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Music Review: Lou Reed & Metallica – Lulu

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I feel the need to clarify this immediately: I can’t get enough of Lulu, the hard rock psychodrama by Lou Reed and Metallica. I love the album, all eighty-seven minutes of it, and have been listening to it frequently since its release. I’ve also been following the reaction to it, which has been largely negative to say the least. While there have been a few positive reviews, it seems like some critics have been engaging in a competition to see who can out-snark one another as they tear the album apart.

In 2009, at the 25th anniversary concerts for the Rock and Roll Hall of Fame, Lou Reed and Metallica teamed up to perform a couple of Velvet Underground classics. They had such a great time together, the idea formed for a more formal collaboration. Originally the plan was for Metallica to back up Reed on an album’s worth of his previously released material. By the time the project was coming together, Reed suggested the more ambitious approach of tackling new songs.

Lulu’s ten songs are based on the music Reed wrote for Robert Wilson’s recent stage production, Lulu, itself based on two plays by Frank Wedekind, Earth Spirit (1895) and Pandora’s Box (1904). The finished album, recorded quickly, consists of mostly long, churning, heavy jams capped by Reed’s verbose lyrics. Throughout the album, Reed often assumes the role of Lulu, a nymphomaniac dancer who is psychologically and sexually abused throughout a series of relationships, including an encounter with Jack the Ripper. At least that’s what I’ve gathered. I’ve not read the plays, nor seen the recent Wilson adaptation. And as far as narrative cohesion is concerned, the album is kind of muddled.

But the strength of the words is in their graphic, disturbing, and self-loathing imagery. There aren’t many lighthearted moments on Lulu, which is made clear by titles such as “Pumping Blood,” “Mistress Dread,” and “Frustration.” There is a very downbeat sense of despair that runs through most of the album. Among the bleakest moments is the quiet, droning “Little Dog,” in which Reed plaintively croaks such lines as “A puny body and a tiny dick/A little dog can make you sick.” The Jack the Ripper hookup is violently depicted in “Pumping Blood,” as Lulu begs, “I will swallow your sharpest cutter…Blood spurting from me.” In “Cheat on Me,” she asks a series rhetorical questions: “Why do I cheat on thee/Why do I desecrate me/Why do I piss my dreams?” The track concludes with the declaration “Your love means zero to me.”

Reed’s delivery throughout Lulu has frequently been referred to as “spoken word,” and while this is true to some degree it should not be surprising to anyone familiar with his previous work. Going all the way back to “The Gift” on the 1968 Velvet Underground album White Light/White Heat, Reed has been marrying recitations to beds of rock music. Over the decades, Reed’s vocal style has evolved into an increasingly monotonous form of speech-singing. For those who haven’t been exposed, it will be understandably off-putting. It’s an acquired taste to be sure, and some are bound to find it repellent. But contrary to those who characterize Reed as a confused old man spouting nonsense, there is a great deal of passion and, at times, warmth in Reed’s vocals.

That warmth comes through in the album’s extraordinary closer, “Junior Dad.” Though an extended instrumental coda makes this the longest track by far, its first half comes closest to Reed’s traditional style. Metallica provides a calm, reassuring, almost ethereal musical backing as Reed asks, “Would you come to me if I was half drowning? Would you pull me up – would the effort really hurt you?” Again I admit that I’m not really sure how this piece fits the overall concept of the album’s narrative, but it evokes a mood that isn’t heard anywhere else on the record. Its final eight minutes are probably not what many Metallica fans were expecting but they are subtly, soothingly melodic in their lovely drone.

About The Other Chad

Hi, I'm Chaz Lipp. An old co-worker of mine thought my name was Chad. Since we had two Chads working there at the time, I was "The Other Chad."
  • Xtian Zzyzx

    I wrote a review on Lulu here on Blogcritics about 2 weeks ago, maybe you read it. And if you did, you would recall that I hated it. But after reading your views on this album, I have come to understand it a little more. I appreciate the album a little more and I thank you for taking a different approach to this album. However, I still cannot listen to it as I really don’t enjoy it. but I do understand it now. Thank You.

  • http://www.soundclick.com/bands/default.cfm?bandID=463156 jcmosquito

    I dunno – I luv the Velvets, but I can’t make heads or tails of Lou’s solo work. Maybe I’ll look for some of his stuff down at the public library and see if makes sense under repeated listening.

  • http://paul-pearson.blogspot.com Paul Pearson

    I cracked wise about Lulu on my personal blog a few months ago. Still questioning the whole point of the process, but I do agree in that I wondered how future generations would come to view the album. It has the potential to be reconsidered a few years down the road.

  • http://cinemasentries.com/ El Bicho

    Good review, Chad. I enjoyed the album, but am not sure how often I am going to listen to it again. To me, it has to be taken as one piece and its quite an investment of time and emotion

  • Brian aka Guppusmaximus

    Like I’ve said before, if this album was made by two parties that no one ever heard of then nobody would be sticking up for this mess. Honestly, there are far more better experimental works to invest your time analyzing then to waste even 30 seconds on this crap….

  • John

    “Lulu” will be eventually understood and in 20-30 years it will be voluminously praised as a rock & roll masterpiece, as was “Berlin” (see reviews for the DVD/CD in 2006).

    Lou’s work is for thinking people. Would you give a five year old a copy of “Moby Dick” and expect any more insight than has been reflected in 90% of the reviews and comments for “Lulu”?

    Chad, as for “Junior Dad”, the Ripper is dreaming; he’s looking back on his own father’s callous and vicious treatment of him as a child, as a cause for his own hatred/fear of and for women.

    The album’s subjects are envy-driven hatred, violence and murder, but the overall theme is more complex: no matter how indifferent or cruel our parents, we constantly seek their love and approval. This goes for both Lulu and the Ripper. Even the worst of us are not monsters, but ruined children.

    Thanks for the thoughtful, intelligent (and well-deserved) review.