed, low-key flavour of the album, with most numbers reflecting Reed's recently stated preference for ballads.

Most of the song lyrics are familiar Reed with language that has been used on previous albums. The usual vocal style and inflections are still there and snatches of earlier songs seem to emerge throughout. For instance, the tune and style of 'She's My Best Friend' recall 'Lisa Says' off the first album and the cymbals that open 'Nobody's Business' have an obvious stylistic background in 'Ocean', again off 'Lou Reed'. Indeed that early album seems closer in feeling to 'Coney Island Baby' than any other Reed album.

However, not all songs hark back to the first album. The two major exceptions are 'Kicks' and the title track which close sides 1 and 2 respectively. 'Kicks' tells the story of a knife-wielding mugger who finds killing 'better than sex'. What is interesting about the song, though, is the vocal undercurrent (featuring Lou and friends) that runs for the length of the song. Lou hasn't used this type of technique since 'Murder Mystery' on 'Velvet Underground 3' which had two seperate vocal tracks. The other major song is the title track which has its closest links with 'Billy', off 'Sally Can't Dance It tells how back in High School, Lou wanted to play football for the coach and ends up extolling the 'glory of love'. Strange, but truly beautiful and classic Reed.

So not the great break that was hoped for, and no doubt it will confirm the opinions of those who think 'Sally finished off Lou. But I liked 'Sally'. And I like this one.

Mark Cubey