Cheap Ecstasy (Music) (Lou Reed) Price
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| ARTIST: | Lou Reed |
| CATEGORY: | Music |
| MANUFACTURER: | Warner Brothers |
| TYPE: | Pop, Rock |
| MEDIA: | Audio CD |
| TRACKS: | Paranoia Key of E, Mystic Child, Mad, Ecstasy, Modern Dance, Tatters, Future Farmers of America, Turning Time Around, White Prism, Rock Minuet, Baton Rouge, Like a Possum, Rouge, Big Sky |
| UPC: | 093624742524 |
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Customer Reviews of Ecstasy
Lou Reed's Best Work in Years Lou Reed's "Ecstasy" is the finest work that he has produced in several years, even when viewed in the context of his masterpieces "New York" and "Magic and Loss." He largely avoids the fault to which he occasionally succumbs on other albums, namely making his references too specific and topical. (He does have one reference to Clinton, unfortunately.) The writing on "Ecstasy" is hard-hitting but universal--they are the kind of lyrics that will resonate with poignancy years from now. "Modern Dance" is a beautiful clash between realism and romanticism; "Tatters" is soft and contemplative; the lines in "Mystic Child" are edgy and terse. With this album, Reed shows yet again that there are very few songwriters in his league.
The music is rough ala the Velvet Underground, and this is quite surprising and very welcome. "Paranoia Key of E" sets the tone with its fuzzy bass and wide-open guitars. Reed is in fine form musically--the guitars have a really nice edge to them, and the music is often passionate and frenzied. "Like A Possum" is another sonic feast that even bears similarities to Metal Machine Music. Frankly, it is nice to see Reed utilizing the aesthetic lessons of his early years by employing them in the context of challenging, contemporary songs that are relevant for the present and the future.
Although the lyrics are sublime and the music is intense, you should buy "Ecstasy" just because Lou Reed, better than any writer in the history of Rock, can take his listeners into the bowels of their consciousness and expose to them the filth that they desperately wish to deny. The urban themes in his music provide the perfect operating metaphor for the contemporary American's mind. It is a place that is a wee bit seedy, perhaps like a psychological equivalent of a freak show. It is a place where salvation is hustled on the street, lies are convenient substitutions for the truth, and where we all cheer when someone gets the upper hand on "The Man."
Moments of pure brilliance
Lou Reed's Ecstasy marks the return to form for the venerable rocker, who has existed in the business for over 35 years. Ecstasy is peppered with moments of musical virtuosity and most of the songs on the album are very good indeed; however, there are long periods of dull repetition that restrict the album from ever achieving brilliant status. Ultimately though, Reed combines guitar (and guitar feedback) driven rock and his signature detached vocals, with horn sections and an electric violin that make a large percentage of Ecstasy exactly that: musical ecstasy.
The album opens with the groovy 'Paranoia Key of E', which combines horns with electric guitar. It kicks off the album very well, and Reed immediately seems to be in his groove. The album's eponymous number is perhaps the best out of the entire 77-minute selection: it's mellow, funky guitar-driven verse elicits an emotional response from the listener, which is heightened by the onset of the chorus: Reed sings "ecstasy" against a soft bed of electric violin, so elegant in its simplicity it carries the listener away.
There are no other moments of pure brilliance like Ecstasy (the song) on the album, but about eighty percent of it is excellent, involving and entertaining. 'Modern Dance', 'Tatters' and 'Turning Time Around' are, second to Ecstasy, the most noteworthy on the album. But all of the songs feature Lou Reed's unique vocals: almost spoken yet subtly melodic, strangely detached yet strangely connected -ultimately, musically paradoxical in their appeal.
Ecstasy is a great album with positives that far outweigh the negatives. The aforementioned four great songs alone make the album worth buying, due to their great rhythms, vocals and instrumental ensembles. Despite 'Like a Possum', the album is still really good and deserves a place in any rock and roll connoisseur's CD rack - it is, like the Wall of Sound said, "rock and roll for grown ups": intelligent, entertaining, thoughtful... its ecstasy.
PERHAPS LOU'S BEST EVER...
"Mad", "Ecstacy", "Tattered", 3 of the best Lou Reed songs ever, and they're all right here on this album alongside other invaluable treasures. I was fortunate enough to see Lou live a very short while after this album was released. Luckily, I had bought the album and became very familiar with it. He basically played this entire album and then a few encores at the end. I honestly think there were about 10 people in the audience who enjoyed the show because they didn't know any of this new stuff he was playing. I just sat there and smiled and watched one of the best concerts I had ever seen, and I've seen Pink Floyd, the Stones, and The Who, among many others. If you like "Walk on the Wild Side", and "Sweet Jane", because you hear them on the radio, don't bother with this album, it probably won't do anything for you. If however, the word "classic" means not how much it's played on the radio, but rather, if the music really connects with you in some way, then by all means get this album, I guarantee you will not regret it. Again, I honestly feel that this may be Lou's finest album ever, this coming from the man who did "Berlin" and "Transformer".