Customer Reviews

Legendary Hearts

5 star:		(10)
4 star:		(6)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Lou Reed may not be everyone's cup of tea, but those who have warmed to his flat, half-spoken singing, terse guitar playing and the poetic insights that have typified his style since the early eighties could do little better than to own a copy of "Legendary Hearts" (1983). This is Lou Reed at his most focused: newly sober and reveling in his ability to write and play about his personal experiences in such a direct, conversational manner that it seems as though he is a very good friend who has come over for an evening and is telling you about what he's been going through lately.

Confessional writing is a tricky thing in that it can be embarassing for the artist if done poorly and can indulge a listener's most voyeuristic tendencies even when done well. It is Reed's sense of humility in many of these songs, though, that saves them from bathos. Some of his best writing is to be found here, specifically the title track, which nails a profound (really, I'm not kidding, it's profound) truth about love and the way we see ourselves, all of which is accomplished in three and a half minutes. Much of the self-reflection found on this album came as the result of therapy and Alcoholics Anonymous; anyone who has ever invested time in either will find something familiar in "Make Up My Mind," "The Last Shot," "Betrayed" and "Bottoming Out," the last of which takes a pass at self-destruction and anger with a clear-eyed poise that few songwriters (or the rest of us, for that matter) can manage.

These are heavy subjects, make no mistake, but the tight ensemble playing (two guitars, drums and Fernando Saunders' singing fretless bass lines) makes the best of these songs move so that you can tap your foot while Reed is passing on his little revelations. (One thinks that Phil Spector would be proud, too: the way the album is mixed, it's almost in mono, which gives the songs quite a punch.) Songwriters who aim for depth within the confines of the rock song take note: "Legendary Hearts" is a model of precision, both well-observed and heartfelt. Put it on and turn it up - it may give you something to think about.

Nothing to add on the quality of the songs, they are great, 5-Star. But since its release there was always the hope that one day a re-master would be created with Robert Quine's guitar as appropriatedly represented as on "Blue Mask". Instead, the "re-master" sounds almost identical to the original master, just generally louder, whith Quine's guitar hardly audible (rumours saying that in 82 Reed tuned it down after recording, since he could not stand Quine's guitar play being so clearly superior to his own...don't know if this is true but the sound is weak indeed). What a contrast to the recent fantastic re-master of "Coney Island Baby", where Reed himself apparently was in charge of the re-mastering. This seems not to be the case with this album, making it a disappointing experience.

You may wonder why you never heard anything about this album. And you may think that by the fact it was made in the 80's there's a huge possibilitie of it being a piece of crap. You know it happened with David Bowie and Iggy Pop... Well the good news is that this album is good and at the same time pretty unknown. What are the odds, huh?

It's Lou Reed at his best. The songs are personal and extremely focused. You can't find the real gems of this album in any compilation so let me tell you what you'll miss if you overlook this album:

. Legendary Hearts - the title track is one of Lou's best lyrics and is extremely well sung. Irresistable tune too!

. Make up my mind - in the same vein as "legendary hearts". Lou in a romantic mood and as always NY on the background.

. The last shot - Lou's hymn for the drunk. Rock and roll and comedy hand in hand. This track rocks!

. Betrayed . Home of the brave . Rooftop garden

These 3 tracks are the emotional centerpiece of this album. If you liked the NY album you'll want to listen to these tracks. Lou storyteller at his best. Please don't let this album gather dust at Amazon's shelves. I promise you that this cd will stay for many weeks on your cd player. Yes it's that addictive!

P.S: i usually don't give 5 stars lightly so don't be fooled by the 4 stars i gave to this cd. When i give 4 stars i'm basically saying that this is an outstanding album. 5 stars would be mind blowing!

One of Lou's VERY best 80's albums - I think it's way better than BLUE MASK. The best song on the album is the drug song, The Last Shot. It is extremely powerful! But the whole album is great Lou! Don't understand why it's not available!

This is a much leaner album than its predecessor Blue Mask, utilizing traditional 4-chord rock with hummable tunes to explore similar themes. The title track deals with love and its complications as does Bottoming Out with its dark edges hinting at frustration and a longing to escape: "I am that bike at that fat pothole/Beyond that underpass."

Alcoholism surfaces in this track and again in The Last Shot: "When you quit you quit/But you always wish that/You knew it was your last shot." Make Up Mind is a lovely, swaying ballad with a hypnotic chorus surfacing towards the end, while Turn Out The Light has Reed's echoic vocal over a moody guitar riff, like a miniature snatch of Street Hassle.

But the highlight of the album is Betrayed, a chilling vignette from the bedroom: "Three of us lie in this bed/Night of infamy/Her father's in her head/And quick she turns and slaps my face ..."

Rooftop Garden ends the album on a more optimistic note with its description of domestic bliss - it is High In The City (from New Sensations) without the threat of violence. I don't think Legendary Hearts did well when released in the early 1980s, but in retrospect it is a very good album and a pointer to his well-received New York classic later that decade.

The early eighties marked a renaissance for Reed, in no small part thanks to this album. Less ambitious than its predecessor, "The Blue Mask", and less accessible than its follow-up, "New Sensations", it somehow manages to still be a complete success.

Lyrically and musically it is simple and direct, lending it an intimacy rare for music of the period. It is also as consistent as Reed gets, with not a single weak track. The title track and 'Betrayed'map the human heart with soaring grace, 'Martial Law' and 'Bottoming Out' present urban unrest in ways which are unsettling yet strangely amusing- a particular talent of Lou's.

Even throwaway tracks like 'Don't Talk To Me About Work' and 'Pow Wow' and sung with such conviction that they are elevated beyond their limited framework. 'Turn Out The Light' shows an interesting departure in style and 'Rooftop Garden' ends the record on a sweeter, more optimistic note. The highlight 'Home Of The Brave' has an epic quality which disproves the theory that Americans don't understand irony.

The only criticism I can find has nothing to do with the music; the cover design has dated somewhat and doesn't, I feel, accurately capture the tone of the album.

Near perfect and an essential purchase for fans.

Looking over the song list I'd say this is a very strong album by anyone's standards. I used to worship "The Blue Mask," but don't anymore (tho' I'd say it's a Lou Reed must hear). This album has more diversity, better music, sharper wit, deeper emotion. The follow-up "New Sensations" is a fine effort, but in a lighter vein. I haven't heard "Magic and Loss," only once live (and it blew me away), but whether or not "Magic" would hold up after repeated listenings is another story. "Hearts" has held up. Essential Lou.

'Legendary Hearts' follows closely on the heels of 'The Blue Mask' and there are clear similarities. It's basically the same band but the material is stronger, richer and written with more conviction. So many songs stand out. The title track is a classic as Lou expounds on the nature of legend. 'Martial law' is a knock-out track which would translate well live on the concert album of the tour that followed this release - "Live in Italy." Just as in "The Blue Mask," Lou examines personal concerns - his marriage, alcohol, in the songs. As a result we get the excellent 'Pow Wow, ' 'Betrayed' and perhaps best of all - 'Bottoming Out.' Though earning less critical acclaim than its predecessor, "Legendary Hearts" is at least its equal and in some respects surpasses much of the highly original material on "The Blue Mask." The two albums should perhaps be heard together, as some songs from "Legendary Hearts" would, thematically, be just as correctly placed on "The Blue Mask," namely 'The Last Shot' and the brooding 'Home of the Brave.'

Legendary Hearts was part of a post-70's creative rejuvenation for Lou Reed that started with The Blue Mask, continued with Legendary Hearts and would keep going with New Sensations. Legendary Hearts may be as close to a country album as Lou Reed has put out - not in terms of twang, but in the way the album presents Lou and his songs simply and straight ahead, with no theatrics. The band is great (including the late Robert Quine on one guitar), and the songs are handled with a beautiful understatement and musicianship. The lyrics are as hard-hitting as on any Lou Reed album (especially "Betrayed"), but they're also quirky, personal, and, well, unique to Lou Reed. "The Last Shot" is a rather harrowing drinking song, "Pow Wow" is a goofball take on love, "Bottoming Out" is a motorcyle song regarding a child bride and rage... the album's a true "singer songwriter" work, without pretension. In some ways it's my favorite Lou Reed album.
A note on the Japanese "Paper Sleeve Collection" import - the CD package is a minature version of the way the original album was sold, which is nice if you bought the original way back when, as I did, but no longer have the LP.

This is a much leaner album than its predecessor Blue Mask, utilizing traditional 4-chord rock with hummable tunes to explore similar themes. The title track deals with love and its complications as does Bottoming Out with its dark edges hinting at frustration and a longing to escape: "I am that bike at that fat pothole/Beyond that underpass."

Alcoholism surfaces in this track and again in The Last Shot: "When you quit you quit/But you always wish that/You knew it was your last shot." Make Up Mind is a lovely, swaying ballad with a hypnotic chorus surfacing towards the end, while Turn Out The Light has Reed's echoic vocal over a moody guitar riff, like a miniature snatch of Street Hassle.

But the highlight of the album is Betrayed, a chilling vignette from the bedroom: "Three of us lie in this bed/Night of infamy/Her father's in her head/And quick she turns and slaps my face ..."

Rooftop Garden ends the album on a more optimistic note with its description of domestic bliss - it is High In The City (from New Sensations) without the threat of violence. I don't think Legendary Hearts did well when released in the early 1980s, but in retrospect it is a very good album and a pointer to his well-received New York classic later that decade.