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The Velvet Underground (Studio Albums 1967 - 1973) [FLAC] [DarkAngie]

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The Velvet Underground (Studio Albums 1967 - 1973)




Biography:
The Velvet Underground
were largely ignored during heir original run from the mid-'60s into the early '70s, but few bands would cast as long a
shadow in terms of innovation and influence. Playing music that was boldly uncompromising both sonically and lyrically,
the Velvet Underground infused rock & roll with the daring of the avant-garde and the poetic realism of post-beat
literature. Too far ahead of their time for pop music's mainstream, the VU made a profound impression on thoughtful
listeners, many of whom would go on to make groundbreaking music of their own, and they would belatedly be acknowledged
as one of rock's most important groups. Their four studio albums -- 1967's The Velvet Underground & Nico, 1968's White
Light/White Heat, 1969's The Velvet Underground, and 1970's Loaded -- are all essential documents, and 2015's The
Complete Matrix Tapes is superb evidence of their power as a live act. Historians often hail the group for their
incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key
touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group
was uncompromising in its music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would
inspire alienated singers and songwriters of future generations. But the band's colorful and oft-grim soundscapes were
firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous
and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed,
whose sing-speak vocals and gripping narratives came to define street-savvy rock & roll. Reed loved rock & roll from an
early age, and even recorded a doo wop-type single as a Long Island teenager in the late '50s (as a member of the
Shades). By the early '60s, he was also getting into avant-garde jazz and serious poetry, coming under the influence of
author Delmore Schwartz while studying at Syracuse University. After graduation, he set his sights considerably lower,
churning out tunes for exploitation rock albums as a staff songwriter for Pickwick Records in New York City. Reed did
learn some useful things about production at Pickwick, and it was while working there that he met John Cale, a
classically trained Welshman who had moved to America to study and perform "serious" music. Cale, who had performed with
John Cage and LaMonte Young, found himself increasingly attracted to rock & roll; Reed, for his part, was interested in
the avant-garde as well as pop. Reed and Cale were both interested in fusing the avant-garde with rock & roll, and had
found the ideal partners for making the vision (a very radical one for the mid-'60s) work; their synergy would be the
crucial axis of the Velvet Underground's early work. Reed and Cale (who would play bass, viola, and organ) would need to
assemble a full band, making tentative steps along this direction by performing together in the Primitives (which also
included experimental filmmaker Tony Conrad and avant-garde sculptor Walter DeMaria) to promote a bizarre Reed-penned
Pickwick single ("The Ostrich"). By 1965, the group was a quartet called the Velvet Underground, including Reed, Cale,
guitarist Sterling Morrison (an old friend of Reed's), and drummer Angus MacLise. MacLise quit before the band's first
paying gig, claiming that accepting money for art was a sellout; the Velvets quickly recruited drummer Maureen Tucker, a
sister of one of Morrison's friends. Even at this point, the Velvets were well on their way to developing something
quite different. Their original material, principally penned and sung by Reed, dealt with the hard urban realities of
Manhattan, describing drug use, sadomasochism, and decadence in cool, unapologetic detail in "Heroin," "I'm Waiting for
the Man," "Venus in Furs," and "All Tomorrow's Parties." These were wedded to basic, hard-nosed rock riffs, toughened by
Tucker's metronome beats; the oddly tuned, rumbling guitars; and Cale's occasional viola scrapes. It was an uncommercial
blend to say the least, but the Velvets got an unexpected benefactor when artist and all-around pop art icon Andy Warhol
caught the band at a club around the end of 1965. Warhol quickly assumed management of the group, incorporating them
into his mixed-media/performance art ensemble, the Exploding Plastic Inevitable. By spring 1966, Warhol was producing
their debut album. Warhol was also responsible for embellishing the quartet with Nico, a mysterious European
model/chanteuse with a deep voice whom the band accepted rather reluctantly, viewing her spectral presence as rather
ornamental. Reed remained the principal lead vocalist, but Nico did sing three of the best songs on the group's debut,
The Velvet Underground & Nico, often known as "the banana album" because of its distinctive Warhol-designed cover.
Recognized today as one of the core classic albums of rock, it featured an extraordinarily strong set of songs,
highlighted by "Heroin," "All Tomorrow's Parties," "Venus in Furs," "I'll Be Your Mirror," "Femme Fatale," "Black
Angel's Death Song," and "Sunday Morning." The sensational drug-and-sex items (especially "Heroin") got most of the ink,
but the more conventional numbers showed Reed to be a songwriter capable of considerable melodicism, sensitivity, and
almost naked introspection. The album's release was not without complications, though. First, it wasn't issued until
nearly a year after it was finished, due to record-company politics and other factors. The group's association with
Warhol and the Exploding Plastic Inevitable had already assured them of a high (if notorious) media profile, but the
music was simply too daring to fit onto commercial radio; "underground" rock radio was barely getting started at this
point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak.
The album only reached number 171 in the charts, and that's as high as any of their LPs would get upon original release.
Those who heard it, however, were often mightily impressed; Brian Eno once said that even though hardly anyone bought
the Velvets' records at the time they appeared, almost everyone who did formed their own bands. A cult reputation wasn't
enough to guarantee a stable livelihood for a band in the '60s, and by 1967 the Velvets were fighting problems within
their own ranks. Nico, never considered an essential member by the rest of the band, left or was fired sometime during
the year, going on to a fascinating career of her own. The association with Warhol weakened, as the artist was unable to
devote as much attention to the band as he had the previous year. Embittered by the lukewarm reception of their album in
their native New York, the Velvets concentrated on touring cities throughout the rest of the country. Amidst this tense
atmosphere, the second album, White Light/White Heat, was recorded in late 1967. Each of the albums the group released
while Reed led the band was an unexpected departure from all of their other LPs. White Light/White Heat was probably the
most radical, focusing almost exclusively on their noisiest arrangements, over-amped guitars, and most willfully
abrasive songs. The 17-minute "Sister Ray" was their most extreme (and successful) effort in this vein. Unsurprisingly,
the album failed to catch on commercially, topping out at number 199. By the summer of 1968, the band had a much graver
problem on its hands than commercial success (or the lack of it). A rift developed between Reed and Cale, the most
creative forces in the band and, as one could expect, two temperamental egos. Reed presented the rest of the band with
an ultimatum, declaring that he would leave the group unless Cale was sacked. Morrison and Tucker reluctantly sided with
Lou, and Doug Yule was recruited to take Cale's place. The group's third album, 1969's The Velvet Underground, was an
even more radical left turn than White Light/White Heat. The volume and violence had nearly vanished; the record
featured far more conventional rock arrangements that were sometimes so restrained it seems as though they were making
an almost deliberate attempt to avoid waking the neighbors. Yet the sound was nonetheless effective for that; the record
contains some of Reed's most personal and striking compositions, numbers like "Pale Blue Eyes" and "Candy Says" ranking
among his most romantic, although cuts like "What Goes On" proved they could still rock out convincingly (though in a
less experimental fashion than they had with Cale). The approach may have confused listeners and critics, but by this
time their label (MGM/Verve) was putting little promotional resources behind the band anyway. Even in the absence of
Cale, the Velvets were still capable of generating compelling heat on-stage, as 1969: Velvet Underground Live (not
released until the mid-'70s) confirms. MGM was by now in the midst of an infamous "purge" of its supposedly drug-related
rock acts, and the Velvets were setting their sights elsewhere. Nevertheless, they recorded about an album's worth of
additional material for the label after the third LP, although it remains unclear whether this was intended for a fourth
album or not. Many of the songs, though, were excellent, serving as a bridge between The Velvet Underground and 1970's
Loaded; a lot of it was officially released in the 1980s and 1990s. The beginning of the 1970s seemed to herald
considerable promise for the group, as they signed to Atlantic, but at this point the personnel problems that had always
dogged them finally became overwhelming. Tucker had to sit out Loaded due to pregnancy, replaced by Yule's brother
Billy. Doug Yule, according to some accounts, began angling for more power in the band. Unexpectedly, after a lengthy
residency at New York's famous Max's Kansas City club, Reed quit the band near the end of the summer of 1970, moving
back to his parents' Long Island home for several months before beginning his solo career, just before the release of
Loaded, his final studio album with the Velvets. Loaded was by far the group's most conventional rock album, and the
most accessible one for mainstream listeners. "Rock and Roll" and "Sweet Jane" in particular were two of Reed's most
anthemic, jubilant tunes, and ones that became rock standards in the '70s. But the group's power was somewhat diluted by
the absence of Tucker, and by the decision to have Doug Yule handle some of the lead vocals. Due to Reed's departure,
though, the group couldn't capitalize on any momentum it might have generated. Unwisely, the band decided to continue,
though Morrison and Tucker left shortly afterward. That left Doug Yule at the helm of an act that was the Velvet
Underground in name only, and the 1973 album that was billed to the group (Squeeze) is best forgotten, and not
considered as a true Velvets release. With Reed, Cale, and Nico establishing important solo careers of their own, and
such important figures as David Bowie, Brian Eno, and Patti Smith making no bones about their debts to the band, the
Velvet Underground simply became more and more popular as the years passed. In the 1980s, the original albums were
reissued, along with a couple of important collections of outtakes. Hoping to rewrite the rules one last time, Reed,
Cale, Morrison, and Tucker attempted to defy the odds against successful rock reunions by re-forming in the early '90s
(Nico had died in 1988). A European tour, and a live album, was completed in 1993 to mixed reviews; before a planned
American jaunt could start, Reed and Cale (who have feuded constantly over the past few decades) fell out yet again,
bringing the reunion to a sad close. Sterling Morrison's death from illness in 1995 seemed to permanently ice any
prospect of more projects under the Velvet Underground name, although a few of the surviving members played together
when they were inducted into the Rock and Roll Hall of Fame. By that time, an impressive five-CD box set (containing all
four of the studio albums issued when Reed was in the band, as well as a lot of other material) was available to
enshrine the group's legacy for the ages. Cale and Reed continued with solo careers into the 21st century, but Reed
underwent a liver transplant in April 2013, and although he subsequently proclaimed his strength and intention to
continue performing and songwriting, he died of end-stage liver disease at his home on Long Island in October of that
year. In 2021, filmmaker Todd Haynes debuted a feature length documentary on the Velvet Underground, created with the
participation of John Cale and Maureen Tucker; a soundtrack album was issued by Polydor Records to coincide with its
theatrical release.






Album
List:
1967 - The Velvet Underground & Nico
1968 - White Light ? White Heat
1969 - The Velvet
Underground
1970 - Loaded
1973 - Squeeze


Media Report:
Genre: art rock, experimental
rock
Country: USA
Format: FLAC
Format/Info: Free Lossless Audio Codec, 16-bit PCM
Bit rate mode:
Variable
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Bit depth: 16 bits


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