I think this beer would go better with a more mellow album。 Deep Blue Organ Trio's Wonderful! drawn mostly from his 1970s golden age ― opens with "Tell Me Something Good。 as well as other folkloric styles from the Americas。 sold 250,Toms Tribal Boots outlet, also worked as his publicist for several years at Warner Bros。 produced one of his albums wrote liner notes for some of his recordings And Bill you know what I find interesting about that interview is I think it's an example of why The Velvet Underground was such an inspiration to the punk bands that came afterwards because Lou Reed's ear for music it had room for John Cale who was classically trained and part of like the classical music avant-garde; and Maureen Tucker who was this amateur drummer you know playing in her bedroom who couldn't really sing you know as a singer but Lou Reed liked her voice and wanted her to record and urged her to do it glad he did Do you think of Lou Reed as really having an ear that helped create punk in that respect that kind of like do-it-yourself sound BENTLEY： I think Lou really was the forefather of punk When The Velvet started they were just bashing away They had no intention of playing in public Lou had had bands before and Cale had played in experimental groups Sterling had played in as he said biker bars out on Long Island and they just met in New York and started playing at home They were not trying to be in the music business at all So it started as a very elemental pursuit They had a drummer named Angus MacLise that had left the band because he refused to play in a group that - and be told when to start and when to stop So he quit and that's when they got Maureen to play drums And the genius things I think in getting Maureen they insisted she play drums standing up That made her approach the kit from a whole new perspective I mean you couldn't really get into hard backbeats if you're playing standing up One of her favorite drummers was the African drummer Olatunji and so she styled some of her song beats on African drums which was way before its time back then And I think just that whole mishmash of different styles and not over-thought that really was what punk was about too You just you get up there and do it and worry about it later It's the inspiration and the emotional content that makes it so powerful GROSS： My guest is Bill Bentley He was Lou Reed's publicist from 1988 to 2004 and remained a good friend We'll talk more about Reed and his music after a break This is FRESH AIR (SOUNDBITE OF MUSIC) GROSS： We're remembering Lou Reed who died Sunday at the age of 71 My guest Bill Bentley was Reed's publicist from 1988 to 2004 and remained his good friend In the early days of The Velvet Underground they performed as part of Andy Warhol's kind of multimedia experience The Exploding Plastic Inevitable These were - this was in the years like '65 to '67 Did you get to see them in those years BENTLEY： No I did not get to see The Velvet Underground in the '60s at all There was a couple of chances that it just didn't work out for me But I've watched movies and through knowing Lou and Sterling and the rest of them you know vicariously I can envision it But it must have been out there GROSS： What can you tell us about what they were like then from the stories you've heard and you know from Lou Reed and Sterling Morrison and from you know films you've seen BENTLEY： Well when they started they were just playing in a Greenwich Village dive I think it was called the Cafe Bizarre and I think a couple of the Factory people came by and saw them and they knew that Warhol was looking for a rock 'n' roll band to show movies on He wanted to show his movies onto the band while they played So that's how that marriage came together But immediately they were playing 10-minute versions of "Heroin" and screeching and stomping and Cale had his electric violin you know pitched up to the highest notes And they really just were annoying people Sterling said once that they got fired one night because they were told to turn it down and of course they turned it up So when they retired basically from playing the clubs and started playing just only at the Factory Warhol got a place in the East Village called The Dom - it was a Polish dance hall - and that's when they really came into their own as being sort of the toast of New York's elite hipster crowd As Sterling said we're the people who ruined the Lower East Side (LAUGHTER) GROSS： I want to play another interview excerpt and this is with Mary Woronov And she was part of that whole Factory scene during the time that The Velvets were part of the Warhol group And she - she is an actress and a writer who at the time performed with The Velvets sometimes doing the whip dance with Gerard Malanga which she's about to describe in this interview excerpt from 1995 after her memoir was published So let's listen back to this interview excerpt with Mary Woronov (SOUNDBITE OF ARCHIVED RECORDING) GROSS： So you became a dancer with the Warhol show The Exploding Plastic Inevitable; and you and Gerard Malanga used to dance to The Velvet Underground's performances MARY WORONOV： Yes that was - well actually what happened is the first thing that happened is I did a movie And then I thought well this is fine I have a job you know I'm going to do these movies for Warhol for which I'm not paid What a great job I was very naive And then added to - what happened is the - Barbara Rubin brought The Velvets in and they would play and you know Gerard was not one to give up his stage So he would get up on the stage and start dancing and I was with him So I would get up on the stage and start dancing too And it just became this like show They put a movie in back of The Velvets and we danced in front and The Velvets played and then Andy started moving it around as The Exploding Plastic Inevitable and we went to California But yeah I danced in front of them all the time It was great GROSS： I want you to describe the dances that you and Malanga did to The Velvets WORONOV： It's going to sound very strange but - well first of all both of us are dressed in black leather by now and both of us have you know whips But the - it was definitely rock 'n' roll dancing It wasn't you know Martha Grahamish at all It was rock 'n' roll but we would have all these different things like black lights and like those flickering strobe lights and crosses and we would dance with these objects Gerard and I were just very good together We were very instinctive So you know you dance; both of you have a whip you know; you do all these sort of you know pretend S&M things while you're dancing GROSS： Like what WORONOV： Oh he spent a lot of time on his knees and he kissed you know kissed the whip because you know in one of the songs it says kiss the whip lightly He would do that And you know we would just - it was actually very **y what we did GROSS： That song also says something about licking your shiny boots Did he lick your boots too WORONOV： A lot of kissing of boots and licking of boots Look we were very young and we just did things you know and nobody said no GROSS： Well The Exploding Plastic Inevitable the Warhol road show went to California and it was a disaster there WORONOV： Yes GROSS： What happened nobody came WORONOV： No - well there was one night where several people came like Cher and they all thumbed their noses at us And then nobody came and then they shut down the club that we were at which was called The Trip The reason why is because there was tremendous antagonism between New York and LA LA was you know full of color full of acid full of hippies and we were not like that We dressed in black and white We did not like free love We liked S&M and real restraint perversion too We took amphetamine; they took LSD They were you know sort of loving and happy and we were - we weren't really evil we were more intellectual more about art GROSS： That was Mary Woronov recorded in 1995 We'll talk more about Lou Reed with Bill Bentley in the second half of the show Here's one of The Velvet songs Woronov danced to "Venus in Furs" I'm Terry Gross and this is FRESH AIR (SOUNDBITE OF MUSIC) GROSS： This is FRESH AIR I'm Terry Gross We're remembering Lou Reed the singer songwriter and guitarist who co-founded The Velvet Underground and then had a long solo career He died Sunday at the age of 71 of liver disease Let's get back to our interview with Bill Bentley who was Reed's publicist from 1988 to 2004 and remained his good friend Back in the '70s Bentley was in a band with Sterling Morrison a founding member of The Velvet Underground When we left off we were talking about the early days of The Velvets from 1965 to '67 when Andy Warhol was their manager After Warhol's death in 1987 Lou Reed and John Cale - who co-founded The Velvets - reunited for a project I talked to Bentley about it John Cale and Lou Reed did a collaboration of songs about Andy Warhol and it was called "Songs for Drella" Bill Bentley would you like to choose a song from "Songs for Drella" BENTLEY： Yes I'd choose "Hello It's Me" because Lou had such a deep love for Andy Warhol and of course Warhol had died pretty suddenly And this was a song Lou had written as if Andy were still alive and was able to speak to him again And it always just really touched me that just the love he had for Andy Warhol and how much Andy Warhol had done for him GROSS： You know but I have to say at the same time I always felt like listening to "Songs to Drella" that there must have been a lot of ambivalence about his feelings towards Warhol because he seems to think of Warhol too as somebody who toyed with people BENTLEY： Well I think Lou Reed saw Warhol's sides all the way around And sometimes I guess Andy Warhol did toy with people But also he was a true artist And from that Lou learned a lot I know at one point Lou wasn't comfortable around Warhol because Warhol was always recording things and taking pictures of everybody And Lou figured that you know if those recordings just really cut into his privacy - and at heart Lou Reed was a very very private man And he had to stop going around to where Warhol was because he didn't want to end up on those tapes or with all those photos GROSS： Interesting OK So this is "Hello It's Me" Lou Reed's song from "Songs for Drella" songs about Andy Warhol (SOUNDBITE OF SONG "HELLO IT'S ME") LOU REED： (Singing) Andy it's me haven't seen you in a while I wished I talked to you more when you were alive I thought you were self-assured when you acted shy Hello it's me I really miss you I really miss your mind I haven't heard ideas like that for such a long long time I loved to watch you draw and watch you paint but when I saw you last I turned away When Billy Name was sick and locked up in his room you asked me for some speed I though it was for you I'm sorry if I doubted your good heart Things always seem to end before they start Hello it's me That was a great gallery show。 GROSS： That's one of Lou Reed's songs on the album he did in collaboration with John Cale called "Songs for Drella" songs about Andy Warhol And my guest Bill Bentley was a close friend of Lou Reeds' He was his publicist for many years - from about '88 to 2004 And he wrote the liner notes for the album that we just heard the song from "Songs for Drella" You actually went to Paris with Lou Reed and John Cale after "Songs for Drella" was released Would you tell us the story of that maybe tell us a little bit of what it was like to be with him BENTLEY： When "Songs for Drella" came out the Cartier Foundation decided to put on an exhibit in Paris about the Factory years and The Velvets and a lot of early Warhol things And they asked all four surviving Velvet Underground members - Nico of course was dead - but to go to Paris and just be a part of that exhibition and greet the press and look at it And so they all went - Maureen Tucker Sterling Morrison John Cale and Lou Reed And when they got over there there was this - at the opening day there was a stage set up for another band that was going to play And just completely off-the-cuff the four Velvets got up on stage and played "Heroin" together and that was the first time they performed since John Cale left the band in 1967 You know over the years there had probably been some animosities and some different dealings that might not have made Lou Reed and Sterling Morrison the greatest of friends but once they were in Paris together it was like watching a family reunite It was one of the most touching things I've ever seen especially for Sterling because he had sort of been the odd man out He'd finished his studies and gone on to be a tugboat captain of the Houston Ship Channel GROSS： Oh BENTLEY： And to get back with The Velvets and spend those three or four days with them I think was probably just a wonderful thing for all of them They left as very close friends and then they reunited for a while and made a live record that Sire put out in the early '90s and did a European tour with many dates opening for U2 And then there was going to be an American tour but of course the business end reared its head and some things didn't work out and that was the end of it GROSS： What was the experience like for you BENTLEY： To watch The Velvets come back together and finally see them play a song I was just - I was crying It was so emotional And to have been friends with Sterling those years and kind of known what he went through leaving the band and then being slightly shunned by the band I just - I was so happy for Sterling Morrison and everyone else It was like a little dream I look back on it now and go like wow did that really happen And then you know I find little cards the band had left for me or you know pictures or things like that and go like it really did happen It was a wonderful wonderful time GROSS： Since we heard a collaboration between John Cale and Lou Reed years after The Velvets split up I want to play an excerpt of an interview that I did with John Cale in 1994 And one of the things I asked him about was why The Velvets split up And here's what he had to say about it in 1994 (SOUNDBITE OF ARCHIVED INTERVIEW) JOHN CALE： The band was spending a lot of time on the road And in contrast to the way "The Banana Album" was recorded there was very little time spent in thinking and working on the arrangements We'd become a road band and we would go on stage and we'd put backbeat behind everything that we did and that would be it "The Banana Album" on the other hand was the product of a year and a half of fairly sedentary and boring reversals which is kind of what gave us time to come up with the different arrangements that were there and that was interesting to me At the same time in the general context of touring and having publicity and having a record out we would find people that had opened for us years before suddenly soaring up the charts and we would be in pretty much the same spot And this was a source of great debate which got more and more heated about which direction the band should go and whether we should go for the pretty songs or whether we should go for the orchestral and the harder ones GROSS： Which side were you on CALE： Well I thought there was a way of covering both But if we didn't - if we hadn't - the only way to have done that would've been to stop and calm down a lot and focus a lot more But I think at that point if it didn't happen in a split second it wasn't going to happen That is people's attention span was very short and it just got to the point where there was no discussion anymore And also there was a question of management that entered into it that really thought that this was no longer a band that there was just one artist here and that sort of hurried things along mightily GROSS： So that was John Cale recorded in 1994 And my guest is Bill Bentley who was a close friend of Lou Reed's worked as his publicist at Warner Bros Records from 1988 to around 2004 He wrote liner notes for some of his albums and that's just a small part of Bill Bentley's music career but a very important part So listening to John Cale tell the story about why The Velvets split up a key part of that story is that at that point there was just like one quote "artist" in the band and the implication was that was Lou Reed And was that your impression that other members of the band - or specifically Cale - felt that Lou Reed was taking the band in his direction more so than in a group direction BENTLEY： Well in speaking with Sterling about the split up of the band he could never be released specific to explain it But he did say that the band had become Lou's band and Lou had the vision for it and the way he wanted it to sound And while it had started a little more experimental it had become less so in terms of Cale really stretching out on his instrument And Sterling told me an interesting story He said one time he was at a club in New York and Lou Reed came to him and said look I'm dissolving the band There is no more Velvet Underground But I'm going to start a new band called The Velvet Underground and would you like to be in it And it really took Sterling aback and he thought for it a minute And while his loyalty was to the whole band - which included John Cale - as Sterling said I might have been corrupted at that point and had put so much time into playing these songs I just wanted to continue And the only way to continue was with Lou Reed and the new version of The Velvet Underground so I stayed And I think that always haunted Sterling a little bit that he hadn't stood up more for John But as he said there was no discussing it It was like that's what it's going to be or I was out and I opted to stay in GROSS： My guest is Bill Bentley He was Lou Reed's publicist from 1988 to 2004 and remained a good friend We'll talk more about Reed and his music after a break This is FRESH AIR (SOUNDBITE OF MUSIC) GROSS： We're remembering Lou Reed He died Sunday at the age of 71 My guest Bill Bentley was Reed's longtime publicist and remained his good friend So you were Lou Reed's publicist from 1988 to around 2004 And I would imagine that was a very challenging position to be in because Lou Reed was kind of famous for having rough interactions with members of the press And I'll include myself in that I did an interview with Lou Reed in 1996 after his solo album "Set the Twilight Reeling" and he walked out on me in - I don't know - about four minutes into the interview maybe six And he just said - after telling me that he didn't want to talk about being middle-aged and he didn't want to talk about his early music and he didn't want to listen to his early music because he hates listening to his early music and he didn't seem to really want to talk about anything - and he just said to me this isn't working and he walked out He was in Cleveland I think and I was in a studio in Philadelphia And I was disappointed because I was so looking forward to talking with him And I felt bad that he was having such like a miserable time in the interview But considering that I know I'm not the only person I know had you know a difficult interaction with him what was it like being his publicist BENTLEY： You know being Lou Reed's publicist was easily the most challenging thing I've ever done but also I must say it was the most rewarding Because I knew going in - I'd been reading magazines since you know Rolling Stone and Creem and those magazines started I kind of knew the lay of the land So I really handled trying to set up the writers that would be speaking with Lou with real care hopefully the ones who could figure out a way to open Lou up which wasn't always easy And I would always tell writers like maybe for the first 15 or 20 minutes let him guide the conversation which even if it started slowly to give Lou a little degree of comfort because he was very very sensitive And if he snapped at the writers who were trying to take him somewhere he didn't want to go he would shut it down I mean I saw him walk out of a lot of interviews and sometimes become you know spars with these - sparring with these people verbally would get to be very very hard to watch In a lot of the early interviews I was told to sit in the room with him while he did them GROSS： Told by him BENTLEY： And he could give me - yes He wanted me in the room in case it went bad and he had signals he would give me if he felt it was going bad and I had to end the interview So it was almost like this drama that was always going on especially as he started back with New York It's interesting because when we started doing press for New York and we started doing interviews in 1988 his wife Sylvia Reed - who was his manager at the time a wonderful woman - had sent me a list of writers that Lou would not talk to so don't bother asking them about doing interviews And it was a very long list It had gone all the way back to some Velvet stuff GROSS： Wow BENTLEY： So I had the list and I looked at it about three or four years after we'd gotten rolling with New York and then "Drella" and everything You know what's interesting is that we'd done interviews with almost every one of those writers So I found it wasn't really like a rigid thing but it just - it took a lot of care And you know you'd win some you'd lose some I mean some of the things that wouldn't happen were very painful to watch because you know it cost Lou exposure But I knew enough not to go there unless I felt it was really important One of the things I'm most proud of working with his outside publicist in 1989 he was actually able to be on the cover of Rolling Stone who'd he almost been in open warfare with since The Velvet Underground The Velvets felt like Rolling Stone was a San Francisco magazine and had nothing but disdain for them And all those years of that had kind of built a bad relationship But we broke that down and Lou actually got on the cover So what I learned with Lou is like he would go in with a little bit of an edge But there are ways around it that worked sometimes and sometimes didn't GROSS： But it must be so challenging for you because on the one hand you know he really wanted the publicity and the attention and felt that people often didn't appreciate what the band was doing At the same time the way to get that attention isn't to you know insult the person who is a big fan of yours and wants to write about you BENTLEY： It was a very difficult position to be in because as a publicist I like the press I used to be a writer I know how hard that job is So I was always rooting for them But as Lou's representative you know that was my first loyalty - was to try to make sure that it worked for him So it was a tightrope and a lot of times you know it caused me a lot of anxiety And sometimes I failed And I would be miserable thinking like you know somehow I'd made a mistake But just in the world of publicity you just keep going and with Lou you know the records would keep coming and we'd keep trying And some of them were loved and some of them were hated But I always go back to "Metal Machine Music" You know he destroyed his career to make a point which is that he could do anything And so I realized you know there really wasn't any talking Lou Reed into doing something he didn't want to do That was something I learned very very early And I。 GROSS： "Metal Machine Music" was just a long album of like feedback and distortion BENTLEY： Right That - Lou said it was making several sonic points but it was very hard to listen to And it came after "Walk on the Wild Side" So I think that was his way。 GROSS： Which was his big radio hit That was a big hit BENTLEY： His biggest hit Lou always told me an interesting story about "Walk on the Wild Side" because he was always like people were always waiting for the next one and he would say like Billy B I'd write it if I could - which I always got a big kick out of because it was the truth If he thought he could write another one he would have but as he said how do you do that You know he probably didn't even know how he did the first one It just - these things would come to him They - a lot of things he would channel Just you know he loved music so much and it came at him from all angles; and he could somehow put it together in these very very unique combinations and create those Lou Reed songs that to this day I don't think anybody else has been able to do You hear a lot of bands influenced by The Velvet Underground or influenced by Lou Reed but you know there is not a band that sounds like either GROSS： So you said Lou Reed said he'd write another hit if he could Well his song "Perfect Day" almost became a hit in the sense you know it's been used in a commercial BENTLEY： Right "Perfect Day" I think is one of the most beautiful songs Lou wrote He did it on the album that also had "A Walk on the Wild Side" and I think those are the two sides of Lou There's a side where you know he's out at 4 in the morning dealing with all the people on the street and the hustlers and the this and the that And then you turn it around and it's this very romantic loving really partner to someone writing a song just about the ultimate day of bliss And the reason I chose it - because there'd be some days in New York where we would just hang out in the park or do things that were so wonderful and just easy and enjoying life and then we'd go to the movies And that song references that but it also brings up that other side of Lou that he knew was always waiting to come out too and it's told in that line that said like "such a perfect day you made me forget myself I thought I was someone else someone good" And that was a thing that Lou carried around too whether it's from his childhood or whatever I think there was a lot of questions in his mind you know how do you become a good person; and how do you fight off the demons and the devils that take you down the other road And that was his lifelong str**le but I think that's also what made him such a great artist Because he never backed down from it He acknowledged it He wrote songs about it - like what is that line between good and bad in a person and where does it take you GROSS： Oh OK So this is Lou Reed singing "Perfect Day" (SOUNDBITE OF SONG "PERFECT DAY") REED： (singing) Just a perfect day Drank sangria in the park And then later when it gets dark we go home Just a perfect day Feed animals in the zoo Then later a movie too and then home Oh it's such a perfect day I'm glad I spent it with you Oh such a perfect day You just keep me hanging on You just keep me hanging on。 GROSS： That was Lou Reed singing his song "Perfect Day" My guest is Bill Bentley who was a close friend of Lou Reed's was his publicist for many years wrote liner notes for some of his music I'm glad you chose that song to play You know you were talking about that line between what may - the division in somebody between what's good and what's bad; and what do you think Lou Reed's demons were BENTLEY： I think Lou's demons were how to control the side of him that made him less than loving I think he might've come up in an era where being different was a really bad thing and it probably gave him either some guilt or definitely some turmoil I know there have been reports that you know he received shock treatment when he was a teenager and he was given medicine to try to control himself I don't really know that any of that was ever true I never talked to him about what happened when he was a teenager But I think with Lou he really saw the beauty of life and wanted to be a person who could live in that beauty as often as possible And sometimes trying to find that sense of contentment you know might take you to drugs might take you to drink might take you to a lot of things that might not be that good for you But Lou wanted to be there and he really tried to find a life to where that's the way he could live And I think over the years as he got older with his wife Sylvia Reed and then you know in the '90s he met and ended up marrying Laurie Anderson I found Lou to be a much much happier person And it was just - it was like a wonder to see that happen to him because you listen to some of the songs and you just - you hear and feel the pain of what he carried around with him and what he expressed I mean he would - say you listen to a record like "Berlin" and it's just horrific And just there are moments of that thing where you just feel like the person can't go on living And some of the people in that album don't go on living So to watch Lou's progression through all this music and then in his life as well it really was an inspiration to believe that you know things do evolve and there is really like hope for everyone GROSS： My guest is Bill Bentley He was Lou Reed's publicist and remained a good friend We'll talk more after a break This is FRESH AIR (SOUNDBITE OF MUSIC) GROSS： We're remembering Lou Reed who died Sunday at the age of 71 My guest Bill Bentley was Reed's publicist from 1998 to 2004 and remained his good friend I thought it might be nice to close with the song "Magician" from his album "Magic and Loss" which is about death And this is a song called "Magician" What do you think of this song and where it fits into his work BENTLEY： I think Lou wrote this song from probably one of the most personal places ever He'd lost two very close friends when he did the "Magic and Loss" album And we used to talk about it because I lost a very good friend around that time too and he said well just listen to "Magician" Billy B Just listen to it and you'll know the way through You'll find a way through This is to help you and me and everybody who loses their loved ones to get through And I think he really was proud of that song because it accomplishes that GROSS： Bill Bentley thank you so much for sharing some time with us I really really appreciate it And again I'm sorry for the loss of your friend BENTLEY： Well he was a wonderful man and just for me it's like one of those things in life you don't know how you get that lucky to work with people like that GROSS： Bill Bentley was Lou Reed's longtime publicist and good friend He is now director of A&R at Vanguard Records Lou Reed died of liver disease Sunday at the age of 71 I'm Terry Gross (SOUNDBITE OF SONG "MAGICIAN") REED： (singing) Magician Magician Take me upon your wings and gently roll the clouds away。 Copyright 2013 NPR All rights reserved No quotes from the materials contained herein may be used in any media without attribution to NPR This transcript is provided for personal noncommercial use only pursuant to our Terms of Use Any other use requires NPR's prior permission Visit our permissions page for further information NPR transcripts are created on a rush deadline by a contractor for NPR and accuracy and availability may vary This text may not be in its final form and may be updated or revised in the future Please be aware that the authoritative record of NPR's programming is the audio TUCKER： Lou。 to see if we can do it without being dropped from the label。Scotland's art-pop hipsters Belle and Sebastian and the Canadian power pop group The New Pornographers visit Washington he's sobered up and put out a dozen albums ?? some better than others。
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