|Produced by Lou Reed|
|Released on 1983|
|US CHART POSITION #159|
|Find it at GEMM|
[high resolution scan]
K ronomyth 16.0: THE CAPULETIST CYCLE. The line on Legendary Hearts (and The Blue Mask before it) is that Lou Reed was now back from the dead, still bored with life, lifted on the shoulders of Saunders, Quine and Maher and elevated to the status of deadpan poet once more, only this time with a small hearth burning next to his burned-out heart. It’s a good album, better than most of his Arista releases anyway, but Lou Reed always seems to be in a state of death and resurrection. Just when you think he’s played out his hand (Metal Machine Music, Rock And Roll Heart, Mistrial), he springs back from the dead like Dracula (Coney Island Baby, Street Hassle, New York). Through all the peaks and valleys, Reed has done what he’s always done: write dark narratives that contrast his cracking voice and grating guitars with moments of disarming innocence. With a crack band and a get-in, get-out aesthetic, Reed delivers his amusing observations in deceptively simple packaging: “Martial Law,” “Don’t Talk To Me About Work,” “Pow Wow.” Lurking in the shadow of Hearts is a miniature production of Romeo and Juliet, from the opening “Legendary Hearts” to a pair of tracks that deal first with the father blocking the courtship of his daughter (“Betrayed”) and the suitor’s subsequent Jimmy Dean reaction (“Bottoming Out”). The album ends on a hopeful note, “Rooftop Garden,” that suggests the two lovers get together in the end. What separates Hearts from, say, Growing Up In Public isn’t the material but the musicians; the dual-guitar dialogue from Reed and Quine and spare but supple accompaniment from Saunders and Maher create a deceptively simple sound that yields new discoveries with each listen. Legendary Hearts doesn’t elevate the legend like a Transformer, Berlin or even a Street Hassle, but it’s a fine middle-of-the-road Lou Reed record made with the second-best backing band he ever had.
|4568-2-R back sleeve|
LOU REED -- guitar and vocals
FRED MAHER -- drums
ROBERT QUINE -- guitar
FERNANDO SAUNDERS -- bass
Corky Stasiak -- engineer
John Snyder -- digital producer (1989 reissue)
Joe Lopes -- digital engineer (1989 reissue)
Sylvia Reed -- cover concept
Waring Abbott -- photography and art direction
Liz Lauman -- styling and hand coloring
|REGION||RELEASE DATE||LABEL||MEDIA||ID NUMBER||FEATURES|
|US||November 1989||RCA||CD||4568-2-R||digital remaster|
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