The records that made Lou Reed love rock and roll: “They encompassed everything”
Given his penchant for creating inventive, groundbreaking compositions that completely revolutionised the world of rock and alternative music, it can often be difficult to imagine Lou Reed in childhood. From the outside, it is not unimaginable that Reed emerged from the womb fully formed in his mid-1920s, complete with sunglasses and that distinctive New York swagger. However, a time did exist when Reed was a young man trying to find solace in the musical offerings of the 1950s.
To call the 1950s a revolutionary period for American music would be a catastrophic understatement. In the wake of World War II, the United States was experiencing a significant economic boom, which coincided with the advent of consumer culture and increased marketing towards young people. Coming of age during the late 1950s, Lou Reed has a front-row seat for the development of groundbreaking styles like rockabilly, soul, and early rock ‘n’ roll.
While his later work, as the driving force behind The Velvet Underground and later as a solo performer, undoubtedly falls under the vast umbrella term of ‘rock’, there was nothing typical about Reed’s take on the genre. The Velvet Underground largely dedicated themselves to the subversion of rock and its genre signifiers, pioneering a defiant, inventive new sound that would inspire countless future generations of musicians. Seemingly, though, the lineage of the group all began during the 1950s, rooted in Reed’s early appreciation for the radio.
Growing up in Freeport, Reed often occupied himself by tuning into local radio stations, which led him to pick up on the early sounds of rock ‘n’ roll during the late 1950s. Local radio stations were the first to introduce rock to much of America’s youth, with the rebellious new sound rejected by many mainstream channels. During this time, Reed became infatuated with the noises he was hearing on the radio, with both rock and rhythm and blues becoming personal favourites.
Reed certainly had his favourite performers like any child of the rock ‘n’ roll generation. If anybody could see through the showbiz sheen of Elvis Presley, it was Reed. Instead, he sought out the true originators of the genre and those who were taking rock in previously untrodden directions. Two stars rose about the rest, at least in the mind of a young Lou Reed: Fats Domino and Little Richard.
Speaking to The LA Times back in 1992, Reed highlighted some of his early favourites, citing “‘The Fat Man’ by Fats Domino, and Little Richard…‘Tutti-Frutti’ and ‘Long Tall Sally’.” Explaining their impact, he said, “When I heard them on the radio, they encompassed everything that was missing from my world. Put it this way: Wherever Little Richard was was where I wanted to be.”
If you had to select one individual responsible for the transition from blues to rock and roll, it would likely be Fats Domino. The New Orleans-born pianist was vital in the development of the genre, although he was always adamant that ‘rock ‘n’ roll’ was no different from rhythm and blues, often disowning the moniker. Meanwhile, Little Richard was among the greatest rock performers that America has ever seen, and he was noted for his flamboyant and energetic approach to this exciting new music style.
So, while the RnB-centric sounds of Fats Domino or Little Richard might not be overtly present in records like Loaded or Transformer, without their pioneering influence, Lou Reed might never have been motivated to pursue music. This is certainly not an uncommon tale, either, with everybody from Lemmy Kilmister to Elton John citing the likes of Little Richard as a colossal influence on their music, speaking to the broad and diverse appeal of those early recordings.
