Sterling Morrison became involved with the duo after a chance meeting with Reed, his classmate at Syracuse University, on the subway. “The Black Angel’s Death Song” got the band fired from their residency. There was a certain meeting of the minds there.”Ģ. “He made me nice cup of coffee out of the hot water tap, and sat me down and started quizzing me as to what I was really doing in New York. “More than anything it was meeting Lou in the coffee shop,” Cale says in a 1998 American Masters documentary. Clearly on the same musical wavelength, they connected on a personal level afterwards. Gathering to rehearse the song, Cale was astonished to discover that the “Ostrich tuning” produced essentially the same drone he was accustomed to playing with Young. Sensing the opportunity for easy money and some laughs, Cale agreed. Intrigued by his pedigree, Reed invited him to join the Primitives. A classically trained prodigy, the young Welshman had moved to the city months earlier to pursue his musical studies and play viola with avant-garde composer La Monte Young’s Theater of Eternal Music. The pair crossed paths at a house party on Manhattan’s Lower East Side, where Reed was drawn to Cale’s Beatle-y long hair. Reed began hunting for potential members, valuing attitude as much as musical aptitude. It sold in respectable quantities, convincing the label to assemble musicians to pose as the phony band and promote the song at live gigs. Despite the unorthodox modes, Pickwick heard potential in “The Ostrich” and released it as a single. Reed recorded the song with a group of studio players, releasing the song under the name the Primitives. And I was kidding around and I wrote a song doing that.” “This guy at Pickwick had this idea that I appropriated,” he told Mojo in 2005. “The Twist” had nothing on “The Ostrich,” a hilariously oddball number featuring the unforgettable opening lines: “Put your head on the floor and have somebody step on it!” While composing the song, Reed took the unique approach of tuning all six of his guitar strings to the same note, creating the effect of a vaguely Middle Eastern drone.
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When ostrich feathers became the hot trend in women’s fashion magazines, Reed was moved to write a parody of the increasingly ridiculous dance songs sweeping the airwaves. What we were doing was churning out these rip-off albums.” “We just churned out songs that’s all,” Reed remembered in 1972.
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Reed’s professional music career took root in 1964 when he was hired as a staff songwriter at Pickwick Records, an NYC-based budget label specializing in soundalikes of contemporary chart-toppers. Lou Reed first united with John Cale to play a knockoff of “The Twist.”