For one thing, he had been forced to scrap his original intentions for the record, and was now labouring to patch new tracks together over those aborted tapes. For another, he had lost half of his band and his producer, who had all either quit on him or been fired. For a third, away from the studio, he was reaching the messy end of one of his most significant relationships, splitting up with Rachel, the transgender woman who had been his live-in companion and muse for three intense years.
They stood around the studio, drilling him with their blank stares. Replica human heads. Impassive sentinels moulded from strange grey material, The Heads dictated everything he did in this room. The Heads had particular demands. Nothing could be recorded until The Heads were happy.
Heads on sticks. It looked like Vlad The Impaler was making a record with his victims. It is a recording about which the fact that a spectral Bruce Springsteen shows up without credit halfway through is the least remarkable thing. It lives there. Lou knew priests. Lou knew criminals. Lou knew the gayest of the gay. I mean, forget punk. That was amateur hour. Reed himself watched semi-approvingly.
In late , his friend Danny Fields played him songs by a band he intended to manage: The Ramones. It makes everybody else look so bullshit and wimpy, Patti Smith and me included. At the same time, however, the music Reed was actually making himself had drifted far from anything any kneejerk Year Zero punk hardliner might choose to sniff glue to.
Who played jazz. When we got the call, Bruce Yaw and I were living up in New York State, cutting firewood and getting back to the land. Reed was no stranger to jazz. But we did things the way Lou wanted. Still, at times our jazz elements really came through. And I always felt Lou really enjoyed what we did. All the same, as he prepared to begin work on a new album, Reed was reconsidering his approach.
And I was in the band. My impression was definitely that he was looking for a younger, tougher sound, closer to his roots, more punk. I fitted. And, for a couple of reasons, the only place to do it was in Europe. Its name was Binaural Stereo. He had recently developed an obsession with binaural recording, an attempt at capturing sound in degrees, as experienced by human ears.
Binaural experiments dated back to the s, but in its leading exponent was a German engineer, Manfred Schunke. Michael Fonfara captures something of it when he pinpoints the moment in that Reed first decided to make him his bandleader. I was a martial artist at that time, so I kinda saved the day. A pretty intense introduction to playing rock and roll in Europe with a major star. Thousands of people searching for us. Retrieved 22 December Retrieved July 29, The New York Times.
Retrieved April 12, Lou Reed: A Life. Little, Brown and Company. ISBN Rolling Stone. Chicago Tribune. Retrieved November 9, Ticknor and Fields. ISBN X. Retrieved March 10, — via robertchristgau. The Encyclopedia of Popular Music 5th concise ed. Omnibus Press. In Brackett, Nathan ; Hoard, Christian eds. Retrieved January 13, In Weisbard, Eric ; Marks, Craig eds. Spin Alternative Record Guide. Vintage Books.
The Village Voice. Retrieved November 8, Simple Minds covered the song in an abbreviated version on their album Sparkle in the Rain , using two verses the first and third from the "Waltzing Matilda" section and a verse from the "Slipaway" section.
In , the song served as the leitmotif for Baker Skateboards ' seminal full-length video Baker 3. This s rock song —related article is a stub. You can help Wikipedia by expanding it. From Wikipedia, the free encyclopedia. NY Times. Lou Reed: A Life. Little Brown,