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Lou Reed - The Bells Herunterladen

Genre: Jazz / Rock Musik
Darsteller: Lou Reed
Titel: The Bells
Stil: Alternative Rock, New Wave, Art Rock, Jazz-Rock
Datum der Freigabe: 2000
Label: Buddha Records
Katalognummer: 74465 99659 2
Land: Europe
FLAC Albumgröße: 2476 mb
MP3 Albumgröße: 1201 mb

Trackliste

1The Bells9:18
2Stupid Man2:33
3Families6:10
4Looking For Love3:29
5With You2:22
6All Through The Night5:01
7City Lights3:23
8Disco Mystic4:31
9I Want To Boogie With You3:56

Versionen

CategoryArtistTitle (Format)LabelCategoryCountryYear
AB 4229Lou Reed The Bells ‎(LP, Album, San)AristaAB 4229US1979
AB 4229Lou Reed The Bells ‎(LP, Album)AristaAB 4229New Zealand1979
BVCM-37406Lou Reed The Bells ‎(CD, Album, RE, RM)BMG, AristaBVCM-37406Japan2003
AB 4229Lou Reed The Bells ‎(LP, Album, TP, San)AristaAB 4229US1979
2C 070 62630Lou Reed The Bells ‎(LP, Album)Arista2C 070 62630France1979

Credits

  • Art Direction [Reissue Art Direction]David Alan Kogut
  • Bass, Backing Vocals [Background]Ellard Boles
  • DrumsMichael Suchorsky
  • Engineer, Mixed ByRené Tinner
  • GuitarMarty Fogel (tracks: 9)
  • Guitar, VocalsLou Reed
  • Keyboards, Backing Vocals [Background]Michael Fonfara
  • Liner NotesKarin Greenfield-Sanders, Timothy Greenfield-Sanders
  • Mastered ByElliott Federman, Ted Jenson
  • Mixed ByManfred Schunke
  • Mixed By, Mastered ByLou Reed
  • Producer [Original Release]Lou Reed, Michael Fonfara
  • Producer [Production Assistant]Steve Strauss, Tom Tierney
  • Producer [Production Coordinator]Jeremy Holiday
  • Product ManagerMandana Eidgah
  • Reissue ProducerRob Santos
  • SaxophoneMarty Fogel
  • Transferred By [Digital Transfer]Mike Hartry
  • Trumpet, GuitarDon Cherry
  • Written-ByDon Cherry (tracks: 7), Ellard Boles (tracks: 2, 8), Lou Reed, Marty Fogel (tracks: 2, 9), Michael Fonfara (tracks: 2, 3), Michael Suchorsky (tracks: 2), Nils Lofgren (tracks: 1, 4)

Hinweise

New remastered edition, with original artwork, additional photographs and new liner notes.
Originally recorded and mixed 1979 at Delta Studio, Wilster, West Germany.
Originally released as Arista AB 4229, April 1979.
Made in the EU.
"THIS IS A STEREO BINAURAL SOUND RECORDING"
Durations not printed on release.

Strichcodes

  • Barcode: 7 44659 96592 0
  • Label Code: LC 034484
  • Rights Society: BIEM/GEMA
  • Matrix / Runout (Variant 1): SONOPRESS A-24337/4465996592 A
  • Mastering SID Code (Variant 1): IFPI LB45
  • Mould SID Code (Variant 1): IFPI 0769
  • Matrix / Runout (Variant 2): SONOPRESS A-24337/4465996592 02
  • Mastering SID Code (Variant 2): IFPI LD38
  • Mould SID Code (Variant 2): IFPI 0790
  • Matrix / Runout (Variant 3): SONOPRESS A-24337/4465996592 02
  • Mastering SID Code (Variant 3): IFPI LB 38
  • Mould SID Code (Variant 3): IFPI 0764
  • Matrix / Runout (Variant 4): [Sonopress Logo] A-24337/74465996592 02
  • Mastering SID Code (Variant 4): IFPI L0 30
  • Mould SID Code (Variant 4): IFPI 0790

Unternehmen

  • Recorded At – Delta Studio, Wilster
  • Mixed At – Delta Studio, Wilster
  • Glass Mastered At – Sonopress – A-24337

Video

Musik

The Bells is the ninth solo studio album by American musician Lou Reed, released in April 1979 by Arista Records. It is recorded in binaural sound. Several songs on the album are the product of a short-lived writing partnership between Reed and Nils Lofgren. Other of the team's work appeared on Nils' eponymous album of the same year. Reed said, I mastered the art of recording known as 'capture the spontaneous moment and leave it at that'. The Bells was done like that, those lyrics were just made up. Формируйте собственную коллекцию записей Lou Reed. But lyrically, The Bells found Reed moving away from the boho decadence of most of his 1970s work and toward a more compassionate perspective on his characters Families and All Through the Night display an empathy and emotional depth Reed didn't often allow himself as a solo artist, and Stupid Man and Looking for Love rocked hard while making the loneliness. of their protagonists felt. Band Name Lou Reed. Album Name The Bells. Type Album. 发布日期 四月 1979. 出版公司 BMG Records Arista Buddha Records. Other productions from Lou Reed. The Raven. Lou Reed chronology. Live: Take No Prisoners 1978. The Bells 1979. Growing Up in Public 1980. Singles from The Bells. Disco Mystic Released: 1979. City Lights Released: August, 1979. 1 Recording. Play jigsaw puzzles for free Home. Lou Reed. The Bells, 1979. Stupid Man, 02:33. Disco Mystic, 04:30. With You, 02:22. Looking for Love, 03:29. City Lights, 03:22. All Through the Night, 05:01. Families, 06:09. The Bells, 09:16. Sweet Jane. 2019 Live-Los Angeles, 2003. Shooting Star. 2019 Live. I'm So Free. Sunday Morning, Pt. The Fabulous Rachel Moss Album. Lou Reed - Power And Glory Pat II Magic Transformation 02:57, 320Kbs. Lou Reed - Annabel LeeThe Bells 01:42, 320Kbs. Lou Reed - The Valley Of Unrest 02:27, 320Kbs. Lou Reed - Guardian Angel 06:52, 320Kbs. Lou Reed - The City In The SeaShadow 04:15, 320Kbs. Lou Reed - Fire Music 02:44, 320Kbs. Lou Reed - Edgar Allan Poe 03:21, 320Kbs. Lou Reed - I Wanna Know The Pit And The Pendulum Album Version 06:59, 320Kbs. Lou Reed - The Courtly Orangutans 01:41, 320Kbs. Lou Reed - Turning Time Around LP Version 04:24, 320Kbs. Lou Reed - Like A Possum LP Version 18:03, 320Kbs. Lou Reed - vocals, electric guitar, Roland guitar synthesizer, bass synthesizer on Families, background vocals. Ellard Moose Boles - 12-string electric guitar on Families, bass, bass synthesizer, background vocals. Don Cherry - African hunting guitar, trumpet. Marty Fogel - ocarina, soprano & tenor saxophones, Fender Rhodes on The Bells. Michael Fonfara - electric & Fender Rhodes pianos, keyboards, Oberheim synthesizer, background vocals, Executive Producer. Michael Suchorsky - percussion

Kommentare zum album Lou Reed - The Bells
Ydely
It’s funny how sometimes an album by someone that you’ve been following your whole life manages to fall through the cracks. That is to say - I’ve never heard this one before today, and I am one of those Lou Reed devotees that you will find lurking around bushes in minor literary events, grumbling at what they think is the moon but inevitably turns out to be security shining a flashlight in their face, and holding rabid, ranting conversations with spent cigarette butts that actually talk back at them. You know, what they call a ’fan’ in da biz.

This is one of those more experimental Reed albums, in which he tries to expand beyond the (more limiting than limited) straight-up Rock’n’roll approach he’s been forever set in stone for - which, in this case, manifests itself both in recording technique (the Binaural Sound Recording System invented by someone called Manfred Schunke, which says it all), and the incorporation of free / modern Jazz elements, most vividly exemplified by a frenzied horn section (including Don Cherry) - enveloping, elevating, and sometimes clashing with Reed’s unflexing and rigidly individualist compositions and (admittedly more wide-ranging than usual) delivery.

Meaning that musically, mixed result: undoubtedly the recording process was intense and interesting, and that passes trough; but Lou’s experimentations usually lack a truly imaginative approach, and when this is combined with his being a musical control freak of the highest order reluctant to really let his collaborators fly unatended, it all tends to end up as conceptually interesting yet somewhat suffocated stabs at innovation - no matter what suit he puts on, in other words - underneath it all he’s still the buck-naked Rock’n’roll animal, momentarily distracted by some shiny new cuff-links he’d found in a costume shop downtown.

Which sounds like a slam, but consider this: nobody is great at absolutely everything. And Lou Reed is the Wolverine of the Mutant Rock Academy: the best there is at what he does, excellent in a bare-knuckle bar-fight, a chain-smoking, claw-bearing, beer-bottle weaving electric troubadour; when you strip the temporary flights of fancy (the result of his also being an artist, which automatically means he’s - sometimes unnecessarily - interested in expanding his boundaries) all away, it’s always The Lou that coldly stares you square in the face, strums a chord and says ’Ooh, Sweet Baby’ with unequivocal determination.

Well then. While, in an over-all view, some of the tracks here have been made almost redundant in the Reedalog by better (earlier or later) efforts exploring similar themes (Stupid Man is basic Reed Pop-Rock bitter candy infused with horns; With You and Looking For Love feel like some weird Spiders From Mars channeling; City Lights is a culturo-political statement which, while reasonably good in itself, pales into invisibility when compared with Berlin or New York), the remaining songs have more than enough merit: Disco Mystic is a bizarre, droning, jam groove which, uncharacteristically for such a lyrical entity as Reed has no words other than "Disco, Disco Mystic"; All Through The Night paraphrases the Christmas carol and has Reed Ranting’N’Rolling in the background, juxtaposed with a light-hearted cocktail party - music as conceptual art with a jagged punchline; Families is a heart-breaking (in both lyrics and delivery) manifest about familial disconnect, which is so nerve-twitchingly raw the listener has to comfort himself by remembering that Reed is also an excellent story-teller, and so maybe – just maybe – this is not autobiographical after all; and The Bells… well, imagine the score to a Kubrick-directed urban remake of a Sergio Leone Western, using a chained-in-the-basement-and-whacked-out-on-Thorazine-and-Phencyclidine Ennio Morricone? That’s just about right.

So, basically, this album is only vital to the die-hard Reedologist; other, more casual fans, might want to fish elsewhere in the vast Lou Reed catalogue to sample the poetic avenger in a somewhat more digestible format. But me? I like me The Bells, and give it a happy 8/10.

In a sentence: Lou can ring my bell, but you might wanna look elsewhere while it happens, ooh sweet mama.
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