Interludes

VIEWPOINTS – St. Ann’s Warehouse digs into its archives to shed light on Lou Reed’s legacy: SONGS FOR DRELLA & BERLIN

• By drediman
• November 25, 2020
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For two consecutive weeks, St. Ann’s Warehouse has dug into its archives to shed light on the late Lou Reed – whose storied career spanned decades and included fronting the Velvet Underground, as well as a successful solo career – and his lasting legacy. From his instantly recognizable sing/speak vocal stylings, to his suave, matter-of-fact delivery, to his fearless way with the guitar, the deep-voiced Reed has left an indelible mark on generations of alternative rock outfits that have come after him. Indeed, bands like the White Stripes, Pavement, and Pulp all bear the imprint of the influential rocker’s brand of “cool”. For this Lou Reed virtual mini-festival, St. Ann’s has retrieved a pair of sensationally filmed concerts (both co-produced by the adventurous Brooklyn performing arts institution) of two of Reed’s more notable post-Velvet Underground solo albums.

LOU REED & JOHN CALE’S SONGS FOR DRELLA: A FICTION

In 1989, Reed collaborated with fellow former Velvet Undergrounder John Cale on an Andy Warhol tribute album entitled Songs for Drella: A Fiction. The project was co-commissioned by the Brooklyn Academy of Music and St. Ann’s Warehouse (then known as Arts at St. Ann’s). Reunited once again, Reed and Cale premiered the song cycle at St. Ann’s Church and subsequently performed it at BAM’s 1990 Next Wave Festival (RECOMMENDED) — which I am missing dearly this fall — where it was captured on film by cinematographer Ed Lachman. Mr. Lachman intimately captures the electric dynamism (tension?) and intuitive synergy between the two musicians, which is particular fascinating given the infamously rocky circumstances of their professional breakup. Perhaps because of their deep respect and affection for Warhol (both Reed and Cale were close friends with the artist), the compositions here are refreshingly on the gentler side and decidedly reverential. Collectively, the songs paint a loving, comprehensive portrait of the iconic artist, showcasing the duo’s penchant for astute storytelling.

LOU REED’S BERLIN LIVE AT ST. ANN’S WAREHOUSE

Nearly two decades on in 2007, Reed once again teamed up with St. Ann’s Warehouse — in conjunction with the Sydney Festival — to perform in five elaborate, sold-out concerts (complete with string and brass sections, a youth choir, and cinematic projections) of his rich, pungent 1973 concept album Berlin (HIGHLY RECOMMENDED). Thankfully, the performance was filmed for posterity by cinematographer Ellen Kuras, who captures the work’s fractured psychological landscape magnificently. Critically denounced upon its release, the album has since been deemed a masterpiece. Set in the album’s namesake city, the moody song cycle tells the turbulent story of Jim and Caroline, drug-addicted lovers whose relationship and lives tragically spiral out of control. There’s no getting around the fact that the simple plot is overwhelmingly grim. However, Reed’s songs — with their rapturous extended jam sessions — exude an intoxicating, heightened sense of living only for the moment (for better or worse), which ultimately can only be described as life-affirming. And although Reed was in the twilight of his career when he performed these Berlin concerts, Ms. Kuras’s film gives ample evidence that he was still very much a rock and roll force to be reckoned with.