Songs for Drella Album

Artist(s): Lou Reed / John Cale

Cover Art

Lou Reed / John Cale Songs for Drella Cover Art

Tracklist

Smalltown

length: 2:04
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale

When you’re growing up in a small town
When you’re growing up in a small town
When you’re growing up in a small town
You say, no one famous ever came from here

When you’re growing up in a small town
And you’re having a nervous breakdown
And you think that you’ll never escape it
Yourself or the place that you live

Where did picasso come from
There’s no michelangelo coming from pittsburgh
If art is the tip of the iceberg
I’m the part sinking below

When you’re growing up in a small town
Bad skin, bad eyes, gay and fatty
People look at you funny
When you’re in a small town

My father worked in construction
It’s not something for which I’m suited
Oh, what is something for which you are suited
Getting out of here

I hate being odd in a small town
If they stare let them stare in new york city
As this pink eyed painting albino
How far can my fantasy go

I’m no dali coming from pittsburgh
No adorable lisping capote
My hero, oh, do you think I could meet him
I’d camp out at his front door

There is only one good thing about small town
There is only one good use for a small town
There is only one good thing about small town
You know that you want to get out

When you’re growing up in a small town
You know you’ll grow down in a small town
There is only one good use for a small town

You hate it and you’ll know you have to leave

Open House

length: 4:18
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Please
Come over to 81st street I'm in the apartment above the bar
You know can't miss it, it's across from this subway
and the tacky store with the mylar scarves
My skin's as pale as the outdoors moon
My hair's silver like a Tiffany watch
I like lots of people around me but don't kiss hello
and please don't touch
It's a Czechoslovakian custom my mother passed on to me
The way to make friends Andy is invite them up for tea
Open house, open house

I've got a lot of cats, here's my favourite
she's a lady called Sam
I made a paper doll of her - you can have it
That's what I did when I had St. Vitus dance
It's a Czechoslovakian custom my mother passed on to me
Give people little presents so they'll remember me
Open house, open house

Someone bring the vegetables, someone please bring heat
My mother showed up yesterday, we need something to eat
I think I got a job today they want me to draw shoes
The ones I drew were old and used
They told me to draw something new
Open house, open house

Fly me to the moon, fly me to a star
But there are no stars in the New York sky
They're all on the ground
You scared yourself with music, I scared myself with paint
I drew 550 different shoes today
It almost made me faint
Open house, open house

Style It Takes

length: 2:55
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
composer: Lou Reed, John Cale
lyricist: Lou Reed, John Cale
You've got the money, I've got the time
You want your freedom, make your freedom mine
'Cause I've got the style it takes
and money is all that it takes
You've got connections and I've got the art
You like my attention and I like your looks
and I have the style it take
and you know the people it takes
Why don't you sit right over there, we'll do a movie portrait
I'll turn the camera on and I won't even be there
A portrait that moves, you look great I think
I'll put the Empire State Building on your wall
Watch the sun rise above it in your room
Wallpaper art, a great view
I've got a Brillo box and I say it's art
It's the same one you can buy at any supermarket
'Cause I've got the style it takes
And you've got the people it takes
This is a rock group called The Velvet Underground
I show movies on them
Do you like their sound
'Cause they have a style that grates and I have art to make
Let's do a movie here next week
We don't have sound but you're so great
You don't have to speak
You've got the style it takes (Kiss)
You've got the style it takes (Eat)
I've got the style it takes (Couch)
We've got the style it takes (Kiss)

Work

length: 2:38
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Andy was a Catholic, the ethic ran through his bones
He lived alone with his mother, collecting gossip and toys
Every Sunday when he went to church
He'd kneel in his pew and say, "It's just work,
all that matters is work."
Andy was a lot of things, what I remember most
He'd say, "I've got to bring home the bacon, someone's
got to bring home the roast."
He'd get to the factory early
If I'd ask him he'd tell you straight out
It's just work, the most important thing is work
No matter what I did it never seemed enough
He said I was lazy, I said I was young
He said, "How many songs did you write?"
I'd written zero, I lied and said, "Ten."
"You won't be young forever
You should have written fifteen"
It's work, the most important thing is work
It's work, the most important thing is work
"You ought to make things big
People like it that way
And the songs with the dirty words - record them that way"
Andy liked to stir up trouble, he was funny that way
He said, "It's just work, all that matters is work"
Andy sat down to talk one day
He said decide what you want
Do you want to expand your parameters
Or play museums like some dilettante
I fired him on the spot, he got red and called me a rat
It was the worst word that he could think of
And I've never seen him like that
It's just work, I thought he said it's just work
Work, he'd said it's just work
Andy said a lot of things, I stored them all away in my head
Sometimes when I can't decide what I should do
I think what would Andy have said
He'd probably say you think too much
That's 'cause there's work that you don't want to do
It's work, the most important thing is work
Work, the most important thing is work

Trouble With Classicists

length: 3:42
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
The trouble with a classicist he looks at a tree
That's all he sees, he paints a tree
The trouble with a classicist he looks at the sky
He doesn't ask why, he just paints a sky

The trouble with an impressionist, he looks at a log
And he doesn't know who he is, standing, staring, at this log
And surrealist memories are too amorphous and proud
While those downtown macho painters are just alcoholic

The trouble with impressionist is
The trouble with impressionist is
The trouble with impressionist is
The trouble with impressionist is
The trouble with personalities, they're too wrapped up in style
It's too personal, they're in love with their own guile
They're like illegal aliens trying to make a buck
They're driving gypsy cabs but they're thinking like a truck

The trouble with personalities is
The trouble with personalities is
The trouble with personalities is
The trouble with personalities is
I like the druggy downtown kids who spray paint walls and trains
I like their lack of training, their primitive technique
I think sometimes it hurts you when you stay too long in school
I think sometimes it hurts you when you're afraid to be called a fool

The trouble with classicists is
The trouble with classicists is
The trouble with classicists is
The trouble with classicists is

Starlight

length: 3:29
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Starlight open wide, starlight open up your door
This is New York calling with movies from the street
Movies with real people, what you get is what you see
Starlight open wide, Andy's Cecil B. DeMille
Come on L. A. give us a call
We've got superstars who talk, they'll do anything at all
Ingrid, Viva, Little Joe, Baby Jane, and Edie S.
But you better call us soon before we talk ourselves to death
Starlight open wide everybody is a star
Split screen 8-hour movies
We've got color we've got sound
Won't you recognize us, we're everything you hate
Andy loves old Hollywood movies, he'll scare you hypocrites
to death
You know that shooting up's for real
That person who's screaming, that's the way he really feels
We're all improvising, five movies in a week
If Hollywood doesn't call us - we'll be sick
Starlight open wide
Do to movies what you did to art
Can you see beauty in ugliness, or is it playing in the dirt
There are stars out on the New York streets
We want to capture them on film
But if no one wants to see them
We'll make another and another
Starlight let us in that magic room
We've all dreamt of Hollywood, it can't happen too soon
Won't you give us a million dollars the rent is due
Andy will give you 2 movies and a painting
Starlight open wide!

Faces and Names

length: 4:13
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Faces and names, I wish they were the same
Faces and names only cause trouble for me
Faces and names
If we all looked the same and we all had the same name
I wouldn't be jealous of you or you jealous of me
Faces and names
I always fall in love with someone who looks
the way I wish that I could be
I'm always staring at someone who hurts
And the one they hurt is me
Faces and names, to me they're all the same
If I looked like you and you looked like me
There'd be less trouble you see
Faces and names I wish they'd go away
I'd disappear into that wall and never talk
Faces and names
I wish I was a robot or a machine
Without a feeling or a thought
People who want to meet the name I have
Are always disappointed when they meet me
Faces and names I wish they were the same
Faces and names only cause problems for me
Faces and names
I'd rather be a hole in the wall - looking out on the other side
I'd rather look and listen, listen and not talk
To faces and names
I had a breakdown when I was a kid
I lost my hair when I was young
If you dress older when you are not, as you really age
you look the same
If we all looked the same, we wouldn't play these games
Me dressing for you and you dressing for me - undressing
for me
Faces and names if they all were the same
You wouldn't be jealous of me or me jealous of you
Me jealous of you - I'm jealous of you
Your face and your name
Your face and your name
Faces and names

Images

length: 3:31
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
I think images are worth repeating
Images repeated from a painting
Images taken from a painting
From a photo worth re-seeing
I love images worth repeating, project them upon the ceiling
Multiply them with silk screening
See them with a different feeling
Images images images images

Some say images have no feeling, I think there's a deeper meaning
Mechanical precision or so it's seeming
Instigates a cooler feeling
I love multiplicity of screenings
Things born anew display new meanings
I think images are worth repeating and repeating and repeating

I'm no urban idiot savant spewing paint without any order
I'm no sphinx, no mystery enigma
What I paint is very ordinary
I don't think I'm old or modern, I don't think I think
I'm thinking
It doesn't matter what I am thinking
It's the images that are worth repeating
Images images images images

If you're looking for a deeper meaning, I'm as deep as this high ceiling
If you think technique is meaning, you might find me very simple
You might think the images boring
Cars and cans and chairs and flowers
You might find me personally boring
Hammer, sickle, Mao Tse Tung, Mao Tse Tung -
I think that it bears repeating the images upon the ceiling
I love images worth repeating and repeating and repeating
Images images images images

Slip Away (A Warning)

length: 3:06
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Friends have said to lock the door
And have an open house no more
The said the Factory must change
And slowly slip away

But if I have to live in fear
Where will I get my ideas
With all those crazy people gone
Will I slowly slip away

Still there's no more Billy Name
And Ondine is not the same
Wonton and the Turtle gone
Slowly slip away
Slowly slip away

If I close the Factory door
And don't see those people anymore
If I give in to infamy
I'll slowly slip away

I know it seems that friends are right
Hello daylight, goodbye night
But starlight is so quiet here
Think I'll slowly slip away

What can I do by myself
It's good to here from someone else
It's good to hear a crazy voice
That will not slip away
Will not slip away

If I have to live in fear
My ideas will slowly slip away

If I have to live in fear
I'm afraid my life will slip away

If you can't see me past my door
Why your thoughts could slowly slip away

If I have to lock the door
Another life exists no more slip away

Friends have said to lock the door
Watch out for who comes through the door
The said the Factory must change

But I don't

It Wasn't Me

length: 3:31
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Mike Rathke, John Cale and Lou Reed
recording engineer: Jeremy Darby
assistant engineer: Greg Wong, Victor Deyglio and Mike Scaglione
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
It wasn't me who shamed you, it's not fair to say that
You wanted to work I gave you a chance at that
It wasn't me who hurt you, that's more credit than I'm worth
Don't threaten me with the things you'll do to you

It wasn't me who shamed you, it wasn't me who brought you down
You did it to yourself without any help from me
It wasn't me who hurt you, I showed you possibilities
The problems you had were there before you met me

I didn't say this had to be
You can't blame these things on me
It wasn't me, it wasn't me, it wasn't me
I know she's dead, it wasn't me

It wasn't me who changed you, you did it to yourself
I'm not an excuse for the hole that you dropped in
I'm not simple minded but I'm no father to you at all
Death exists but you do things to yourself

I never said give up control
I never said stick a needle in your arm and die
It wasn't me, it wasn't me, it wasn't me
I know he's dead but it wasn't me

It wasn't me who shamed you, who covered you with mud
You did it to yourself without any help from me
You act as if I could've told you or stopped you like some god
But people never listen and you know that that's a fact

I never said slit your wrists and die
I never said throw your life away
It wasn't me, it wasn't me, it wasn't me
You're killing yourself - you can't blame me

I Believe

length: 3:18
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
Valerie Solanis took the elevator got off at the 4th floor
Valerie Solanis took the elevator got off at the 4th floor
She pointed the gun at Andy saying you cannot control me anymore

And I believe there's got to be some retribution
I believe an eye for an eye is elemental
And I believe that something's wrong if she's alive right now

Valerie Solanis took three steps pointing at the floor
Valerie Solanis waved her gun pointing at the floor
From inside her idiot madness spoke and bang
Andy fell onto the floor

And I believe life's serious enough for retribution
I believe being sick is no excuse and
I believe I would've pulled the switch on her myself

When they got him to the hospital his pulse was gone
they thought that he was dead
His guts were pouring from his wounds onto the floor
they thought that he was dead
Not until years later would the hospital do to him what she could not
Andy said, "Where were you, you didn't come to see me"
Andy said, "I think I died, why didn't you come to see me"
Andy said, ""t hurt so much, they took blood from my hand"

I believe there's got to be some retribution
I believe there's got to be some retribution
I believe we are all the poorer for it now

Visit me, why didn't you visit me
Visit me, why didn't you visit me

Nobody but You

length: 3:46
producer: Lou Reed and John Cale
mixer: John Cale, Jeremy Darby, Lou Reed and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Rathke, Victor Deyglio, Mike Scaglione and Greg Wong
composer: John Cale, Lou Reed
lyricist: John Cale, Lou Reed
I really care a lot
Although I look like I do not
Since I was shot
There’s nobody but you

I know I look blase (note: blase - "e" with acute)
Party andy’s what the papers say
At dinner I’m the one who pays
For a nobody like you

Nobody but you
A nobody like you
Since I got shot
There’s nobody but you

Won’t you decorate my house
I’ll sit there quiet as a mouse
You know me I like to look a lot
At nobody but you

I’ll hold your hand and slap my face
I’ll tickle you to your disgrace
Won’t you put me in my proper place
A nobody like you

Sundays I pray a lot
I’d like to wind you up and paint your clock
I want to be what I am not
For a nobody like you

The bullet split my spleen and lung
The doctors said I was gone
Inside I’ve got some shattered bone
For nobody but you

Nobody but you
A nobody like you
Shattered bone
For nobody but you

I’m still not sure I didn’t die
And if I’m dreaming I still have bad pains inside
I know I’ll never be a bride
To nobody like you

I wish I had a stronger chin
My skin was good, my nose was thin
This is no movie I’d ask to be in
With a nobody like you

Nobody like you
A nobody like you
All my life

It’s been nobodies like you

A Dream

length: 6:34
producer: John Cale and Lou Reed
mixer: Jeremy Darby, Lou Reed, John Cale and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Scaglione, Victor Deyglio and Greg Wong
assistant producer: Mike Rathke
writer: Lou Reed, John Cale
It was a very cold clear fall night
I had a terrible dream
Billy Name and Brigid were playing under my stair case
on the second floor about two o'clock in the morning

I woke up
because Amos and Archie had started barking
That made me very angry
because I wasn't feeling well and I told them
I was very cross the real me
that they just better remember
what happened to Sam the bad cat
that was left at home and got sick and went ***** heaven

It was a very cold clear fall night
Some snowflakes were falling
Gee, it was so beautiful
and so I went to get my camera to take some pictures
And then I was taking the pictures
but the exposure thing wasn't right
and I was going to call Fred or Gerry
to find out how to get set it
I was too late
and then I remembered they were still probably at dinner
and anyway
I felt really bad and didn't want to talk to anybody
but the snowflakes were so beautiful and real looking
and I really wanted to hold them
And that's when I heard the voices
from down the hall near the stairs
So I got a flashlight
and I was scared and I went out into the hallway
There's been all kinds of troubles
lately in the neighborhood
and someone's got to bring home the bacon and anyway
there were Brigid and Billy playing

And under the stair case
was a little meadow sort of like the park at 23rd street
where all the young kids go and play frisbee
Gee, that must be fun
maybe we should do an article on that in the magazine
but they'll just tell me I'm stupid and it won't sell
but I'll just hold my ground this time, I mean
it's my magazine, isn't it?

So I was thinking that as the snowflakes fell
and I heard those voices having so much fun
Gee, it would be so great to have some fun
So I called Billy
but either he didn't hear me or he didn't want to answer
which was so strange
because
even if I don't like reunions I've always loved Billy
I'm so glad he's working
I mean it's different than Ondine
He keeps touring with those movies
and he doesn't even pay us and the film
I mean the film's just going to disintegrate and then what
I mean he's so normal off of drugs
I just don't get it

And then I saw John Cale
he's been looking really great
He's been coming by the office to exercise with me
Ronnie said I have a muscle
but he's been really mean since he went to AA
I mean what does it mean
when you give up drinking and then you're still so mean
He says I'm being lazy but I'm not
I'm just can't find any ideas
I mean I'm just not
let's face it
going to get any ideas up at the office

And seeing John made me think of the Velvets
and I had been thinking about them
when I was on St. Marks Place
going to that new gallery those sweet new kids have opened
but the thought I was old
and then I saw the old DOM
the old club where we did our first shows
It was so great
And I don't understand about that Velvet's first album
I mean I did the cover
I was the producer
and I always see it repackaged
and I've never gotten a penny from it
How could that be
I should call Henry
but it was good seeing John
I did a cover for him
but I did in black and white and he change it to color
It would have been worth more if he'd left it my way
but you can never tell any body anything I've leaned that

I tried calling again to Billy and John
they wouldn't recognize me it was like I wasn't there
Why won't they let me in

And then I saw Lou
I'm so mad at him
Lou Reed got married and didn't invite me
I mean is it because he thought I'd bring too many people
I don't get it
could have at least called
I mean he's doing so great
Why doesn't he call me?
I saw him at the MTV show
and he was one row away and he didn't even say hello
I don't get it
You know I hate Lou
I really do
He won't even hire us for his videos
And I was proud of him

I was so scared today
There was blood leaking thought my shirt
from those old scars from being shot
And the corset I wear to keep my insides in was hurting
And I did three sets of fifteen pushups
and four sets of ten setups
But then my insides hurt
and I saw drops of blood on my shirt and I remember
the doctors saying I was dead
And then later they had to take blood out of my hand
'couse they ran out or veins
but then
all this thinking was making me an old grouch
and you can't do anything anyway so
if they wouldn't let me play with them in my own dream
I was just going to have to make another
and another
and another
Gee, wouldn't it be funny if I died in this dream
before I could make another one up

And nobody called

And nobody came

Forever Changed

length: 4:52
producer: Lou Reed and John Cale
mixer: John Cale, Jeremy Darby, Lou Reed and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Rathke, Victor Deyglio, Mike Scaglione and Greg Wong
composer: John Cale, Lou Reed
lyricist: John Cale, Lou Reed
Train entering the city - I lost myself and never came back
Took a trip around the world and never came back
Black silhouettes, crisscrossed tracks never came back

Forever changed, forever changed

You might think I'm frivolous, uncaring and cold
You might think I'm frivolous - depends on your point of view
Society Andy who paints and records them - the high and the low
I left my old life behind me and never went back
Forever changed, forever changed

Got to get to the city - get a job
Got to get some work to see me through
My old life's disappearing from view
Hong Kong - and I was changed
Burma and India - and I was changed
Only art to see me through
Only heart to see me through
My old life disappearing from view
Brigid and Pat - please see me through
The whole thing quickly receding
My life disappearing - disappearing from view
Forever changed, forever changed
I left my old life behind and was forever changed
Forever changed

Hello It's Me

length: 3:05
producer: Lou Reed and John Cale
mixer: John Cale, Jeremy Darby, Lou Reed and Mike Rathke
recording engineer: Jeremy Darby
assistant engineer: Mike Rathke, Victor Deyglio, Mike Scaglione and Greg Wong
composer: John Cale, Lou Reed
lyricist: John Cale, Lou Reed
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 in 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 that I doubted your good heart
Things always seem to end before they start

Hello it's me, that was a great gallery show
Your cow wallpaper and your floating silver pillows
I wish I paid more attention when they laughed at you
Hello it's me

"Pop goes pop artist," the headline said
"Is shooting a put-on, is Warhol really dead?"
You get less time for stealing a car
I remember thinking as I heard my own record in a bar

They really hated you, now all that's changed
But I have some resentments that can never be unmade
You hit me where it hurt I didn't laugh
Your Diaries are not a worthy epitaph

Oh well now Andy - guess we've got to go
I hope some way somehow you like this little show
I know it's late in coming but it's the only way I know
Hello it's me - goodnight Andy...
Goodbye, Andy