It is usually a stretch to claim that an artist recorded his best album in the twilight of his career. "New York" is a notable exception. Baring the necessity of albums like "Transformer," "Berlin," "The Blue Mask" and "Songs For Drella," these songs have stories to tell and some wonderful noise to make. Reed never cultivated a more satisfying blend of Rock 'N Roll and his patented street poetry as on this album. While follow-ups to "New York" contain flashes of glory, "New York" is triumphant from start to finish. Songs like "Busload of Faith," "Dirty BLVD" and "Strawman" are quite simply some of the most memorable moments of reed's 30-year stint, and poetic quips only found on Reed albums, like "I'll Take New York City in a garbage bag," elevate the songs ten thousand miles above the vapid pop music of today. The words mean something; the music is daring and urgent. At 58, he may not have many "New York's" left in him, but when time comes that Lou Reed leaves for the other side, albums like "New York" will still be shouting from stereos around the world. Do not miss out on this piece of immortality.

This collection of 14 sketches represents one of the most powerful song cycles of Reed's career. On New York he discusses the wider world rather than personal concerns for a change, and in the decaying but enchanting core of New York City, he found enough to sing about, like crime on "Romeo Had Juliette," the terrible impact of AIDS in "Halloween Parade," the tragedy and psychology of child abuse in the poignant "Endless Cycle," the plight of the homeless on "Xmas in February" and wrong priorities on the powerful rocker "Strawman, " where he actually sings with open throttle unlike most of the other tracks where he employs his talking-style delivery. Older themes are revisited too: "Dime Store Mystery" is a moving elegy to his former patron Andy Warhol. Not all the tracks are memorable though - "American Whale" and "Mr Waldheim" for example, are not up to the greatness of the rest of the album. In addition, due to the lack of any other but the basic rock instruments, the sound is not as varied as on some of his other classic albums. Neither is this Reed's most melodic work. However, the lyrics make up for that - in beautiful lines like "Caught between the twisted stars the plotted lines the faulty map that brought Columbus to New York", the poetry is full of sharp and lean images, driven by Rathke's guitar, Wasserman's bass and Maher's drums. This album is a beacon of literate, intelligent rock and amongst the top 5 of Reed's career.

Seventeen years after 'Transformer' his most acclaimed work Lou Reed returns to the streets of his hometown to seek inspiration for this, his fifteenth solo album.He states in his liner notes that 'New York' is meant to be listened to in one sitting as if it were a play or film.After listening it is not difficult to see why.From the opening bars of 'Romeo Had Juliet' to the closing seconds of 'Dime Store Mystery' Reed takes the listener on a journey through the sleazy,drug fuelled,hooker laden,crime ridden streets of the Big Apples' less affluent suburbs.
Lou sets the scene for the album on 'Romeo Had Juliet' with the opening line "Caught between the twisted stars,the plotted lines,the faulty map that brought Columbus to New York".The more subdued but no less effective 'Halloween Parade(AIDS)' follows and then leads onto the first single and lyrically,the most vivid song on the album 'Dirty Blvd'.It is the story of Pedro,a young,immigrant kid with nine siblings,living in a squalid squat and beaten regularly by his father but remains optimistic and hopes to escape."He finds a book on magic in a garbage can,looks up at the cracked ceiling and says at the count of three I want to fly...fly away".The subject of child abuse continues on the harrowing,thought provoking 'Endless Cycle' and then the tempo increases with the hard rocking 'There Is No Time'.
'The Last Great American Whale' is a sarcastic yet conscientious swipe at the destruction of the environment and decline of our fellow creatures.Reed also vents his spleen throughout on topics such as pontificating '(Good Evening Mr Waldheim'),politicians('Strawman') and the plight of Vietnam veterans and the homeless as in 'Xmas In February'."Sam's staring at the Vietnam wall,it's been a while now since he's home,his wife and kid have left,he's unemployed,he's a reminder of the war that wasn't won".The lyrics are better than anything Reed has written previously but he also plays the guitar well and surrounds himself with able musicians.Mike Rathke on guitar and the rythym section of Rob Wasserman and Fred Maher are tight and raw which gives the record a garage feel.
Dion Dimucci appears on backing vocals on 'Dirty Blvd' and ex Velvet Underground drummer Maureen Tucker appears on the Andy Warhol dedicated 'Dime Store Mystery'.
'New York' is widely regarded as Lou Reed's masterpiece.On it's release he said "This is as good as I get".Artists often say this,however bad the rest of us find the product.Hindsight is sometimes a wonderful thing and offers repeated reflection but after almost two decades since it's release many would find it difficult to disagree with Lou Reeds statement.

When this record first came out i was very pleased to hear lou reed finally in form again. Some of the lyrics were as sharp as ever, even if a few had that irritating political correctnes of the eighties. His singing had lost a lot of its charm, too blunt still, be it with more feeling, but wasn't as boring as in the last few years. Yet, i soon came to realise it lacked the personal sting and melodic richness and experimental verve of his last rebirth on Blue Mask. And why he had left that objective observers standpoint remains a mystery to me, it always worked so well, especially when you could sense the emotion behind it, as on Berlin. It's like with Hemingways older work, proving craftmanship but too much showing off and prozaic and tough. Better listen to Songs for Drella, where Cale invokes one last time the genius in Lou Reed, minimalistic and febrile and yet strong.

It is usually a stretch to claim that an artist recorded his best album in the twilight of his career. "New York" is a notable exception. Baring the necessity of albums like "Transformer," "Berlin," "The Blue Mask" and "Songs for Drella," these songs have stories to tell and some wonderful noise to make. Reed never cultivated a more satisfying blend of Rock 'N Roll and his patented street poetry as on this album. While follow-ups to "New York" contain flashes of glory, "New York" is triumphant from start to finish. Songs like "Busload of Faith," "Dirty BLVD" and "Strawman" are quite simply some of the most memorable moments of reed's 30-year stint, and poetic quips only found on Reed albums, like "I'll Take New York City in a garbage bag," elevate the songs ten thousand miles above the vapid pop music of today. The words mean something; the music is daring and urgent. At 58, he may not have many "New York's" left in him, but when time comes that Lou Reed leaves for the other side, albums like "New York" will still be shouting from stereos around the world. Do not miss out on this piece of immortality.