Lou Reed - Berlin
Lester Bangs dedicated a large portion of his writing career to Lou Reed. Bangs’ loved Lou Reed, but he also hated his guts. Genius and creativity mixed with egotism and jackass-ery. I love Lou Reed. Quite simply, he’s probably my secret crush that I don’t talk to many people about for fear of having to defend this love against a wall of the opposite point of view.
Can I be honest? I have all sorts of difficulty with Lou Reed. There are moments I feel he receives absolutely no credit for the evolution of rock and roll. I mean, come on! No Velvet Underground? No R.E.M. No Sonic Youth. Absolutely no major influence for the underground music scene of the ‘80s and no Nirvana and the list goes on and on. Don’t give me the Ramones or the much over-hyped Sex Pistols. Velvet Underground. More distinctly, Lou Reed holds the key to everything.
And then I stop myself. Usually mid sentence and remind myself whom I am talking about—Lou Reed: The masochist of rock and roll. The man that not even Lester Bangs could quite pin down (which has to be a reason why so much of Bangs’ career is dedicated to writing about Lou Reed). In the end, Lester concluded, “Lou Reed is my own hero principally because he stands for all the most fucked up things that I could ever possible conceive of. Which probably only shows the limits of my imagination.” Lou fought with the demons created by David Bowie and tried to match full bore that type of excitement; almost pissed he hadn’t thought of glam first. Thus, Lou returned to his VU roots and turned out Berlin.
Berlin caught hipster renewal the past year because of director Julian Schnabel’s filmed concert of Lou Reed performing the entire Berlin album. Shockingly panned by critics and fans upon initial release, Lou spent the majority of his career avoiding the music from Berlin. The album is Reed’s rock opera about a disturbing relationship between a couple based upon drugs and not much else. A maniacal album with full session horns mixed with music snippets from Lou’s days with the Velvet Underground; the most affirming this point are within the song “Caroline Says”, a direct rip from the VU’s “Stephanie Says”.
Berlin is an arresting album and not one for an introduction to Lou Reed’s musical legacy. However, the album dedicates itself to pull its listener to the depths of post ‘60s, urban decay. Truly a song like “The Bed” where Lou whispers of the death of his character Caroline; “And this is the room where she took the razor/And cut her wrists that strange and fateful night/And I said, oh, what a feeling” summarizes the pain and death of the West in a post Vietnam/Summer of Love era that is largely built upon fluff and excess. True, Lou loves the characters he addresses, but Lou also understands that by addressing these issues he stirs up the bowl of stew and no one likes all the ingredients in this stew.
Whatever the case, Lou Reed’s Berlin is probably a nice way to microcosm Lou’s career. He probably gets too much blame for making the album and for making it a disturbingly story that feels disjointed with the glam he was producing at the time. At the same time, Lou probably doesn’t get enough credit for making an album that harkens back to Velvet Underground while giving us a glimpse into what will be Lou’s most engaging and critically acclaimed work of his career in New York and Magic and Loss where Lou shows the focus that is somewhat lacking throughout Berlin
Regardless, Lou Reed’s Berlin is a necessary album for a Lou Reed fan. I am happy to see it receiving some new critical acclaim and was happier to see it in the stacks of “New Vinyl” at Dave’s Records. It shows that rock and roll can resuscitate without traveling down the pathway to corporate sponsorship and excess. Rock and roll can be what it’s supposed to be: urgent and unrepentant. Both are true of Berlin.
// Notes from the Road
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