Have you ever had a job that you didn’t like? A job that felt far removed from your passions or dreams? If so, you’re not alone. Even one of the greatest musicians in history, Lou Reed, started his career in a role that didn’t fully satisfy him. Before he became the iconic frontman of The Velvet Underground, Reed spent his early years at Pickwick Records, a label known for churning out cheap, novelty records designed to mimic popular hits of the time, and banging out singles for a quick consumer’s market.

Humble Beginnings (even to become a legend…)

This story is a compelling look at the humble beginnings of a career—and the resilience it takes to turn a “hack job” into a legacy. Who has not done one of these gigs at the beginning of a job career?  

So, let’s take a trip back to the 1960s and uncover the untold story of Lou Reed’s time at Pickwick Records—a story that proves even the brightest stars have to start somewhere.

Pickwick specialized in cheap records, the kind designed to hoodwink unsuspecting listeners into taking home an LP filled with facsimiles of actual hits. If one of their 45s happened to make a run on the charts, that was a bonus; they made a living on the fringes of pop culture, spinning out exploitation records that sometimes had their own peculiar charms. All the label needed to keep their operation humming were musicians itching for their first big break. 

Reed´s enter Pickwick:1964

An often overlooked period in Lou Reed’s career, his time at Pickwick Records. It’s crucial to understand this “hack job” as he called it, because it shaped him in unexpected ways.

Fresh out of Syracuse University, he accepted an offer to join Pickwick extended through the cousin of his former manager’s girlfriend—a roundabout way to enter their stable. Operating from the template created at the Brill Building, Pickwick pushed Reed into an office with three other songwriters: Terry Phillips, who previously worked at Jerry Leiber and Mike Stoller’s Trio Music, Jerry Vance, and Jimmie Sims. 

Their agreement with the label dictated that all compositions would be jointly credited to the four songwriters, so discerning which songs are the creation of Reed is difficult but not impossible. Often, the four writers would rush into Pickwick’s in-house studio to cut their new tunes, recordings that would then be issued under a variety of invented monikers. Reed played scratchy guitar on a number of these tunes and sang lead on occasion, although murky studio records mean that it’s possible some of his contributions have been lost to history.

“Why Don’t You Smile Now: Lou Reed at Pickwick Records 1964-1965”

Happily, A new compilation titled “Why Don’t You Smile Now: Lou Reed at Pickwick Records 1964-1965” was released last October, featuring 25 tracks from this period.

The newly compiled works from Lou Reed’s time at Pickwick Records, released in October 2024, offer a fascinating glimpse into the early career of a future rock icon. This period, marked by the creation of novelty songs like “The Ostrich,” starkly contrasts with Reed’s later, more profound and gritty compositions with The Velvet Underground. Yet, it is precisely this contrast that illuminates the journey of artistic growth and resilience that defined Reed’s career

As we explore Reed’s early work at Pickwick Records, we gain a deeper appreciation for the struggles and sacrifices that contribute to the development of a legendary artist. This compilation is not just a retrospective of a bygone era but a testament to the enduring power of perseverance and the universal journey of artistic growth, giving light to these unknown years of Reed’s seminal work.

You can get the album here in Vinyl, Cd and Mp3.

A compilation that we strongly recommend from Vibes Mgzn.

GET THE COMPILATION HERE

Reed’s meets Cale:The Essential Pickwick´s Legacy 

The casual Lou Reed’s time at Pickwick Records was likely a period of creative constraint and commercial necessity for him. While it provided him with the opportunity to develop his songwriting skills and led to pivotal connections, such as meeting John Cale, it seems that Reed viewed this phase of his career with some degree of frustration and detachment. The commercial and formulaic nature of the music produced at Pickwick likely contrasted sharply with Reed’s artistic aspirations, which were characterized by raw, gritty, and poetic expressions.

Reed’s later work with The Velvet Underground reflects a clear departure from the light, novelty songs of his Pickwick days, suggesting a reaction against the commercialism he experienced. Although he may not have extensively discussed his feelings about Pickwick in interviews, his known critique of the music industry’s commercialism and his focus on artistic fulfillment in his later career provide insight into his likely perspective on those years.

In essence, Reed’s time at Pickwick Records was a stepping stone that, while not artistically fulfilling, contributed to his eventual emergence as a pioneering figure in rock music. He worked alongside three other songwriters: Terry Phillips, Jerry Vance, and Jimmie Sims. Their agreement with the label dictated that all compositions would be jointly credited to the four songwriters.

Though far from glamorous, it was a crucial stepping stone in his journey to becoming a music legend. It was here that he honed his songwriting skills, experimented with different musical styles, and even recorded the quirky novelty song The Ostrich—another track that would eventually lead him to meet John Cale, his future collaborator in The Velvet Underground.  

This novelty song, featuring Reed on vocals, was a parody of dance crazes and caught the attention of John Cale

Reed’s experience at Pickwick serves as a powerful reminder that even the most celebrated artists often start from humble beginnings. It’s a testament to the idea that perseverance and dedication, even in less-than-ideal circumstances, can pave the way for greatness.  

Reed’s time at Pickwick

• Reed’s work at Pickwick was prolific and diverse:
• He wrote and recorded songs in various styles, including girl-group pop, garage rock, surf rock, soul, and more.
• Reed often sang and played guitar on the recordings.
• The songs were released under various band names, many of which were invented for specific releases, focused mainly to get into the charts and because of marketing reasons.

Reed’s experience at Pickwick Records, while perhaps not artistically fulfilling, was a crucible that shaped his songwriting prowess and endurance. The compilation of these early tracks provides a valuable context for understanding the evolution of his unique style, highlighting the struggles and compromises that often accompany the pursuit of artistic excellence.

In reflecting on Reed’s journey, we are reminded of the importance of dedication and perseverance in any career path. The compilation not only humanizes Reed but also offers a broader lesson about the necessity of starting from humble beginnings. It underscores that the path to success is often paved with challenges, and it is through overcoming these challenges that artists like Reed find their unique voice and style.

In conclusion, Lou Reed’s time at Pickwick Records is a testament to the idea that even the most celebrated figures in music history have to start from humble beginnings. This period, while perhaps not glamorous, was essential in shaping Reed’s artistic identity and resilience.