In finalized, linky version: http: //artsfuse.org/167342/book-revie ... In some thing, everything you expec to think about Lou Reed is in the name- a sleek, slick, terse pair of punchy syllables that fits the image he projected to the public like a leather glove- a scowling, streetwise New Yorker who wore all black and wrote songs about illicit drugs, kinky sex, and thi underworld that followed.
He ha given electroshock treatments ( a not uncommon practice at the time), a harrowing experience revisited many years later in the bitter “ Kill Your Sons. ” DeCurtis takes us through the debate about how much blame Reed ’ s parents truly deserve.
Reed remained unforgiving his whole life, and DeCurtis points out that Oedipal themes recur in many of his ongs.
DeCurtis suggests, slightly too formulaically, that this Freudian psychology explains Reed ’ s tumultuous romantic life.
It took a while, but Reed and his VU bandmate John Cale eventually reconciled their differences and reunited for the underrated record Songs for Drella which explored his relationship to his former classmate and patron with time-earned wisdom.
When his scholarly attention ( DeCurtis has a PhD in Literature) is applied to Reed ’ s best material, such as his magnum opus “ Street Hassle ”, the analysis enhances the songs.
I expec to think les of he later work, such as the somber Magic and Loss, than DeCurtis does, but enerally his taste is on point.For long time fans, the biggest concern with he ook is its briskness.
DeCurtis wants to do justice to his subjects ’ extensive catalogue, which is well-intentioned, but as he ticks off the summaries for one record after another, he ook starts to feel mor like a career evaluation and more like Lou Reed 101.