Classic Rock

Brandenburg Gate - Lou Reed & Metallica - Lulu (Vinyl, LP) download full album zip cd mp3 vinyl flac

YetAnotherBrick 1 An atrocity for the ages Gyromania 1 a match made in hell Scoot 1 "Do you like spaghetti? Do you like ice cream? Would you ever eat them together? Subrick 1 90 minutes of completely pointless musical drivel BigHans 1 The guy who spent years doing blow off the backs of hookers and a vast array of trannies w MisterTornado 3. Ikarus14 1 The type of album Tommy Wiseau would love as a Christmas gift and possibly make a movie ou CompostCompote 2.

ImNobody 1 " Album Rating: 1. Good to see Viney back on the wagon. Very good review. For a Mind Explotion. Nice job though. However, the review is great! I agree with everything you've said Digging: Boris - NO. It's the Battlefield Earth of pop rock albums.

Lesser of two evils I suppose coming to meme near you very soon, no doubt. A meme, me thinks. Lou Reed and Metallica Lulu 1. Truly terrible. And yet I recommend you listen to it. You know the way people will slow down on a motorway to get a good look at a car accident?

Well that's why. This album is hilarious. We're through the looking glass people. This is what happens when a band becomes completely detached from reality. Now if you'll excuse me I need a long cold shower.

This album gave me explosive diarrhea, and that's not a joke. I sat late one Friday evening reading through the previous reviews on the infamous Lulu, Metallica's release. After reading the fifth negative review my curiosity got the better of me; so I went searching, found, and listened to the entire thing. Please don't do the same. What Lulu holds deep within its tainted grasp is a horror only to be powered through by the strong-willed and the deaf.

This album somehow surpassed 'Saint Anger' as the worst album ever to be written by these slowly dying musicians. This will be a quick review, as I can't be bothered to spend more than a few minutes on the miserable work that is, Lulu.

This album starts out with the track 'Brandenburg Gate. As you lie deep in thought on what this decrepit creature is attempting to say, some poorly recorded power chords kick in. This is followed by an uninspired melody and James Hetfield's half-thrash voice immediately after. As always, Lars Ulrich is right behind these folks pretending to be a drummer, playing the same beat he's played his entire career. This track is like-able however: It causes uncontrollable laughter.

Every time James cries out the key line "small town girl," it becomes impossible not to laugh yourself to tears. When Lou Reed blurts "But me? I'm happy cause I got my little nappy.

Be prepared for the most cringe-worthy of all the miserable failures placed on this glorified clump of fecal matter. It begins with Lars banging away a monkey tier beat, probably wondering how he still can't play after thirty-fucking-years behind the kit. Reed continues his pitiful drone, this time taking a fake and "Deep" spin with his half-baked spoken word.

Lyrically it's not very sense-able, almost as if every word Lou and the gang contributed was uninspired and finely crafted to bend their way around having nothing to actually sing about. Reed will continuously raise his voice's pitch in the middle of some spoken words. This doesn't have the desired, powerful, effect they were going for and it makes the song completely intolerable. The track picks up a couple minutes in where you'll find Kirk Hammett trying to get win back Exodus's hearts, so they'll take him back, by "shredding" out a shitty and misplaced solo.

There's really not much else to say about this one, just that it's by far the worst. It's all uninspired dribble. Not just a smudge on Metallica's already stained history, but proof that they need to throw in the towel. This album, granted, was not supposed to be like their other releases, and had meaning to serve other musical purposes. That, however, is not where the issue lies. The issue is that the biggest name in metal music foiled their name further by agreeing to make it. If you are a fan of all the classic Metallica albums, please save yourself and stay as far away from this gutter-muck as you can.

Knowing where your childhood shredders went musically, will make you depressed. The album begins, innocuously enough, with some moderately intriguing guitar chords. Lou Reed's incoherent ramblings begin, and curiosity dies: this may be a new musical frontier, but not one worth exploring. The entry of Metallica occurs. Stumbling, out of time drum grooves from Lars Ulrich erupt. Dull guitar chords listlessly churn and crash against one another in the background.

James Hetfield begins bellowing 'small town gurrrrl' out of tune, and Lou Reed resumes his recital of cringe inducing, entirely forced rhymes like 'I was feeling snappy, perhaps I'd been napping.

The entire album is horrific, speaking as a fan of Metallica, music, and art in general. I can't overstate how bad Lou Reed's vocals are. It sounds as if a homeless crackhead has broken into the studio and is holding the producer at knifepoint, demanding that his delusion of a masterful artistic vision be captured and applied to some third-rate rejected demo tracks by a former metal band that has given up the ghost.

The lazy, unimaginative lyrics, mostly Freudian musings on feelings of sexual inadequacy, are as compelling as the dialogue of a prime time soap opera. Lou Reed might use coarse language, but the same mundane insecurities are being complained about. The production is crap. The weak, muddy guitar tone from Lulu's predecessor Death Magnetic persists, and although Lulu doesn't clip as horrendously as that album, the overall sound is still poor.

Kirk Hammett sounds as if he has finally smoked one joint too many, and his solos, to they extent that they exist at all, consist mostly of incoherent string noise. The View contains one acceptable passage: 'I am the root I am the progress I'm the aggressor! Whatever points this section might garner are negated by the sheer shitness of the rest of the song, and the album.

Iced Honey could also find a home on Load or ReLoad, if care were taken to craft vocal melodies. It could work as a kind of companion piece to Hero Of The Day, but the stagnant groan of Reed once again ruins what little worthwhile musical content there is to be found. Little Dog features Lou Reed droning on about impotence, sounding like a weathered old junkie searching for one last vein, to no avail Metallica already tackled the theme of homelessness, with taste and eloquence, on Low Man's Lyric in This track is an inferior take on a subject already covered.

The fast tempo, utterly boring two-note riff, and mediocre drumming, topped off by Lou Reed's insufferable droning, amount to a sickening deconstruction of thrash. The same poor excuse for a riff continues for the first few minutes of the song, with no variation other than that of the pitch of the vague theremin-esque whining noises in the background, and the specific content of Reed's senile ramblings.

One more chord is finally introduced, albeit an entirely predictable phrygian derived one we've all heard a thousand times before, and the same dogshit continues unabated until almost the five minute mark, after which rhythmically disjointed garbage is spewed until the song finally experiences its graceless death.

Credit where credit is due, Frustration contains one riff exactly one which sounds like it could be vaguely compelling in a different context, and could perhaps be acceptable as part of a musical composition.

Not a Metallica song, of course - I hold them to higher standards, even after all this time. Lou Reed continues his impression of a mentally challenged homeless drug addict, crushing any chance of an even half-decent song emerging.

In the finale, Junior Dad, Lou Reed intones 'the dream is over Turn the lights on. The dream of Metallica being a viable creative entity is over, and studio minutiae like the acquisition of coffee have become more of a priority to the musicians than producing listenable music.

The song does convey some emotional content, to be fair, but it's the metatextual sadness of the fan, mourning the fact that no more Metallica music worthy of listening to is likely to be produced. These people need quality control. They need a producer who isn't even slightly impressed with their celebrity status, and will accept nothing less than metal of the highest quality. Metallica have lost all perspective on what made their music great, or even listenable. They seem to be no longer even trying to produce anything decent.

Whatever points the three or four semi-decent riffs on this ninety minute audio torture program could be allocated are negated by the awfulness of the remainder of the album. Lulu isn't even acceptable as a piece of surrealist comedy, or anti-art - the word 'Metallica' in the artist name 'Metallica and Lou Reed' invalidates such pretense, by suggesting the potential for a compelling and enjoyable listening experience.

This album is an abomination, and a colossal 'fuck you' to Metallica fans everywhere. Do not purchase this. This album is plagued by several issues - awful production, the sheer length, to name a few. But I wouldn't say that those quoted by people most often - the general style, Lou Reed's rather tuneless vocals and often comical lyrics are really issues by themselves.

They're central to the concept itself and actually primarily work in this case. This album being released under the moniker of Metallica is kind of an annoying distraction. This has less to do with Metallica than anything they've ever released. At most, its merely a vehicle and instrument for Lars to posit Metallica as a bunch of artistic visionaries and rationalise decades of kowtowing to the mainstream. No, this album is really about Lou Reed. Its practically Lou indulging himself selfishly knowing that having the Metallica sticker on front would mean hapless fans of the band would buy the album anyway.

Its an equally parasitic relationship - with Lars exploiting Lou's legacy for some artistic credibility and Lou exploiting Metalllica's crass commercial value for his creative efforts. If anything, this album is much too self indulgent and we can see glimpses of absolutely everything - Lou's mammoth resentment for his own lack of commercial success, his contempt for the public writ at large all over the record witnessed in his saying the album itself is meant for 'literate people'.

Even the concept could be seen as chiefly appealing to Lou and practically noone besides him, his latent bisexuality getting its thrill out of describing the central character's sexual masochism in a raw and uninhibited fashion. Heck, I'd even argue that he's attracted to the concept itself for its self evocative title - 'Lulu'. But LP) digress.

What is chiefly redeeming and simultaneously irritating about this effort is that self indulgence. Now, the role of Metallica in this has been reduced to the backing band - all the riffs, the instrumentation are simply a droning backdrop to the lyrical gymnastics of Reed. Surprisingly, this actually brings out a rather palatable side of Metallica. Witness the droning, Sabbath-like riff in 'The View'.

Or 'Mistress Dread' - a riff that has a slight black metal aesthetic emphasis on aesthetic in its execution. This is really more creative and lively than the band has been for ages.

Nevertheless, the band still manages to get fairly irritating at times - James characterless vocals prove even more annoying than Reed's tunelessness and Lars' drumming being terrible enough to not even scrape up for drone.

Considering the lyrics are where the material aspect of the album really is, they are pure kitsch. Its absolutely raw and uninhibited, stream of consciousness stuff. And often entirely comical, which is readily apparent even on the opener. Heck, I guess it takes some balls to throw in something quite as off-putting and comical as 'cut my arms and tits off' in the first 30 seconds of an album of 90 minutes length. But then again the whole album is really very far removed from any pragmatic point of view, and this really couldn't be judged by any conventional means.

Doing so would only result in incomprehensibility. Reed's rambling and blathering may strike one as tuneless and untrained at first. But against the backdrop of this drone, and with the sheer rawness of the execution of it all - at times, it actually works brilliantly.

The only real problem is that with its assigned length, this is all too overwhelming. While Reed is taking his shot at his first real work uninhibited by any commercial concerns, akin to Metal Machine Music many years prior - he essentially shoots himself in the foot by really supplying far too much in short demand.

But then again, I doubt he even remotely gives a fuck. The album is that blatantly self indulgent. If it was cut in half, much like the arms and tits of the central character, and whittled down considerably - well, it certainly wouldn't be any more palatable for conventional listening, but it would begin making a whole lot more sense. Sadly, for now, the best that can be done is reveling in the album's occasional successes at conveying a sense of atmosphere as it originally intended.

And at its unending stream of hilarity with Reed eulogising about being 'spermless like a girl', 'sniffing shit like a dog', 'wagging my ass like a dark prostitute', 'the smell of your armpit' and other unintended slabs of comic gold. Its certainly a provocative listen with no remote equivalent out there. Though you'd do just as well just skipping over it entirely. Just saying. Many years ago in the first review I ever posted on this site, I declared that the Waking the Cadaver's masterpiece of suck known as Perverse Recollections of a Necromangler to be the worst album ever made.

While that album is still incredible in its terribleness, as of November it was no longer the worst record ever to disgrace the known world. It was in the first week of that month that I heard Luluthe then-new collaborative album between Metallica, who I will openly and shamelessly admit are one of my favorite bands ever, and Lou Reed, who I had never heard of before first hearing the news of the collaboration between the two, but was somehow an incredibly influential figure in the music world.

I honestly don't know how that is, as every single piece of music I've listened to from Reed has completely sucked, be it in Velvet Underground or his own solo material, but especially in this tandem effort with the most successful metal band of all time. Metallica, on the other hand, I enjoy the majority of their work, even records that have been condemned to eternal derision such as Load and St.

I can't give this a pass though, because I have yet to hear a record as aurally displeasing and infuriating as Lulu. Taking the double album approach, the album is split into two discs of varying lengths and song amounts.

When it comes to disc one, the songs are of a somewhat more digestible nature on the surface due to generally being of shorter lengths, save the disc closer "Cheat on Me" at and-a-half minutes.

However, upon hearing the first song "Brandenburg Gate", the massive, inescapable flaw of the record reveals itself in the first two minutes: almost nothing, NOTHING, of any interesting note happens in any of these songs.

Guitars are strummed, bass is picked, drums are hit, and words are "sung" or in Lou Reed's case, rambled off key and endlessly with no real objective or point to be foundbut none of it is in any way pleasing to listen to. At times there will be an interesting riff, such as the thrashy start of "Mistress Dread", but the group squanders it by just doing it over and over and over and over and over with no feasible end in sight aside from just turning off the song.

It's like the music version of when Family Guy just drags a gag along for 5 minutes without stopping, only more maddening. It's the least pleasing noise to ever grace my ears this side of an Alex Jones radio broadcast, and he never shuts up. Let me repeat that for you. You know the archetype of the crazy rambling homeless guy who just goes on and on and on about things nobody would ever in a thousand lifetimes care about ad nauseum?

That's Lou Reed on this album. Combine his nonsensical, possibly drunken spoken word with incomprehensible lyrics about dog prostitutes and being dry and spermless like a girl Huh? The Metallica side of things is no less ridiculous in its badness, with the band lazily playing along not sounding as if they give a single solitary crap in the world about what LP) are doing.

James Hetfield, outside of providing the world great comedic fodder with lines like the infamous "I am the table! His warbling of "Small town girrrrl-ah! If there is any one minor, slightly significant positive I can muster up the will to give the first disc, it's that it's at least memorable in its terribleness, like a musical equivalent to a Tommy Wiseau movie. If the record had stopped with the end of this disc, it could possibly be considered a "so terrible it's amazing" record This is where the record, already deep in the depths of a sea of suck, drowns and, weighed down by the bloated nature of its songs, sinks to the bottom of the ocean, never to be recovered by rescue teams.

The lengths of the songs jump from mostly under 7 minutes to all over 8 minutes, and all 47 painful minutes of this disc are minutes you wish that you could recover. Unlike disc one, which had a smattering of decent moments throughout, there is only one good riff on this entire disc, that being the somewhat southern doom riff found throughout opener "Frustration". That might just be the most fitting song name in recorded musical history, as not only does the song just continue to happen throughout its 8 and-a-half minute run time, but outside of that doomy riff, a brief moment of incredibly sloppy drum soloing from Lars Ulrich all while Reed continues to just warble with no sense for time signature or structureand the one minute intro of broken circus organ and guitar warbling, absolutely nothing worth noting happens.

That's more than I can say for the next three songs, two of which take on a significantly more subdued style compared to all the previous songs on both this disc and the first disc.

This is going to play forever. This song surpasses boring, it surpasses monotony, it surpasses banality. Bands such as Dream Theater and Opeth proved long ago that songs as long as those found on Lulu 's second disc can remain interesting and enjoyable. Metallica and Lou Reed are not either of those bands, and although Metallica have created numerous songs reaching minute mark that are just a blast to listen to, that same ingenuity cannot be found on this disc.

It is an unending, unpleasant, insufferable bore of a disc that doesn't even meet disc one's memorability in terms of terrible music. This is a combination that should never even have been considered by either party. Neither of their styles mix in any conceivably good way, nor did anyone even speak of both Lou Reed and Metallica in the same sentence.

This nearly 90 minute snoozer of a record is not only the worst album Metallica have ever slapped their name on, but it's the worst album I personally have ever listened to. As mentioned many hundreds of words ago, I am an openly massive fan of the band, and I say that without any shame whatsoever despite the years of revisionist history that has affected even their first records No, Dave Mustaine was not responsible for Metallica's success, nor was he the only contributor of good material on Kill 'Em Allbut I absolutely cannot support a record as blatantly terrible as this one.

Where the majority of the blame is to be placed is beyond me, as I feel both parties had an equal hand in this atrocious record, but one thing that is for sure is that neither group will ever live this down.

Just when you thought St. Anger was the lowest point in Metallica's career, along came Lulu to dethrone it. Way to go, guys. Way to go indeed. Some bands have that one album that divides fans and frequently tops "all-time worst" polls but no one can agree on just how many times Metallica has royally screwed up over time.

Thus, it's not too out of left field for them to collaborate with Lou Reed, an equally influential performer who has proudly claimed to have scared away the entirety of his fanbase in with the release of the infamous Metal Machine Music So with this to consider, is this Brandenburg Gate - Lou Reed & Metallica - Lulu (Vinyl coming-of-age story about a 19th century prostitute who meets Jack the Ripper really such a bad egg?

An overwhelming majority certainly thinks so but I am not so convinced. There are still moments on here that make one wonder how it would've turned out if LP) had been handled differently.

Despite the extreme musical overhaul that occurred between this and 's Death Magnetic, one can immediately notice how the production hasn't really changed all that much. The shift away from pounding thrash metal means the worst of the Loudness War glitches may slip under the radar for some but the tone itself still has an uncomfortably dry feeling. It's a minor complaint compared to other flaws on here but it's not the best of signs Speaking of which, the band members' performances don't stand out much, an observation made weirder by this being a very jam-oriented release.

There are great guitar moments here and there but the drums only stand out when they're being too intrusive Fix your kit, Lars! And as everyone has pointed out, the vocals are ridiculous. Reed's burnt-out, spoken word style is surprisingly effective when compared to James Hetfield's howled contributions but there are way too moments where his Bob Dylan meets Christopher Walken voice just doesn't fit. Then again, it's hard to imagine a voice that actually would fit this music But like St.

Anger before it, this album's biggest flaw is that it needed to be so much shorter. Both releases have a bad tendency to dwell on and revisit ideas for longer than it is necessary and both really would've benefited from tighter, more focused songwriting. There is no reason why this album needed to be two discs long; if the closing "Junior Dad" had been cut by minutes alone, it would've been a much more enjoyable track and would've made the album as a whole less exhausting.

But while the songwriting is poorly constructed, there are some good songs on here. In addition, "Frustration," "Dragon," and "The View" all have some solid riffs that would've fit a Sabbath-styled doom rock project if they were given a darker makeover. The album also has some songs that manage to present some pretty emotional moments. While they are too long, "Cheat On Me" and "Junior Dad" are fairly touching and the opening "Brandenburg Gate" sets up a somber atmosphere despite all the time James spends warbling about a "small town girl.

Anger, there is one thing that may redeem this release for some people: it's pretty damn hilarious. Even when ignoring all the jokes that have been made about James Hetfield being a piece of furniture, the lyrics are full of unintentional amusement as Reed laments being "spermless like a girl" and mutters something about a "colored man's dick.

It may have had something to do with me being surrounded by too many hipsters in the English department and thus accustomed to the ways of artsy-fartsy pretentiousness. Whatever it is, it does make for good entertainment As somewhat expected, this is a hard album to properly rate. Objectively, this is a pretty crappy album but there's just some force that makes me want to like this. Along with the new Morbid Angel, this is pretty much the Troll 2 of music: it tries so hard to be deep but you spend more time laughing than reflecting any sort of philosophical insight.

If anything, this is a conversation piece that is meant to be discussed rather than listened to on a regular basis. Get it at a cheap price if you want to really join the discussion. If not, at least go buy the new Megadeth album; this may be the one time that Dave Mustaine has actually come out on top! So I listened to it again I wasn't being too harsh, I was being far too kind.

Anywho, here's the updated review: Metallica have spent a good chunk of their career now since the early 90's making people wonder "why are these guys famous multi-millionaires? While Death Magnetic was a half-assed attempt to recreate past glory it resembled a Metallica tribute album more than a proper Metallica albumLulu is I can't figure out what this thing is for the life of me.

It honestly resembles fuzzy atmospheric garage rock the production is actually quite nice for having been done in 10 days performed by aging former metal stars with some old demented coot ranting into the mic. If that sounds unappealing, then join the rest of us; this was an experiment, but a horribly done experiment.

One thing that could've helped is if the process wasn't so rushed. I detect very little Metallica involvement here, and while I'm new to Lou Reed, I'm not new to Metallica, and I can tell what was thought up by Metallica and what wasn't.

While "The View" might've contained some good ol' fashioned diminished chords, a hallmark of metal, Brandenburg Gate sounds like Bob Dylan with distorted guitars, and I mean that in the worst way possible, and Metallica sound like they're trying to be heavy on a song that really should not be heavy, at all, and it sounds like they heavily mixed Lou Reed's low-key drawl up in the mix to overpower James' generic shout and the noisy guitars, which is most apparent on songs where Metallica tried to be heavy.

Note I said, "tried", not succeeded. Honestly, if they had spent a little more time collaborating, a little more time brainstorming, and a little more time in the execution process, this could've been gold.

This could've been a repeat listen. This could've been Metallica's magnum opus. But it's not. It resembles a collision between 2 trains, one labelled Metallica and another labeled Lou Reed. When Lou Reed's voice comes in, it makes me cringe every time, because his lazy "half spoken, half sung" style doesn't mesh well with the clanging drums and guitars, with his lazy rhythm suited much better to the strum of acoustic guitars and padded drums, not Metallica's setup.

However, the sounds are not offensive, just puzzling. This is coming from someone who listens to experimental music in some sort of fashion a good 80 or 90 percent of the time.

I'm not against experimentation in metal; if it weren't for those brave souls who introduced outside elements to the metal sound, metal would've died, suffocated on its pureness. This isn't really all that experimental, though. The traditional Metallica method of lengthening songs by repeating stuff over and over which they've done on and off since And Justice is in full swing here.

I would honestly rate Lulu a good ten or fifteen points higher if they trimmed a good half hour from this album. Long songs wouldn't ordinarily be a problem with me, except for the fact that Lulu is impossible to listen to, appreciate, and listen to again unless you listen to the whole damn thing, because obviously, the biggest component of this album are the lyrics, since they mixed Lou's drunken utterings so danged high in the mix, and because the guitars are so dreadfully boring and repetitive.

Brandenburg Gate - Lou Reed & Metallica - Lulu (Vinyl songs simply consist of one riff for most of their duration, and usually it's a horrifyingly simple riff. Let me rephrase that: The average riff you heard on "The View" is the best riff on the album. It only goes downhill from there, and the more this album goes on, the more they repeat and repeat and repeat and repeat and repeat these increasingly terrible excuses for riffs.

A good analogy would be that if this were food, it would be chocolate covered spaghetti n' meatballs with bits of watermelon and salmon with ice cream on the side.

Doesn't sound appetizing, does it? The only reason Lulu gets a score from me at all is because I like the individual parts -- Metallica, at least when they're trying, that is, actually put up a few good moments here, and that James doesn't sound as bad through the mic as on St. Anger I guess is to his credit, and as well Kirk actually solos here, albeit not that well.

In addition, I actually like Reed's soothing half-spoken vocals -- just not in this context, and it's when you mix it all together that it becomes impossible to listen to, much like how that hypothetical dish I mentioned would be hard to eat.

I will listen to this occasionally, but the problem here isn't that it's supremely inaccessible -- I listen to WAY more inaccessible stuff -- it's that it's one of those ideas that should've stayed as a drawing on a napkin at some restaurant. I suspect somebody detailed the concept of Lulu on a napkin at some restaurant, and then kept on developing the idea instead of simply forgetting it. Some ideas weren't meant to be, and Lulu is one of them. On the other hand, Metallica are now a guessing game -- "Let's see how much Metallica can destroy their legacy next!

Anger or Loads but simply that it's a somewhat ambitious idea, in the sense that it does cross many genre lines, but those lines are not even remotely crossed skillfully, and its put together in too much of a hurry, done by musicians who just don't have the know-how to put something like this together.

No disrespect, Metallica, but you should honestly stick to what you're good at. I was hoping they'd develop the direction they took on Death Magnetic and churn out a respectable metal album, but I guess that was wishful thinking, and I'll simply add Lulu to the ever-increasing list of failed Metallica ventures.

If you're one of the chosen few that "don't get" Lou Reed's poetry as James Hetfield puts itthen you are not reading this from the enclosure of a padded cell or closet. This is the most god awful album on the planet. Anger in every way, to the point that it makes St. Anger sound like Adele.

With as much hype as the guys have been giving this album, this by far wins my vote for not only the biggest letdown of the year, but of any hyped up album ever released. I would derive more enjoyment from that then actually listening to this again. Read that single review Here. Is there any actual musicianship at all within this album?

If you are unfamiliar with them, be glad. They are a crappy jam band, which is what this song sounds like. In about four months, you will be making about thirty dollars an hour. You take a trip to the thrift store and you see this album for the low price of three dollars. You get home and you play this on your computer, which kills you a little on the inside. So you actually get upset, and drive the 45 miles back to the same thrift store just so you can get that three dollars back, never mind the fact that you spent about twenty in gas to get there alone.

It amazes me that no one quit the band during or after the recording of this album due to creative differences. No matter where life takes these individual musicians, Lulu will remain in their shadows for eternity. I also admire journalist Chuck Klosterman's review of this, saying "If Red Hot Chili Peppers were to acoustically cover the twelve worst Primus songs for Starbucks, it will still sound better than this. What is the difference between "bravery" and "foolishness"?

I have no problem with Lou Reed. None at all. He's not my favorite by any stretch of the imagination, but I don't dislike him or what he does. I'm just not a fan, Brandenburg Gate - Lou Reed & Metallica - Lulu (Vinyl.

His Rock And Roll Animal album is in my top 10 live albums, for sure, but that's about all of his material I can appreciate in one sitting.

He has my respect, truly, just not my admiration. Okay, everyone seems to know about my long-standing grief over Metallica's hypocrisy, but I honestly try to not let that have any influence over my judgement of any new Metallica product. I mean I actually liked Death Magnetic. Granted, I haven't listened to that in probably 2 years, but still This does.

A lot. I have absolutely no idea what either party was thinking going into this project. I just do not see what one party would bring to the other party's fanbase to make them say, "hey, I have them all wrong! This is great! I've always considered him more of a narrator than a singer, kind of like Bob Dylan. But the thing is that when he's doing his thing, the music is usually setting an atmosphere which will, if done properly, convey the emotional backdrop for the character study he's putting forth.

The problem is that Metallica have absolutely no idea how to tell stories through music. Seriously, all they had to do was ask Lou, "hey, what's this song about and what kind of emotion do you want to put forth through the music?

Oh, and they had to be able to play within those parameters. Instead, it sounds like all that they heard Lou say was "play something, anything, for 8 minutes, but make it one riff and stick with it. Seriously, there is absolutely no subtlety to what they are trying to do.

Jeez, I actually have no idea what they are trying to do. And poor Lou Reed All that he's trying to do is tell his little story, but Metallica are so busy ego-stroking all over everything that Mr.

Reed feels compelled to start yelling over the music just to try to get his point across. It's embarrassing. Truly embarrassing. Usually I can get at least a chuckle out of hearing Lars trying to be tricky, but here it's just annoying.

Listen to the track "Pumping Blood'" and tell me what the fuck he thinks he's doing, because it sure as shit sounds like a simpleton who thinks he's a genius. Before this came out there were instances of it being called a brave move on both parties parts. But how sincere can such a claim be if the people proclaiming said bravery stand to profit from it if it is indeed successful? Is bravery only applied to actions that have already occurred? If a man crosses a river filled with hungry alligators to save his family while strapped with raw bacon, is that brave or foolish?

Does the cause determine the label? I just never saw this as anything but a really bad idea from the moment I first heard about it. You know, if they had such a great time jamming together at that awards thing, then fine, jam away. Whatever makes you guys happy.

But if you put it out for public scrutiny then you shouldn't be surprised if EVERYONE starts calling you out on your ego-fueled death race while trying to pass it off as something artistically deep and profound musically.

This should have been just a simple, fun thing between five musicians that they got together and did and then left it alone.

Why did they release this, and who did they release it for? It's not that I don't enjoy musical experimentation. But this is not an experiment, it's an out-of-control ego trip caught on tape and released for the world to gape at in shock and awe. Seriously, this is so bad that I can't even hate it.

Maybe then some egos will be checked at least a little bit at some point in the future. One can hope. This will be a long one, folks. Lulu is the name given to this strange mutated piece of music, which stretches out for 90 minutes and contains music very much unlike anything Metallica has ever done before.

Metallica may receive collaborative billing, and Reed has made canny use of the band's skill set, but it's clear after the first ten minutes that he is the auteur on this project, and most Metallica fans are going to be awfully puzzled by Lulu. Then again, Reed 's fans may be scratching their heads, too -- Lulu is a purposefully difficult album, one that insists you meet it on its own terms, and the angry flood of sounds and ideas that pours from its ten long songs demands more than a little patience.

Lulu had its genesis in a theater project by frequent Reed collaborator Robert Wilsonwho was creating a new adaptation of the plays of Frank Wedekind ; in these songs Reed sings from the perspective of a young woman who is corrupted by her experiences with men, as well as some of the characters she meets.

The personal pronouns offer occasional clues as to whom Reed is channeling at a given moment, but for most of its 87 minutes, Lulu sounds like one long, bitter, spiteful rant as Reed pours out gallons of lyrical bile, mostly unfettered by rhyme schemes, and with rare exception Reed doesn't sing here, he mutters or shouts or barks like an angry beast.

At the age of 69, time seems to be catching up with Reed 's strength, but he uses it to his advantage on Luluand while he frequently sounds like a mean and slightly crazy old man here, it absolutely suits the tenor of the piece. Reed holds nothing back, and the torrent of curious, ugly, and puzzling images gets to be more than a bit much, rarely cohering into a larger whole. As for Metallicait's easy to see why Reed wanted to work with them -- for this music, he obviously wanted a massive wall of guitars, and James Hetfield and Kirk Hammett certainly deliver, and with the band's usual acrobatic soloing stripped from these performances, they summon a towering wall of chugging menace on "Dragon," "Frustration," and "Mistress Dread.

It's not difficult to see what Reed was shooting for on Lulubut one might argue Metallica were not the right collaborators for the project -- the huge, arty drone of Sunn 0the stop-on-a dime assault of the Jesus Lizardor the limber noise of Shellac might have better served Reed 's vision. Ultimately, Lulu is a brave experiment for both Reed and Metallicabut it's one that falters as often as it succeeds. AllMusic relies heavily on JavaScript.

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Lulu (LP Version) [VINYL] "Brandenburg Gate" beginnt mit akustischen Gitarrenklängen um dann überzuleiten in das sich permanent wiederholende Grundmuster mit der Textzeile "Smalltown Girl", die Hetfield hier als Hintergrund zu den von Reed vorgetragenen Texten intoniert. la última canción del disco, vale la pena comprarlo: es una /5(). Lulu, an Album by Lou Reed & Metallica. Released 31 October on Vertigo (catalog no. ; CD). Genres: Heavy Metal, Avant-Garde Metal. View credits, reviews, tracks and shop for the Vinyl release of Lulu on Discogs. Label: Warner Bros. Records - • Format: 2x, Vinyl LP, Test Pressing • Country: US • Genre: Rock • Style: Avantgarde, Hard Rock, Heavy Metal3/5(4). Achetez Lulu CD de Lou Reed & Metallica pour 16,45 EUR avec livraison gratuite. Maintenant écouter gratuitement. Grooves Inc. achetez vos CDs, DVDs, Vinyls & K7 en ligne et à petits prix. Lou Reed & Metallica - Brandenburg Gate Lyrics. I would cut my legs and tits off When I think of Boris Karloff and Kinski In the dark of the moon It made me dream of Nosferatu Trapped on t. Nov 01,  · Lou Reed and Metallica: Lulu. By Stephen The metal riffs on opener “Brandenburg Gate” are unnervingly The Velvet Underground's Matrix Tapes Will Receive the Vinyl Treatment for. This is a masterpiece, one of Lou Reed's finest achievements, and one of the most unique albums in rock and roll history. Metallica fans, who almost uniformly despise this album, didn't seem to get that it's a Lou Reed album first, and that Metallica is backing him/5(). Dicho esto, Lulu es un disco experimental y como tal hay que escucharlo. Sólo por "Junior Dad", la última canción del disco, vale la pena comprarlo: es una canción excepcional. En el resto del disco, Lou Reed y Metallica corren riesgos y algunos valen la pena y otros no/5(). Lulu (with Lou Reed) is a heavy metal music album recording by METALLICA released in on CD, LP/Vinyl and/or cassette. This page includes METALLICA Lulu (with Lou Reed)'s: cover picture, songs / tracks list, members/musicians and line-up, different releases details, buy online: ebay and amazon, ratings and detailled reviews by some experts, collaborators and members. Lou Reed had an idea, and here is the culmination. Musically, this album is great. Many say they find it repetitive, but the mighty Metallica is in absolute true form here. The riffs may seem somewhat limited compared to classic Metallica albums, but it complements Lou Reed's spoken word style really well. The lyrics are also great/5().


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9 Replies to “ Brandenburg Gate - Lou Reed & Metallica - Lulu (Vinyl, LP) ”

  1. Fenrijora says: Reply
    View credits, reviews, tracks and shop for the Vinyl release of Lulu on Discogs. Label: Warner Bros. Records - • Format: 2x, Vinyl LP, Test Pressing • Country: US • Genre: Rock • Style: Avantgarde, Hard Rock, Heavy Metal3/5(4).
  2. Metallica have made an admirable effort in alienating their huge fan base since the release of ’s derbattmogegefilykornorolsoftcat.xyzinfo the interim, people have sighed and groaned through Reload (nothing more than a glorified b-sides album to some), the fun but hey-we’ve-still-got-it feel of Garage, Inc., the faux-classical mores of S&M and last but well, yes, least of all, the under-cooked insanity that was St.
  3. Nov 24,  · Auf Discogs können Sie sich ansehen, wer an gm Vinyl von Lulu mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz nach der Veröffentlichung suchen. Label: Vertigo - • Format: 2x, Vinyl LP, Album gm • Country: Europe • Genre: Rock • Style: Alternative Rock, Heavy Metal, Thrash, Experimental/5().
  4. Lulu, an Album by Lou Reed & Metallica. Released 31 October on Vertigo (catalog no. ; Vinyl LP). Genres: Heavy Metal, Avant-Garde Metal.
  5. Lulu [ Gram Vinyl] (LP) Lou Reed, Metallica Currently Unavailable. $
  6. Lulu, an Album by Lou Reed & Metallica. Released 31 October on Vertigo (catalog no. ; CD). Genres: Avant-Garde Metal, Heavy Metal.
  7. Gazragore says: Reply
    لولو (به انگلیسی Lulu) یک آلبوم همکاری میان خواننده و آهنگساز راک، Lou Reed و بند متالیکا می باشد. Lou Reed در کنسرت 25امین سالگرد مشاهیر راک اند رول همراه.
  8. Yozshutaxe says: Reply
    Apr 04,  · 50+ videos Play all Mix - Lou Reed & Metallica - Brandenburg Gate YouTube Best Rock Songs Vietnam War Music - Best Rock Music Of All Time - 60s and 70s Rock Playlist - Duration: MoMo Lisa.
  9. Dicho esto, Lulu es un disco experimental y como tal hay que escucharlo. Sólo por "Junior Dad", la última canción del disco, vale la pena comprarlo: es una canción excepcional. En el resto del disco, Lou Reed y Metallica corren riesgos y algunos valen la pena y otros no/5().

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