other titles...
- The Primitives - The Ostrich
- The Beachnuts - Cycle Annie
- The Hi-Lifes - I'm Gonna Fight
- The Hi-Lifes - Soul City
- Ronnie Dickerson - Oh No Don't Do It
- Ronnie Dickerson - Love Can Make You Cry
- The Hollywoods - Teardrop in the Sand
- The Roughnecks - You're Driving Me Insane
- The Primitives - Sneaky Pete
- Terry Philips - Wild One
- Spongy and the Dolls - Really - Really - Really - Really - Really - Really Love
- The Foxes - Soul City
- The J Brothers - Ya Running but I'll Getcha
- Beverley Ann - We Got Trouble
- The All Night Workers - Why Don't You Smile
- Jeannie Larimore - Johnny Won't Surf No More
- Robertha Williams - Tell Mamma Not to Cry
- Robertha Williams - Maybe Tomorrow
- Terry Philips - Flowers for the Lady
- Terry Philips - This Rose
- The Surfsiders - Surfin'
- The Surfsiders - Little Deuce Coupe
- The Beachnuts - Sad Lonely Orphan Boy
- The Beachnuts - I've Got a Tiger in My Tank
- Ronnie Dickerson - What About Me
Why Don't You Smile Now: Lou Reed at Pickwick Records 1964 -1965
Various Artists
light in the attic
A compilation of pop songs penned by Reed during his mid-60s stint as a staff songwriter for the long-defunct label, Pickwick Records.
The compilation follows on the heels of Lou Reed’s 'Hudson River Wind Meditations' (2023) and Words & Music, May 1965' (2022). One of the most original and innovative figures in music history, Reed (1942-2013) first gained recognition as co-founder and frontman of the massively influential Velvet Underground.
Over the course of his five-decade career, the two-time Rock & Roll Hall of Famer brought his singular vision to an eclectic expanse of musical endeavors, including era-defining albums like 1972’s Transformer and wildly experimental works like the 1975 avant-garde noise classic Metal Machine Music. But before establishing himself as an enduringly iconic singer, songwriter, musician, and poet, Reed got his start as an in-house songwriter (and occasional session guitarist/vocalist) for Pickwick Records—a label specializing in sound-alike recordings that emulated the major pop hits of the day. Encompassing everything from garage-rock and girl-group pop to blue-eyed soul and teen-idol balladry, Reed’s output for Pickwick ultimately offers a fascinating early glimpse at his ever-evolving and truly limitless artistry.