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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Walking Wild, May 10, 2004
Lou Reed and the Velvet Underground have always been a bit of an -- shall we say -- acquired taste. But the songs on this WALK ON THE WILD SIDE compilation are very much a showing of Reed's more mainstream side; you could almost call them pleasant. Reed has released a lot of "hits" packages over the years (one must put the word "hits" in quotations, because Reed has found little commercial appeal outside of the song this collection takes its name from), but this particular release is a great way for music fans unfamiliar with Reed's work to find something easy to latch onto before delving deeper into his darker, more disturbing side. This is not too dark as to scare off the newcomer, but it isn't dishonest either.I'm describing this CD as if it's a fluffy collection of Top 40 sounding tracks. This isn't actually true, of course. Only when compared to the rest of Reed's discography do songs like "Wild Child" and "Sally Can't Dance" seem relatively tame. Which isn't to say there isn't a hard edge here; there is. In particular, the live performances of the two Velvet Underground songs ("Sweet Jane" and "White Light/White Heat") are harsher and louder than the studio versions as originally performed (even if this record used shorter versions than from the live album they came from). The nastier, seedier side is subtle, but present, always lurking just beneath the surface. He's singing about the dirtier side of life: drug-pushers, prostitutes, and their various clientele. He may dress them in the fanciest of melodies, but they're still there. The release date for this collection was 1977, and it does a pretty good job of showing what sort of stuff Reed was up to in the 70s. Reed was doing a lot of weird stuff back then, both musically and in reference to his chemical intake, and the songs on here reflect that diversity. The glam influences of the David Bowie-produced TRANSFORMER are represented by "Satellite of Love" and "Walk On The Wild Side". Lou's brief flirtation with commercial appeal by emphasizing musical smoothness and "cool" over straight lyrics-and-rock is denoted by the inclusion of the title track from SALLY CAN'T DANCE. Lou-Reed-as-poet is, of course, on display throughout. Even Lou-Reed-as-joker is included: what else are we to make of "New York Telephone Conversation"? And just for kicks, the kid in "Coney Island Baby" who just wanted to play football for the coach has a cameo too. Given the short amount of time available on a single album, we don't get a particularly deep look at Reed's 70s material, but it is a broad one. WALK ON THE WILD SIDE was the first Lou Reed album I owned, and I've bought many more since then. This is a great hook to get yourself familiar with Reed's stylings before diving in headfirst. Get this collection and then get ready to want to get a lot more.
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