On Record

(Continued from page 14)

vious fantasies of being a rockand-roll star. "Secrets" doesn't sound like it holds any others. though it does hold promise..

Lou Reed, "The Bells" (Arista)

Lou Reed has been making music since the days of the Velvet Underground. His greatest successes came later, after he left the Underground and went out on his own. As a solo performer, Reed achieved the popular success that eluded the Underground. His renditions of "Sweet Jane" and "Walk On the Wild Side" were enourmously popular, despite the fact that they reflected life lived outside the norm and were musically aberrant in comparison to what else was on the air at the time. In spite of himself, Reed became a pop hero.

But that kind of recognition has ceased in recent years. From a pop hero, Reed has reverted to his role as an underground hero. But this time around he is more than that. In the years of practicing his art, Reed has become an underground rock artist, continuing to develop his chosen medium.

For Reed, each album is an artistic project. He writes; he produces; he sings (though, considering the limitations of his voice, it might be more appropriate to say he expresses himself); he performs; above all, he creates.

His new album, "The Bells," is another adventure in art. On side one, the songs are traditionally constructed rockers with an occasional disco influence that's more satiric than sincere. (His "Disco Mystic" with its repetitious drone is a pointed comment on so much of the mindless music that is being issued in that genre.) The songs are up-tempo and catchy, an effect due in part to his collaboration with Nils Lofgren, a collaboration that carries over to Lofgren's own current release, "Nils." "Stupid Man," a life of contemporary illusion, "City Lights," a tribute to Charlie Chaplin, and "With You" are rolling pop-rock songs in the best Lofgren tradition with Reed's influence making them a little less light.

On side two Reed goes on his own. The result is an adventure in sound verite-one rocker, "All Through the Night." and three tone. poems. Reed is at his most experimental with those three, creating moods as well as music, using tapes of party conversations and sound effects to underscore the music. "The Bells." the title cut. is Reed's most ambitious and ambiguous effort. He's more accessible on. "Families." a familiar story to all who "don't go home much anymore." the easy music a reflection of the monotony of a toofamiliar life left behind.

The cover of "The Bells" shows a retouched Reed holding a mirror to his face; but he's looking not at it but at us, as if to ask us what we see. Reed is an artist who has taken chances. "The Bells" is not his best. There is no cut that equals his past successes. But Reed shows us. what he is a musician who continues to develop and who now is more interested in his art than in his popularity.

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