Jim y Caroline en el cabaré berlinés ideado por Lou

Valga como intro:

"Oh, Jim! Oh, Caroline! El drogadicto yanqui y la prostituta alemana dentro de un álbum que es una auténtica obra de teatro. Dos seres malditos sobre los que el oyente ve, conoce, siente, su maltrato cotidiano, su desesperación y su caída social. Su imposibilidad de salvación."

De Fernando Navarro, completa aquí.

“Caroline Says I” se edifica sobre un ritmo vivo y un estribillo perfecto situado entre un coro y una cuerda deslumbrante. La canción más alegre del disco.

“Caroline Says II” abre la segunda cara. Versión de “Stephanie Says”, tema de la época Velvet localizable en “VU” (1985) que con leves caricias de cuerda supone la antítesis de su primera parte, porque si allí era la alegría contenida, aquí la belleza se transmuta en añoranza distante.

La crítica  completa de José Mª de Jorge, aquí, en el Rockdelux.



Caroline says that I'm just a toy
she wants a man, not just a boy
Oh, Caroline says, ooohhh, Caroline says

Caroline says she can't help but be mean
or cruel, or oh so it seems
Oh, Caroline says, Caroline says

She say she doesn't want a man who leans
Still she is my Germanic -

- Queen
Yeah, she's my Queen

The things she does, the things she says
people shouldn't treat others that way
But at first I thought I could take it all

Just like poison in a vial
hey, she was often very vile
But of course, I thought I could take it all

Caroline says that I'm not a man
so she'll go get it catch as catch can
Oh, Caroline says, yeah, Caroline says

Caroline says moments in time
can't continue to be only mine
Oh, Caroline says, yeah, Caroline says

She treats me like I am a fool
But to me she's still a German -

- Queen, ooohhh, she's my -
- Queen, ya ...
Queen, hey baby, she's my Queen
(Queen)
(Queen)
(Queen)
(Queen)
(Queen)
(Queen)
(Queen)
(Queen)
...



Caroline says
as she gets up off the floor
Why is it that you beat me
it isn't any fun

Caroline says
as she makes up her eyes
You ought to learn more about yourself
think more than just I

But she's not afraid to die
all her friends call her "Alaska"
When she takes speed, they laugh and ask her

What is in her mind
what is in her mind

Caroline says
as she gets up from the floor
You can hit me all you want to
but I don't love you anymore

Caroline says
while biting her lip
Life is meant to be more than this
and this is a bum trip

But she's not afraid to die
all her friends call her "Alaska"
When she takes speed, they laugh and ask her

What is in her mind
what is in her mind

She put her fist through the window pane
It was such a funny feeling

It's so cold in Alaska
it's so cold in Alaska
It's so cold in Alaska




Stephanie says 
That she wants to know
Why she's given half her life, 
To people she hates now

Stephanie says 
When answering the phone
What country shall I say 
Is calling from across the world

But she's not afraid to die, 
The people all call her Alaska
Between worlds so the people ask her 
Cause it's all in her mind
It's all in her mind

Stephanie says 
That she wants to know
Why it is though she's the door 
She can't be the room

Stephanie says 
But doesn't hang up the phone
What sea shell she is calling 
From across the world

But she's not afraid to die, 
The people all cal her Alaska
Between worlds so the people ask her 
Cause it's all in her mind
It's all in her mind

They're asking 
Is it good or bad
It's such an icy feeling 
It's so cold in Alaska,
It's so cold in Alaska, 
It's so cold in Alaska


Y casi finalmente algo de Julian Schnabel:





Para acabar, la sonrisa:

El visionario de Stephen Davis escribió en diciembre de 1973 una reseña sobre el Berlín de Lou que le ha valido su paso a la posteridad. En la Rollingstone, nada más y nada menos. Grande Stephen, grande. Goodbye, Stephen.

Lou Reed's Berlin is a disaster, taking the listener into a distorted and degenerate demimonde of paranoia, schizophrenia, degradation, pill-induced violence and suicide. There are certain records that are so patently offensive that one wishes to take some kind of physical vengeance on the artists that perpetrate them. Reed's only excuse for this kind of performance (which isn't really performed as much as spoken and shouted over Bob Ezrin's limp production) can only be that this was his last shot at a once-promising career. Goodbye, Lou.

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