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Schubert: Quintet in A D667, Op114; Die Forelle D550
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It's not surprising that Lou Reed finds a kindred spirit in Edgar Allan Poe. The godfather of punk's early ambition was to bring the darker elements of great literature--decay, death, and decadence--to rock & roll. The Raven was born following a spoken-word performance of Poe's "The Tell-Tale Heart" during which Reed "came to understand it in a way I never had before." Accordingly, The Raven may strike Reed's longtime fans in a way the artist never has before. Although dark, the music is stylistically all over the place--from Velvet Underground-like rock instrumentals to actor Steve Buscemi's creepy lounge-lizard take on the anti-showbiz "Broadway Song," to moments that recall such diverse past Reed ventures as Metal Machine Music and the Bells. He even reprises two classics--"Perfect Day" and "The Bed" from Transformer and Berlin, respectively -- in almost unrecognizable forms. Ornette Coleman and David Bowie drop in, and actors read text in which Reed mixes Poe's poems and stories with his own words. The opium references are surely Poe's; the explicit images probably all Reed's. It's hard to tell, though; the blend's that good. --Bill Holdship