Lou Reed - Sally Can't Dance

Lou Reed publicly voiced his displeasure of Sally Can’t Dance, but then again, Lou Reed is an asshole, so it’s best to taper his comments with a dose of reality. As a matter of fact, Lou Reed as an asshole is found throughout Sally Can’t Dance so maybe his criticism of it was part of the Lou Circa ’74 character.
His criticism of the album is one of the reasons I love it: the production. It’s slick, polished, and everything glistens. That’s not to suggest there aren’t some dirty moments throughout the album’s brief 8 song cycle, there’s a lot of it, actually, both figuratively and musically. But every instrument is distinguishable and there are moments where Lou’s voice-a relatively limited and weak instrument-is processed with studio gimmicks that it sounds awesome.
“Kill Your Sons,” a song about Lou’s electroshock therapy treatments as a teen, remains as one of his fiercest songs ever.
“NY Stars” finds Reed dismissing his hometown imitators with a deadpanned “Help the New York stars.” That same, intentional deadpan is used throughout Sally Can’t Dance (the “Alimony” bit in “Ennui,” the “then war broke out…a he had to go” line in “Billy”) and it never tires.
Upbeat Lou even stops by for a laugh or two, with mixed results. The descriptive title track that details where Sally “used to ball folk singers” (a line that I like to use on my wife when we visit her hometown on the holidays. You know, we’ll pass a grain elevator and I’ll ask her if “that’s where you used to ball folk singers?”).
It falls flat on the downright awful “Animal Language,” a song so embarrassing that I’ll let it play through and dramatically sing the lyrics like a Vegas crooner. You really haven’t lived until you’ve heard me belt out “they took the dude’s sweat and shot it up between the two” like Robert Goulet.
Sally Can’t Dance became Lou’s highest charting album, leading him to exclaim that if he relinquished total control on his albums to someone else that he would surely find himself with a number 1 record. Given the artist’s cantankerous nature, noncommercial subject matters and penchant for subversive behavior, it seems highly unlikely that this could really happen. But Sally Can’t Dance at least promotes how Lou should have entertained the idea of letting someone man the controls behind the boards a little more frequently.