Lou Reed

Lou Reed was a close friend of Dave Stewart's until his untimely death. They appeared live together several times performing various songs, but lou always loved Eurythmics cover of Satellite Of Love which was a live favourite of fans. Lou did contribute guitars to Dave' solo track You Talk A Lot from his Greetings From The Gutter album.

b. Lewis Allen Reed (also Firbank), 2 March 1942, Freeport, Long Island, New York, USA. A member of several high-school bands, Reed made his recording debut with the Shades in 1957. Their "So Blue" enjoyed brief notoriety when played by influential disc jockey Murray The K, but was lost in the multitude of independent singles released in this period. Having graduated from Syracuse University, Reed took a job as a contract songwriter with Pickwick Records, which specialized in cash-in, exploitative recordings. His many compositions from this era included "The Ostrich" (1965), a tongue-in-cheek dance song that so impressed the label hierarchy that Reed formed the Primitives to promote it as a single. The band also included a recent acquaintance, John Cale, thus sowing the early seeds of the Velvet Underground. Reed led this outstanding unit between 1966 and 1970, contributing almost all of the material and shaping its ultimate direction. His songs, for the most part, drew on the incisive discipline of R&B, while pointed lyrics displayed an acerbic view of contemporary urban life. Reed's departure left a creative vacuum within the band, yet he too seemed drained of inspiration following the break. He sought employment outside of music and two years passed before Lou Reed was released. Recorded in London with UK musicians, including Steve Howe and Rick Wakeman from Yes, the set boasted some excellent songs - several of which were intended for the Velvet Underground - but was marred by an indistinct production. Nonetheless, an attendant UK tour with the Tots, a group of New York teenagers, was an artistic success. David Bowie, a long-time Velvet Underground aficionado, oversaw Transformer, which captured a prevailing mood of decadence. Although uneven, it included the classic "Walk On The Wild Side", a homage to transsexuals and social misfits drawn to artist and film-maker Andy Warhol. This explicit song became a surprise hit, reaching the UK Top 10 and US Top 20 in 1973, but Reed refused to become trapped by the temporary nature of the genre and returned to the dark side of his talents with Berlin. By steering a course through sado-masochism, attempted suicide and nihilism, the artist expunged his new found commerciality and challenged his audience in a way few contemporaries dared. Yet this period was blighted by self-parody, and while a crack back-up band built around guitarists Dick Wagner and Steve Hunter provided undoubted muscle on the live Rock n Roll Animal, Sally Can't Dance showed an artist bereft of direction and purpose. Having sanctioned a second in-concert set, Reed released the stark Metal Machine Music, an electronic, atonal work spaced over a double album. Savaged by critics upon release, its ill-synchronized oscillations have since been lauded by elitist sections of the avant garde fraternity, while others view its release as a work of mischief in which Reed displayed the ultimate riposte to careerist convention. It was followed by the sedate Coney Island Baby, Reed's softest, simplest collection to date, the inherent charm of which was diluted on Rock 'N' Roll Heart, a careless, inconsequential collection that marked an artistic nadir. However, its successor, Street Hassle, displayed a rejuvenated power, resuming the singer's empathy with New York's subcultures. The title track, later revived by Simple Minds, was undeniably impressive, while "Dirt" and "I Wanna Be Black" revealed a wryness missing from much of the artist's solo work. Although subsequent releases, The Bells and Growing Up in Public, failed to scale similar heights, they offered a new-found sense of maturity. Reed entered the 80s a stronger, more incisive performer, buoyed by a fruitful association with guitarist Bob Quine, formerly of Richard Hell's Voidoids. The Blue Mask was another purposeful collection and set a pattern for the punchy, concise material found on Legendary Hearts and Mistrial. However, despite the promise these se

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