Not that it mattered, because Lou Reed had a lifetime pass for his work with the Velvet Underground, bug as it turned out, Magic and Loss was the last time I felt any kind of personal connection to a Lou Reed album.
And while he never really stopped working — in the mid-1990s he turned his attention to live albums, opera, meditation albums and, er, Metallica — he only produced two more true solo albums, 1996’s Set The Twilight Reeling, and 2000’s Ecstacy, which featured perhaps the worst best album cover of all of his shitty album covers, a selfie of Lou coming.
That said, they were both were perfectly good records, full of provocation (“Sex With Your Parents”), experimentation (“Like a Possum”), and of course, straightforward beats with loud guitars, a few of which were about his final lover, Laurie Anderson.
And somehow it was fitting that “Big Sky,” the very last song on Ecstasy was quintessential Lou Reed with his guitar dueling it out with Mike Rathke’s guitar while Fernando Saunders danced his bass in between. It had been his sound for nearly two decades, or maybe three, really, and if he wanted, I have no doubt he could have kept mining it right up until the moment he died.
Or even longer, for that matter.
Every Certain Song Ever
A filterable, searchable & sortable somewhat up to date database with links to every “Certain Song” post I’ve ever written.
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