Complete List Of Lou Reed Albums And Songs

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This Complete List Of Lou Reed Albums And Songs presents the full discography of Lou Reed studio albums. Lou Reed was born on March 2, 1942. He died on October 27, 2013 Lou Reed hails from New York City and Freeport Long Island. This complete Lou Reed discography also includes every single live album. All these ground breaking Lou Reed albums have been presented below chronologically. We have also included all original release dates with each Lou Reed album as well as all original Lou Reed album covers. Every Lou Reed album listed below showcases the entire album tracklisting.

LOU REED STUDIO ALBUMS

Lou Reed

Released 1972

Following his departure from The Velvet Underground, Lou Reed made his solo debut with the self-titled Lou Reed in 1972, an album that showcased his transition from avant-garde rock to a more polished and eclectic sound. Recorded at Morgan Studios in Willesden, London, the album was produced by Richard Robinson. It featured a roster of accomplished session musicians, including Yes members Rick Wakeman on piano and Steve Howe on guitar, alongside guitarist Caleb Quaye and bassist Herbie Flowers. This varied lineup brought a unique texture to the songs, blending elements of Reed’s gritty urban storytelling with a cleaner and more experimental sound palette.

The album stands out for reimagining several songs originally conceived during Reed’s time with The Velvet Underground, including “Ocean” and “I Love You.” While these tracks maintained the poetic depth and raw emotional resonance Reed was known for, their new arrangements introduced a more radio-friendly sheen, which divided critics and fans at the time. Despite mixed reviews, the album was an important step in establishing Reed as a solo artist, marking his ability to experiment and evolve beyond his iconic band.

CD Track Listings:

“I Can’t Stand It” – 2:37
“Going Down” – 2:57
“Walk and Talk It” – 3:40
“Lisa Says” – 5:36
“Berlin” – 5:17
“I Love You” – 2:18
“Wild Child” – 4:40
“Love Makes You Feel” – 3:12
“Ride into the Sun” – 3:20
“Ocean” – 5:04

Transformer

Released in 1972

Lou Reed’s Transformer remains one of the defining albums of the glam rock era, combining Reed’s trademark wit and storytelling with a lush, sophisticated production. Released on RCA Records, the album marked a significant moment in Reed’s career, catapulting him into mainstream success following his departure from The Velvet Underground. Produced by David Bowie and Mick Ronson, Transformer was recorded at Trident Studios in London in August 1972. The collaborative production brought a glam-infused edge to Reed’s gritty urban narratives, blending sharp guitar riffs with orchestral arrangements and iconic hooks.

The album featured some of Lou Reed’s most enduring tracks, including the hauntingly beautiful “Perfect Day” and the chart-topping hit “Walk on the Wild Side.” Mick Ronson’s intricate guitar work and arrangements paired with Bowie’s production sensibilities created a sound that was both theatrical and raw, reflecting the grit of New York City nightlife with an accessible glam aesthetic. The saxophone riff on “Walk on the Wild Side” became an instant classic, adding a jazzy sophistication to the track’s provocative lyrics.

Commercially, Transformer achieved critical and popular success, peaking at number 29 on the UK Albums Chart and eventually earning Gold certification. It cemented Lou Reed’s place as a solo artist capable of reaching beyond his cult Velvet Underground fan base. With a mix of humor, melancholy, and decadence, Transformer remains a testament to Reed’s ability to craft songs that resonate on both an intellectual and emotional level.

CD Track Listing:

“Vicious” – 2:58
“Andy’s Chest” – 3:20
“Perfect Day” – 3:43
“Hangin’ ‘Round” – 3:39
“Walk on the Wild Side” – 4:12
“Make Up” – 2:58
“Satellite of Love” – 3:42
“Wagon Wheel” – 3:19
“New York Telephone Conversation” – 1:33
“I’m So Free” – 3:07
“Goodnight Ladies” – 4:19

Berlin

Released in 1973

Lou Reed’s Berlin stands as one of the most ambitious and emotionally devastating albums of the 1970s. Released on RCA Records, the album followed the success of Transformer and took a stark departure from its predecessor’s glam-infused style. Produced by Bob Ezrin and recorded at Morgan Studios in London, Berlin was envisioned as a concept album, telling the harrowing tale of a doomed relationship amidst the backdrop of the titular city. The combination of Reed’s lyrical prowess and Ezrin’s dramatic production created a record that is haunting, theatrical, and uncompromising in its intensity.

The album’s story follows Jim and Caroline, whose toxic romance is marked by drug abuse, infidelity, and violence. Tracks such as “The Kids” and “The Bed” are devastatingly vivid, with Reed’s lyrics painting a bleak portrait of despair. Bob Ezrin’s production brought a cinematic quality to the album, incorporating orchestral arrangements, choirs, and effects that elevated the storytelling to operatic heights. Musicians on the album included Steve Winwood on keyboards, Jack Bruce on bass, and Aynsley Dunbar on drums, whose contributions added depth and texture to the intricate arrangements.

Despite its initial commercial failure and mixed critical reception, Berlin has since been reappraised as a masterpiece. Its raw emotional power and fearless exploration of dark themes resonate deeply with listeners who appreciate its unflinching honesty. The album’s complexity and ambition have cemented its status as one of Lou Reed’s most important works, a testament to his ability to push the boundaries of rock music.

CD Track Listing:

“Berlin” – 3:23
“Lady Day” – 3:40
“Men of Good Fortune” – 4:37
“Caroline Says I” – 3:57
“How Do You Think It Feels” – 3:42
“Oh, Jim” – 5:13
“Caroline Says II” – 4:10
“The Kids” – 7:55
“The Bed” – 5:51
“Sad Song” – 6:55

Sally Can’t Dance

Released in 1974

Lou Reed’s Sally Can’t Dance marked a significant moment in his career as his most commercially successful album, reaching No. 10 on the Billboard 200. Released by RCA Records, this album showcases Reed’s knack for blending gritty rock with biting social commentary. Recorded at Mediasound Studios in New York City and produced by Steve Katz, Sally Can’t Dance features a mix of humor, cynicism, and melancholy that embodies Reed’s style while appealing to a broader audience.

The album is driven by Reed’s sharp lyricism, with songs like “Sally Can’t Dance” and “Kill Your Sons” exploring themes of societal decay, personal disillusionment, and dark humor. The title track, with its funky groove and satirical edge, became a standout hit, while “Kill Your Sons” offered a raw reflection on Reed’s turbulent youth, particularly his experiences with psychiatric treatment. Musicians on the album included Doug Yule, who contributed bass and keyboards, and Steve Katz, whose production infused a smoother, more polished sound compared to Reed’s earlier, grittier works.

Though some critics at the time were divided over the album’s slick production and commercial aspirations, Sally Can’t Dance remains a fascinating snapshot of Reed’s evolution as an artist. Its blend of accessible rock and Reed’s signature storytelling appealed to a wider audience without sacrificing his edge, cementing its place in his discography as a pivotal and intriguing work.

CD Track Listing:

“Ride Sally Ride” – 4:06
“Animal Language” – 3:05
“Baby Face” – 5:06
“N.Y. Stars” – 4:02
“Kill Your Sons” – 3:40
“Ennui” – 3:44
“Sally Can’t Dance” – 4:12
“Billy” – 5:11

Metal Machine Music

Released in 1975

Lou Reed’s Metal Machine Music stands as one of the most controversial and polarizing albums in rock history. Released by RCA Records, the album pushed the boundaries of what music could be, offering over an hour of feedback, distortion, and electronic noise spread across four vinyl sides. Recorded at RCA Studios in New York City, this experimental work was produced solely by Reed himself, reflecting his uncompromising vision.

The album features no traditional songs, melodies, or lyrics, instead immersing listeners in a relentless sonic onslaught of layered feedback and manipulated guitar sounds. With no collaborators or backing musicians credited, Metal Machine Music is a stark departure from Reed’s earlier work, baffling fans and critics alike. While some viewed it as a deliberate affront to commercialism, others embraced its avant-garde nature, praising it as a precursor to genres like noise rock and industrial music.

Upon release, Metal Machine Music received scathing reviews and was quickly returned by bewildered fans. However, its reputation has grown over the decades, with some reappraising it as a groundbreaking work of sound art. Regardless of opinion, the album remains a bold statement of artistic intent, solidifying Reed’s reputation as a fearless innovator willing to challenge both himself and his audience.

CD Track Listing:

“Metal Machine Music, Part I” – 16:10
“Metal Machine Music, Part II” – 15:53
“Metal Machine Music, Part III” – 16:13
“Metal Machine Music, Part IV” – 15:55

Coney Island Baby

Released in 1975

Lou Reed’s Coney Island Baby marks a return to a more melodic and accessible sound following the sonic experimentation of Metal Machine Music. Released by RCA Records in December 1975, the album reflects Reed’s personal introspection and emotional vulnerability. Recorded at The Record Plant in New York City, the album was produced by Reed himself alongside Godfrey Diamond, who contributed to shaping its warm and intimate sound.

The album features a blend of heartfelt ballads and stripped-down rock tracks, with Reed delivering some of his most personal lyrics. The title track, “Coney Island Baby,” stands out as a tender ode to love, life, and self-acceptance, resonating with fans who appreciated its sincerity. Musicians on the album include Reed on guitar and vocals, Bob Kulick on lead guitar, Bruce Yaw on bass, and Michael Suchorsky on drums, each contributing to the cohesive yet understated sound.

Critics generally praised Coney Island Baby for its balance of emotional depth and musical craftsmanship, with many highlighting its contrast to Reed’s previous avant-garde efforts. The album charted modestly, appealing to both longtime fans and new listeners who embraced its heartfelt tone. With tracks like “Crazy Feeling” and “She’s My Best Friend,” the album demonstrated Reed’s ability to weave storytelling with melody, making it a standout in his discography.

CD Track Listing:

“Crazy Feeling” – 2:56
“Charley’s Girl” – 2:36
“She’s My Best Friend” – 5:55
“Kicks” – 6:06
“A Gift” – 3:47
“Ooohhh Baby” – 3:45
“Nobody’s Business” – 3:41
“Coney Island Baby” – 6:37

Rock and Roll Heart

Released in 1976

Lou Reed’s Rock and Roll Heart introduced a more playful and diverse sound, blending elements of jazz, rock, and soul. Released in October 1976 by Arista Records, the album marked Reed’s first release on the label following his departure from RCA Records. Recorded at The Record Plant in New York City, the album was produced by Reed alongside Godfrey Diamond. Its eclectic nature hinted at Reed’s willingness to experiment with different musical textures, while still retaining his signature narrative style.

The album features an array of talented musicians, including Michael Fonfara on keyboards, Marty Fogel on saxophone, and Bruce Yaw on bass, among others. The title track, “Rock and Roll Heart,” embodies the album’s laid-back and cheeky vibe, offering an ode to music and its integral role in Reed’s identity. Tracks like “I Believe in Love” and “You Wear It So Well” highlight a softer, more whimsical side of Reed’s songwriting, showcasing his ability to craft melodies with universal appeal.

Critics had mixed reactions to Rock and Roll Heart, with some appreciating its relaxed tone while others missed the grit and edge of Reed’s earlier work. Commercially, the album achieved moderate success but remains a unique entry in his discography. The eclectic mix of styles and Reed’s offbeat charm make it a fascinating exploration of his artistic versatility during this period.

CD Track Listing:

“I Believe in Love” – 2:46
“Banging on My Drum” – 2:11
“Follow the Leader” – 2:13
“You Wear It So Well” – 4:52
“Ladies Pay” – 4:23
“Rock and Roll Heart” – 3:05
“Chooser and the Chosen One” – 2:47
“Senselessly Cruel” – 2:08
“Claim to Fame” – 2:51
“Vicious Circle” – 2:53
“A Sheltered Life” – 2:21
“Temporary Thing” – 5:14

Street Hassle

Released in 1978

Lou Reed’s Street Hassle stands as a landmark in his discography, blending raw, gritty realism with experimental production techniques. Released in February 1978 by Arista Records, the album is notable for its innovative use of binaural recording technology, which captures a three-dimensional sound experience. This approach complements the album’s unflinching exploration of urban life, love, and despair, themes Reed navigates with his signature poetic storytelling. Recorded primarily in New York City, Street Hassle represents Reed’s return to a darker, more introspective style after the lighter tones of Rock and Roll Heart.

The title track, “Street Hassle,” unfolds in three distinct movements, combining orchestral elements with spoken-word passages to craft an evocative urban symphony. Its lyrical depth and haunting melody capture Reed at his most introspective. “Gimme Some Good Times” kicks off the album with self-referential wit, while “Dirt” drips with sarcasm and confrontation. The minimalist arrangement of “Wait” highlights Reed’s ability to create impact through simplicity.

Street Hassle received critical acclaim for its raw intensity and artistic ambition. Though not a major commercial success, the album solidified Reed’s reputation as a pioneering figure in rock music. Its experimental edge and emotional resonance make it a standout among Reed’s extensive catalog, particularly for fans seeking a glimpse into the gritty realism of late-1970s New York.

CD Track Listing:

“Gimme Some Good Times” – 3:15
“Dirt” – 4:43
“Street Hassle” – 10:53
- a. “Waltzing Matilda”
- b. “Street Hassle”
- c. “Slipaway”
“I Wanna Be Black” – 2:55
“Real Good Time Together” – 3:22
“Shooting Star” – 3:11
“Leave Me Alone” – 4:44
“Wait” – 3:13

The Bells

Released in 1979

Lou Reed’s The Bells is an ambitious and avant-garde addition to his discography, showcasing his willingness to push creative boundaries. Released in April 1979 by Arista Records, the album blends elements of jazz, rock, and experimental music. Reed worked with producer Michael Fonfara, who also contributed as a keyboardist and arranger, shaping much of the album’s distinct sound. Recorded at Delta Studios in Wilster, Germany, The Bells reveals Reed’s penchant for storytelling with a surreal and improvisational edge.

The album’s title track, “The Bells,” closes the record with a sprawling, nine-minute journey of layered horns, ambient textures, and Reed’s poetic musings. The single “Stupid Man” combines catchy rhythms with wry commentary, while tracks like “Disco Mystic” venture into hypnotic repetition, reflecting Reed’s experimental inclinations. Songs such as “City Lights” and “Families” blend emotional vulnerability with stark realism, delivering the kind of introspection Reed was known for.

Critically, The Bells polarized listeners, with some praising its bold innovation and others questioning its accessibility. While it may not have been a chart-topping success, the album has since gained recognition for its daring approach and eclectic mix of styles, embodying Reed’s fearless artistic spirit.

CD Track Listing:

“Stupid Man” – 2:33
“Disco Mystic” – 4:30
“I Want to Boogie with You” – 3:55
“With You” – 2:20
“Looking for Love” – 3:29
“City Lights” – 3:22
“All Through the Night” – 4:58
“Families” – 6:01
“The Bells” – 9:17

Growing Up in Public

Released in 1980

Lou Reed’s Growing Up in Public marked a deeply introspective and personal chapter in his career. Released in April 1980 by Arista Records, the album dives into themes of vulnerability, societal critique, and the challenges of adulthood. Collaborating with keyboardist and co-writer Michael Fonfara, Reed created an album that balances his signature lyrical sharpness with a polished production style. The record was recorded at Mediasound Studios in New York City, providing a crisp and focused sound.

The opening track, “How Do You Speak to an Angel,” sets the tone with a poignant exploration of communication and connection. The title track, “Growing Up in Public,” lays bare Reed’s reflections on self-awareness and personal growth, blending wry humor with biting honesty. Meanwhile, songs like “The Power of Positive Drinking” showcase Reed’s knack for dark wit, contrasting its playful title with more sobering undertones.

Although not a commercial blockbuster, Growing Up in Public demonstrated Reed’s ability to evolve artistically, engaging with his audience through candid storytelling and introspective themes. The album resonated with fans who appreciated its sincerity and creative depth, further solidifying Reed’s legacy as a fearless and unflinching artist.

CD Track Listing:

“How Do You Speak to an Angel” – 4:08
“My Old Man” – 3:15
“Keep Away” – 3:31
“Growing Up in Public” – 3:04
“Standing on Ceremony” – 3:32
“So Alone” – 4:05
“Love Is Here to Stay” – 3:10
“The Power of Positive Drinking” – 2:13
“Smiles” – 2:44
“Think It Over” – 3:25
“Teach the Gifted Children” – 3:21

The Blue Mask

Released in 1982

Lou Reed’s The Blue Mask marked a pivotal point in his career, combining introspection and sonic experimentation with a return to his rock roots. Released in February 1982 by RCA Records, this album is widely regarded as one of Reed’s most raw and emotionally charged works. The recording sessions took place in New York City, capturing the immediacy of the performances with a minimalist approach. Produced by Reed himself, the album showcases his renewed commitment to honest, unflinching storytelling.

Reed enlisted a stellar lineup of musicians, including guitarist Robert Quine, whose angular and visceral playing added depth to the album’s texture. Bassist Fernando Saunders and drummer Doane Perry provided a solid yet flexible rhythm section, grounding Reed’s vivid lyrical explorations. The album’s stripped-down production allowed the intricate interplay of guitars to shine, giving songs like “The Gun” and the title track, “The Blue Mask,” a palpable intensity.

Lyrically, the album delves into themes of identity, mortality, and domestic life. Tracks like “My House” offer tender reflections on love and partnership, while “The Day John Kennedy Died” juxtaposes personal and historical loss. Reed’s vocal delivery is direct and intimate, drawing listeners into his world with an unvarnished honesty. The Blue Mask received critical acclaim for its daring artistry and remains a touchstone in Reed’s discography, celebrated for its powerful storytelling and masterful musicianship.

CD Track Listing:

“My House” – 5:25
“Women” – 4:57
“Underneath the Bottle” – 2:33
“The Gun” – 3:40
“The Blue Mask” – 5:00
“Average Guy” – 3:10
“The Heroine” – 3:00
“Waves of Fear” – 4:10
“The Day John Kennedy Died” – 4:08
“Heavenly Arms” – 4:48

Legendary Hearts

Released in 1983

Lou Reed’s Legendary Hearts continued the introspective and pared-down musical approach he began with The Blue Mask. Released in March 1983 by RCA Records, the album reflected Reed’s evolving artistry as he delved into themes of love, personal struggles, and the complexities of relationships. The recording sessions took place at RCA Studios in New York City, and the production was helmed by Reed himself.

The core band that had redefined Reed’s sound on his previous album returned for Legendary Hearts. Robert Quine’s edgy guitar work, Fernando Saunders’ fluid bass lines, and Fred Maher’s precise drumming created a rich, organic backdrop for Reed’s lyrics. However, tensions between Reed and Quine during the production led to Reed toning down Quine’s guitar contributions, a decision that sparked mixed reactions from fans and critics.

The album’s songs highlight Reed’s lyrical storytelling. Tracks like “Legendary Hearts” and “Betrayed” explore vulnerability and the emotional toll of fractured relationships, while “The Last Shot” and “Bottoming Out” confront themes of addiction and recovery. Despite its introspective nature, the album also carries a melodic accessibility, particularly evident in “Rooftop Garden,” a wistful closer that captures a sense of longing and nostalgia.

While Legendary Hearts didn’t achieve the commercial success of some of Reed’s earlier works, it was praised for its raw honesty and remains a significant entry in his catalog. It showcases a mature artist balancing his rock roots with personal and reflective themes.

CD Track Listing:

“Legendary Hearts” – 3:26
“Don’t Talk to Me About Work” – 2:11
“Make Up Mind” – 2:52
“Martial Law” – 3:56
“The Last Shot” – 3:22
“Turn Out the Light” – 2:48
“Pow Wow” – 3:07
“Betrayed” – 3:13
“Bottoming Out” – 3:40
“Home of the Brave” – 6:52
“Rooftop Garden” – 3:05

Mistrial

Released in 1986

Lou Reed’s Mistrial, released in June 1986 via RCA Records, marked a departure from the stripped-down aesthetic of his earlier works, venturing into a more experimental sound influenced by the burgeoning pop and electronic music trends of the mid-1980s. The album was recorded at Right Track Recording in New York City, with Reed and Fernando Saunders sharing production duties. This collaboration infused the record with a polished sheen that reflected the era’s sonic landscape.

The album’s lineup featured Reed on guitar and vocals, Saunders on bass, keyboards, and backing vocals, J.T. Lewis on drums, and Eddie Martinez on lead guitar. Their performances anchored Mistrial with a rhythmic energy and a sense of urgency. Additionally, the use of drum machines and synthesizers added a modern, almost mechanical touch to tracks like “No Money Down” and “The Original Wrapper,” signaling Reed’s willingness to experiment with his sound.

Lyrically, Mistrial balanced biting social commentary with personal introspection. Songs like “Video Violence” criticized media desensitization, while “Tell It to Your Heart” explored tender emotional territory. The single “No Money Down” became a minor hit, bolstered by a surreal music video that featured a mechanical version of Reed himself. However, the album divided critics, with some praising its adventurousness while others found the production dated and inconsistent.

Despite the mixed reception, Mistrial stands as a snapshot of Lou Reed’s willingness to evolve and adapt his artistry to changing times. Its combination of rock roots and experimental ambition showcased Reed’s ability to challenge both himself and his audience.

CD Track Listing:

“Mistrial” – 3:22
“No Money Down” – 3:10
“Outside” – 3:00
“Don’t Hurt a Woman” – 3:48
“Video Violence” – 5:32
“Spit It Out” – 3:39
“The Original Wrapper” – 3:37
“Mama’s Got a Lover” – 4:21
“I Remember You” – 3:13
“Tell It to Your Heart” – 5:08

New York

Released in 1989

Lou Reed’s New York, released on January 10, 1989, by Sire Records, marked a triumphant return to his roots in raw, poetic storytelling and incisive social commentary. Recorded at Media Sound Studios in New York City, the album was produced by Reed alongside Fred Maher. Its stripped-down production and cohesive narrative style resonated with critics and fans alike, earning it widespread acclaim as one of Reed’s finest works.

New York was performed as a continuous cycle, with Reed encouraging listeners to experience it as a single narrative arc. Musicians on the album included Lou Reed on guitar and vocals, Fred Maher on drums, Rob Wasserman on bass, and Mike Rathke on guitar. This minimalist quartet created a stark, unembellished sound that highlighted Reed’s lyrical prowess.

The album’s lyrics explored a tapestry of urban life, social injustice, and political critique, with songs like “Dirty Blvd.” condemning systemic poverty and “Busload of Faith” advocating for resilience in a fractured society. Reed’s New York roots were front and center as he painted vivid portraits of the city’s struggles and its enduring spirit. “Dirty Blvd.” became a standout track, reaching number one on Billboard’s Modern Rock Tracks chart.

Critically and commercially successful, New York received praise for its sharp, unflinching look at contemporary issues, with many comparing it to Reed’s work with The Velvet Underground in its depth and immediacy. The album was a Top 40 hit in the U.S. and charted even higher internationally, further cementing Lou Reed’s legacy as a master storyteller.

CD Track Listing:

“Romeo Had Juliette” – 3:09
“Halloween Parade” – 3:33
“Dirty Blvd.” – 3:29
“Endless Cycle” – 4:01
“There Is No Time” – 3:45
“Last Great American Whale” – 3:42
“Beginning of a Great Adventure” – 4:57
“Busload of Faith” – 4:50
“Sick of You” – 3:25
“Hold On” – 3:24
“Good Evening Mr. Waldheim” – 4:35
“Xmas in February” – 2:56
“Strawman” – 5:54
“Dime Store Mystery” – 5:01

Songs for Drella – with John Cale

Released in 1990

Songs for Drella, a poignant collaboration between Lou Reed and John Cale, was released on April 11, 1990, by Sire Records and serves as a moving tribute to their former mentor and collaborator, Andy Warhol. The album’s title, a combination of Dracula and Cinderella, reflects Warhol’s multifaceted persona and was a nickname affectionately used by those close to him. This concept album marked the first major reunion between Reed and Cale since their time together in The Velvet Underground, and it chronicles Warhol’s life, career, and complex relationships with honesty and nuance.

The recording took place at Skyline Studios in New York City, with production handled by Reed and Cale themselves. Both artists performed the album in its entirety, with Reed on guitar and vocals and Cale contributing keyboards, viola, and vocals. Tracks like “Smalltown” and “Work” delve into Warhol’s upbringing and industrious nature, while songs such as “Style It Takes” and “It Wasn’t Me” explore his artistic vision and struggles with public perception. The closing track, “Hello It’s Me,” is a heartfelt acknowledgment of Warhol’s legacy, blending melancholy with gratitude.

Critically acclaimed upon release, Songs for Drella was lauded for its lyrical depth and minimalist instrumentation, which allowed the storytelling to take center stage. The album reached No. 163 on the Billboard 200, resonating with fans of both Reed and Cale for its candid portrayal of Warhol’s life and its examination of themes like fame, mortality, and artistic integrity. As a tribute, it stands as one of the most profound and personal entries in both artists’ catalogs.

CD Track Listing:

“Smalltown” – 2:04
“Open House” – 4:18
“Style It Takes” – 2:54
“Work” – 2:38
“Trouble With Classicists” – 3:41
“Starlight” – 3:28
“Faces and Names” – 4:12
“Images” – 3:30
“Slip Away (A Warning)” – 3:05
“It Wasn’t Me” – 3:30
“I Believe” – 3:18
“Nobody But You” – 3:46
“A Dream” – 6:33
“Forever Changed” – 4:52
“Hello It’s Me” – 3:13

Magic and Loss

Released in 1992

Lou Reed’s Magic and Loss, released on January 14, 1992, by Sire Records, stands as one of his most poignant and introspective works. This concept album was deeply influenced by the deaths of two of Reed’s close friends, including songwriter Doc Pomus, and deals with themes of mortality, grief, and spiritual transcendence. Produced by Lou Reed and Mike Rathke, Magic and Loss was recorded at The Magic Shop in New York City, capturing Reed’s raw emotional journey with unflinching honesty.

The album’s minimalist instrumentation emphasized Reed’s lyrical depth, with Reed on guitar and vocals, Mike Rathke on guitar, Rob Wasserman on bass, and Michael Blair on drums and percussion. The arrangements are understated, allowing Reed’s storytelling to take center stage. Songs like “What’s Good” reflect on finding purpose amid tragedy, while the haunting “Cremation (Ashes to Ashes)” delves into the rituals of saying goodbye. The title track, “Magic and Loss – The Summation,” serves as a cathartic conclusion, blending pain with an acknowledgment of life’s impermanence.

Critics praised Magic and Loss for its emotional resonance and artistic ambition. It achieved commercial success, becoming Reed’s highest-charting album in the United Kingdom, where it reached the Top 10. Its universal themes and poignant delivery solidified Reed’s reputation as one of rock’s most profound lyricists.

CD Track Listing:

“Dorita (The Spirit)” – 1:07
“What’s Good (The Thesis)” – 3:22
“Power and Glory (The Situation)” – 4:23
“Magician (Internally)” – 6:22
“Sword of Damocles (Externally)” – 3:42
“Goodby Mass (In a Chapel Bodily Termination)” – 4:25
“Cremation (Ashes to Ashes)” – 2:54
“Dreamin’ (Escape)” – 5:07
“No Chance (Regret)” – 3:15
“Warrior King (Revenge)” – 4:26
“Harry’s Circumcision (Reverie Gone Astray)” – 3:20
“Gassed and Stoked (Loss)” – 4:18
“Power and Glory Part II (Magic – Transformation)” – 2:57
“Magic and Loss (The Summation)” – 6:39

Set the Twilight Reeling

Released in 1996

Lou Reed’s Set the Twilight Reeling, released on February 20, 1996, by Warner Bros. Records, marked a return to his roots in straightforward rock and roll after the conceptual and deeply personal Magic and Loss. The album features Reed performing a mix of gritty guitar riffs and introspective lyrics, blending his signature storytelling with a rawer musical edge. Self-produced at his own recording studio in New York City, the album was a personal project that highlighted his evolving artistry.

The album’s recording process was relatively intimate, with Reed handling most of the instrumental duties himself, including guitar, bass, and keyboards, alongside drummer Tony “Thunder” Smith. Tracks like “Egg Cream” capture Reed’s knack for nostalgic narratives, while “NYC Man” reflects on the complexities of his urban identity. The title track, “Set the Twilight Reeling,” blends poetic lyrics with a haunting melody, offering listeners a reflective exploration of transformation and hope.

Critics noted Set the Twilight Reeling for its blend of sardonic wit and emotional vulnerability, though it received mixed reviews regarding its production style. The album charted modestly, resonating with fans who appreciated Reed’s exploration of both personal and universal themes. Songs such as “Trade In” and “The Proposition” showcased Reed’s ability to confront social issues with his characteristic edge, making the album a notable entry in his extensive catalog.

CD Track Listing:

“Egg Cream” – 3:57
“NYC Man” – 4:56
“Finish Line” – 3:24
“Trade In” – 4:59
“Hang On to Your Emotions” – 3:46
“Sex With Your Parents (Motherfucker), Part II” – 3:37
“Hookywooky” – 4:19
“The Proposition” – 3:27
“Adventurer” – 4:18
“Riptide” – 7:47
“Set the Twilight Reeling” – 5:04

Ecstasy

Released in 2000

Ecstasy is Lou Reed’s eighteenth solo studio album, released on April 4, 2000, by Reprise Records. This album captures Reed at his most introspective, blending raw guitar-driven rock with lyrical explorations of love, obsession, and disillusionment. It showcases Reed’s ability to merge personal reflection with experimental sounds, creating an album that is both deeply intimate and sonically daring.

The recording sessions took place at Sear Sound in New York City, with production handled by Reed and Hal Willner. Reed assembled a skilled group of musicians for the project, including bassist Fernando Saunders, drummer Tony “Thunder” Smith, guitarist Mike Rathke, and reed player Paul Shapiro, whose saxophone work adds a haunting depth to several tracks. The title track, “Ecstasy,” exemplifies the album’s darkly seductive tone, while “Tatters” and “Rock Minuet” highlight Reed’s ability to craft vivid, often unsettling narratives through his lyrics.

Critically, Ecstasy was praised for its uncompromising artistry and emotional intensity. Tracks such as “Paranoia Key of E” and “Future Farmers of America” demonstrate Reed’s penchant for combining sharp social commentary with unrelenting musical energy. The epic closer, “Like a Possum,” stretches over 18 minutes, veering into abstract territory and pushing the boundaries of traditional rock song structures. Though not a major commercial success, the album resonated deeply with Reed’s dedicated fanbase and remains a highlight of his late-career output.

CD Track Listing:

“Paranoia Key of E” – 4:28
“Mystic Child” – 5:01
“Mad” – 4:29
“Ecstasy” – 4:25
“Modern Dance” – 4:09
“Tatters” – 5:56
“Future Farmers of America” – 3:01
“Turning Time Around” – 4:21
“White Prism” – 4:00
“Rock Minuet” – 6:55
“Baton Rouge” – 4:54
“Like a Possum” – 18:03
“Rouge” – 1:00
“Big Sky” – 6:32

The Raven

Released in 2003

The Raven is Lou Reed’s ambitious nineteenth solo studio album, released on January 28, 2003, through Sire Records. This double album is a bold fusion of rock, spoken word, and theatrical experimentation, inspired by the works of Edgar Allan Poe. Reed reimagines Poe’s dark and haunting literature through a modern lens, blending original compositions with reinterpretations of classic poems and stories, resulting in one of his most unconventional and daring projects.

The album was recorded at various studios in New York, with production by Lou Reed and Hal Willner. The roster of musicians includes long-time collaborators like Fernando Saunders on bass and keyboards, Mike Rathke on guitar, and drummer Tony “Thunder” Smith. The album also features vocal contributions from guest artists, including Laurie Anderson, Antony Hegarty (of Antony and the Johnsons), and actor Willem Dafoe, who narrates several passages. The result is a rich, theatrical experience that intertwines Reed’s gritty rock style with Poe’s macabre storytelling.

Critics praised The Raven for its ambition and Reed’s creative ingenuity, though some found its sprawling nature challenging. Tracks like “Who Am I? (Tripitena’s Song)” and “The Bed” exhibit Reed’s talent for crafting emotionally resonant ballads, while rock-heavy tracks such as “Edgar Allan Poe” and “Fire Music” highlight his experimental edge. The theatrical interludes and spoken-word pieces further enhance the album’s literary atmosphere, making it a compelling, if polarizing, addition to Reed’s catalog.

CD Track Listing:

“Edgar Allan Poe” – 3:21
“Vanishing Act” – 5:23
“The Cask” – 1:49
“Guardian Angel” – 3:09
“Call on Me” – 2:07
“The Valley of Unrest” – 2:24
“A Thousand Departed Friends” – 4:53
“Change” – 2:36
“The Bed” – 3:27
“Perfect Day” – 3:29
“The Raven” – 6:32
“Balloon” – 0:26
“Broadway Song” – 3:16
“Blind Rage” – 3:24
“Fire Music” – 4:35
“Who Am I? (Tripitena’s Song)” – 4:37
“Why Do You Talk” – 2:59
“Not So Pretty Now” – 3:09
“Burning Embers” – 4:29
“Exploding Sky” – 5:51
“Guilty (Spoken)” – 2:46
“Guilty (Song)” – 6:27

Hudson River Wind Meditations

Released in 2007

Hudson River Wind Meditations marks Lou Reed’s twenty-first and final studio album, released on April 30, 2007, through Sounds True. A stark departure from Reed’s signature rock roots, this ambient album was designed as a meditative and introspective experience. Inspired by Reed’s practice of tai chi and his desire for a sonic backdrop to accompany meditative states, the album blends serene soundscapes with minimalist production to create a profoundly calming atmosphere.

The album was recorded in Reed’s personal studio, with Reed himself taking full control of its production. Unlike his previous works, Hudson River Wind Meditations is entirely instrumental, relying on synthesizers and electronic textures to craft its meditative sound. Reed employed drones, looping patterns, and ethereal tones to evoke tranquility and introspection. The album’s title reflects Reed’s love of New York and his connection to the natural beauty of the Hudson River.

Critically, Hudson River Wind Meditations was received as a bold, albeit niche, entry in Reed’s discography. It showcases a side of Reed that prioritized inner peace and reflection over the brash energy of rock and roll. While it may not appeal to all fans, the album finds its strength in its purpose: to facilitate relaxation and mindfulness. Tracks like “Move Your Heart” and “Find Your Note” stand out for their hypnotic repetition and ambient beauty, illustrating Reed’s willingness to explore uncharted musical territories in the later stages of his career.

CD Track Listing:

“Move Your Heart” – 29:32
“Find Your Note” – 33:15
“Hudson River Wind (Blend the Ambiance)” – 3:59
“Wind Coda” – 6:58

Lulu

Released October 31, 2011

Lulu is a bold collaboration between Lou Reed and Metallica, blending experimental rock and heavy metal in an effort to create a unique fusion of styles. Released on October 31, 2011, in collaboration with Warner Bros. and Vertigo Records, the album represents a daring departure for both artists. Inspired by German playwright Frank Wedekind’s Lulu plays (Earth Spirit and Pandora’s Box), the album explores themes of abuse, identity, and degradation through a narrative lens, with Reed’s unconventional storytelling and Metallica’s blistering instrumentation.

The recording sessions took place between April and June 2011 at Metallica’s headquarters in San Rafael, California, with Hal Willner serving as co-producer alongside Reed and the band. The album features Lou Reed on vocals and Metallica’s James Hetfield (vocals, rhythm guitar), Lars Ulrich (drums), Kirk Hammett (lead guitar), and Robert Trujillo (bass), forging a sound that merges Reed’s spoken-word approach with Metallica’s intense and dynamic musicianship.

Critically, Lulu divided audiences, with some lauding its experimental ambition and others criticizing its jarring tonal shifts and dense subject matter. Tracks like “The View” and “Junior Dad” encapsulate the album’s polarizing nature, combining Reed’s raw, unfiltered lyricism with Metallica’s heavy riffs and rhythmic prowess. Despite mixed reviews, the album has garnered a cult following over time, appreciated for its unorthodox approach to storytelling and genre fusion.

CD Track Listing: