Instrumental version exists, the multitracks containing the vocal overdubs Tracked, a song too later rerecorded but scrapped for Loaded and finally appearing Returned to The Record Plant on September 5th for more work on the project. The album in the can, The Velvets took the summer off to continue touring and “Andy’s Chest”, “Ocean”, “Rock and Roll” and “She’s My Best Friend”. Of seven of the nine songs tracked thus far and compiled an acetate thatĬontained, in order: “I’m Sticking With You”, “Foggy Notion”, “Ferryboat Bill”, At this two-day session they also made mixes “Rock and Roll”, a song later re-recorded as the centerpiece for Loaded. The Velvets returned to the studio on June 19th & 20th to track anĪdditional three songs: the bizarre “Ferryboat Bill” another road-tested epic “Ocean”Īgain later rerecorded for both Loaded and Lou Reed and a rough performance of
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“She’s My Best Friend” was recorded, a song Reed would himself rerecord for hisĢ0th the band recorded another live staple that would be revisited for Lou Reed’sġ972 solo album Lou Reed, “I Can’t Stand It”. With You” which would be tried again but ultimately scrapped for the Loaded Transformer album “Andy’s Chest”, as well as the charming Mo Tucker-sung “I’m Sticking The band returned to the studio on May 13thĪnd tracked a song Lou Reed himself would re-record for his seminal 1972 Most-well known originals of this batch, “Foggy Notion”. With The Velvet Underground tracking the jaunty “Coney Island Steeplechase”, as wellĪs a rocker heavily featured on their current tour and effectively becoming the They are often acknowledged as the band that inspired generations of popular artists like David Bowie, Nirvana, Talking Heads, Arctic Monkeys, the Sex Pistols, Joy Division, Sonic Youth, Galaxie 500 and U2 to name a few.Recording sessions, based at the Record Plant in New York, began on May 6th The Velvet Underground’s ideals were perfectly aligned with 1970s punk, 1980s indie rock, and 1990s alternative music. It has become a foundation for future generations of musicians. The Velvets‘ uncompromising music, on the other hand, has stood the test of time. This phrase quickly became a rock reviewer standard that was attached to any band whose creative impact eclipsed their monetary success.Īfter all, the ’60s is The Beatles‘ decade, and the band is still adored around the world for their universality and genre-spanning tunes. The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band. Come after half a century, the band looks more alive than almost all of its more well-known peers. It took years for them to establish a name and demonstrate their might. Their music was invasive as well as enigmatic with pulsating rhythms and Reed’s flat voice biting the words soaked in the realities of prostitution, S&M, and hard narcotics. The Velvets were probably obscure tastes in their days, with no single smash-hit song to their name. Nico and Andy Warhol with the Velvet Underground Influence that The Velvet Underground had Nico’s aura, as well as her unusual look and bohemian voice, were valuable assets to the band (albeit disputed, as the film depicts).
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He put them in flashy multimedia concerts and had them adopt the frigid Nordic beauty, Nico, as the band’s femme fatale. He offered to become their manager and they became Warhol’s house band. Having a woman drummer particularly was actually atypically innovative.Īndy Warhol, a mere spectator, was stunned when he first heard the Velvets singing their iconic song Heroin. Guitarist Sterling Morrison and drummer Maureen Tucker, a woman, soon joined them both and they started making music like no other.
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Both of them met in the New York in 1964 and what happened next is history. And Cale was a viola-playing avant-garde music devotee who escaped his bleak beginnings in the Welsh coal-mining region. Reed was an ambitious man from the Long Island suburbs. But this band’s actions were not subtle in the least, as almost everything that they did was breaking the barriers.Īt the Velvet’s core were Lou Reed and John Cale. These days it’s easy to forget how, at one point in time, even a slight change from the norm used to shake the world. Instead, it takes us to the same room as them, enabled by archived footage and the steady rumbling of their music. This film doesn’t try to explain the band to us. Todd Haynes‘ brilliant new documentary film on The Velvet Underground, an iconic rock band, reminds us of how bold both music and films were not so long ago.