Posts Tagged ‘The Velvet Underground’

Velvet Underground Unreleased

The Velvet Underground releases “The Complete Matrix Tapes” collects recordings made at San Francisco club the Matrix on November 26th and 27th, 1969. As previously reported, the four-disc box set will be released November 20th via Polydor/Universal Music Enterprises.
Including a previously unreleased recording of “We’re Gonna Have a Real Good Time Together”.

By September 1968, Lou Reed was hell-bent on kicking John Cale out of the Velvet Underground. Reed and Cale started the band, but after two albums, Lou was no longer interested in working with the Welsh musician.

It’s always been unclear as to why Lou Reed felt this way, but the most plausible reason is that he sought to make the Velvets more accessible, while John Cale wanted to keep one foot in the avant-garde. Regardless, in late September, after what would turn out to be Cale’s final concerts with the group, Reed met with drummer Maureen Tucker and guitarist Sterling Morrison and gave them an ultimatum: Either Cale goes or the band is finished. Reluctantly, Tucker and Morrison agreed to sack Cale. But with Cale’s exit and upcoming concerts scheduled for the first week of October, a replacement needed to be found—and fast. Doug Yule, a Boston musician who was friendly with the band, was quickly brought into the fold. Yule would have to swiftly learn a set of songs, many of which he hadn’t heard before because they hadn’t been released yet. He made his way to New York City to rehearse for shows booked at a small venue in Cleveland called La Cave. Yule’s first gig with the Velvets is usually cited as having taken place on October 2nd, though in his exhaustive book, White Light/White Heat: The Velvet Underground Day-by-Day, author Richie Unterberger writes that Yule’s debut was October 4th. Either way, the band’s new member had little time to prepare.

John Cale and Lou Reed

The Velvet Underground played two sets that first night in Cleveland with Yule, and thanks to recordings which were subsequently bootlegged, we can hear what they sounded like during this historic show. Incredibly, Yule already appears to be a good fit. He’s obviously up for the task, coming up with interesting bass lines—even singing background harmonies—on songs that he had just learned. His harmony vocal gelling perfectly with Reed’s during a lovely version of “Jesus” is just one of many cool moments. Reed’s guitar work is also noteworthy, like during the wild and weird middle section of “I Can’t Stand It,” but it’s the track that opens the first set that takes the cake.

“What Goes On” was one of many numbers played that first night that Yule barely had time to acquaint himself with (the tune would be included on their next album, The Velvet Underground, which came out the following year). There’s nothing all that interesting happening here at first (though Yule once again contributes some mighty fine harmonizing); that is, until Reed kicks off the initial solo with a fierce blast of noise. He follows up with melodic lines that resemble what would be heard on the now-familiar album take, but while the guitar tone on the LP version is psychedelic, here it’s all about volume and distortion. During the second and final solo, after a similar melodic passage, Lou lets it rip. At around the 4:52 mark, he goes into hyperactive overdrive, whipping up an atypically riotous, face melter of a solo that’s downright giddy in execution. It’s the sound of a man set free.

This joyfully savage version of “What Goes On” would appear decades later on Peel Slowly and See, VU’s 1995 boxed set, and to date it’s the only track from the Cleveland concerts to be officially released. In his liner notes for the box, David Fricke is suitably inspired by the rendition, writing that it’s “rich with pyro-fuzzbox spew and climaxes with a staccato rush of tonal destruction over Sterling Morrison’s implacable, syncopated rhythm clang.”

The Velvet Underground

As first-rate as Doug Yule is during his debut outing with the Velvet Underground, it’s Lou Reed who makes the performances extraordinary. His solos during “What Goes On” sound like they’re coming from a man who is positively euphoric. No matter what his motives were behind getting rid of John Cale, it’s undeniable when listening to him play how he felt about the end result. “What goes on in your mind?” I think we all know the answer here.

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To celebrate 45 years of this ground-breaking record, and to pay tribute to the late Lou Reed, Sydney’s Montes Jura have curated a full-length cover album of The Velvet Underground featuring their favourite local acts. The album will be reloaded by: Upskirts, The Pinheads, Salvador Dali Llama, Burn Antares, The Grease Arrestor, Raindrop, Bad Valley, Dluna, Lizzy Cross & The Infinity Snake and Montes Jura. The cover album is slated for release Tuesday, October 27 as a free download via Bandcamp.

They’ll be celebrating its release with a launch party at the Factory Floor on Saturday, November 7th. See live performances from: Upskirts, Salvador Dali Llama, Raindrop, Burn Antares, Bad Valley, Dluna, Lizzy Cross, & Montes Jura as they honour arguably the most influential band of the 60s.

The 10 Sydney pysch bands unite to pay tribute to The Velvet Underground’s seminal record release Loaded Its almost been 45 years since the legendary Velvet Underground record “Loaded” was released. To celebrate, 10 psych bands from Sydney and Wollongong have banned together to pay tribute, each one covering a Velvet Underground classic to be put on a compilation appropriately titled, Reloaded”.

The Velvet Underground’s ‘Loaded’ is one of those records that, from the moment the needle drops, we find ourselves singing along to each and every song

From the opening feel-good hit ‘Who Loves the Sun’, right through to the final ‘Oh! Sweet Nuthin’’, every word, melody and groove is experienced as if for the first time and the 100th time.

Asked by Atlantic Records to produce an album “loaded with hits,” The Velvet Underground set out to distance themselves from their Andy Warhol-inspired days to take the leap into radio-ready hit singles. The end result was not only a commercial success, but a blue print for the future of rock and roll.

To celebrate 45 years of this ground-breaking record, and to pay tribute to the late Lou Reed, Sydney’s Montes Jura have curated a full-length cover album featuring their favourite local acts. The Album will be reloaded by: The Upskirts, The Pinheads, Salvador Dali Llama, Burn Antares, The Grease Arrestor, Raindrop, Bad Valley, D’luna, Lizzy Cross & The Infinity Snake and Montes Jura. The cover album is slated for release Tuesday, October 27 as a free download via Bandcamp.

Curated by Sydney band Montes Jura, the tribute compilation will feature modern interpretations of the record by Burn Antares, The Pinheads, Upskirts, Salvador Dali Llama, Raindrop, The Grease Arrestor, Bad Valley, D’Luna, Lizzy Cross & The Infinity Snake and Montes Jura themselves.

The compilation will be released via Bandcamp as a free download on October 27th – the anniversary of Lou Reed’s death. And as a massive celebration of all things Velvet Underground, the bands will be throwing a tribute party at the Factory Theatre on November 7th. Performing will be, Upskirts, Salvador Dali Llama, Burn Antares, Bad Valley, D’Luna, Raindrop, Montes Jura, Lizzy Cross plus The Grease Arrestor DJs. Tickets go on sale Wednesday 2nd September and can be purchased from the Factory’s website.

Rhino has a fully loaded slate for this autumn. On October 30th, the same date as the recently-announced 20th anniversary edition of Alanis Morissette’s “Jagged Little Pill”, the label will give the deluxe treatment to The Velvet Underground’s fourth studio album. Loaded: Re-Loaded 45th Anniversary Edition will follow in the footsteps and format of the deluxe sets previously released by UMe for the VU’s first three albums The Velvet Underground and Nico, White Light/White Heat, and The Velvet Underground. This 6-disc box will feature:
•The original 1970 album remastered in both its stereo and mono mixes;
Demos, singles, early versions and alternate takes from the Loaded era;
•A previously unreleased Philadelphia concert from May 1970 featuring seven songs from Loaded;
•A newly-remastered and re-edited version of Live at Max’s Kansas City containing tracks from the original 1972 album plus selections from Rhino’s expanded 2004 edition; and
•Stereo and surround mixes of the original Loaded album on DVD.

By the time of the original release of Loaded on Atlantic Records’ Cotillion imprint in November 1970, Lou Reed had already departed The Velvet Underground. But the album contains some of his most beloved songs for the band including “Sweet Jane” and “Rock and Roll.” With the increased participation of Doug Yule (including on the lead vocals on four songs) and without the credited Maureen Tucker, who was pregnant at the time of the album’s recording, Loaded has a very different – and unabashedly commercially-oriented – feel than its predecessors in the group’s catalogue. (VU guitarist Sterling Morrison does play on the record. Guest drummers including Doug Yule’s brother Billy subbed for Tucker.) Remastered stereo and mono versions of the album fill out the first two discs, along with various outtakes, and the mono mix for the unissued single: “Rock & Roll” b/w “Lonesome Cowboy Bill.” The third disc explores the creative process behind many of the songs on the album with more than 20 demos, early versions and alternate mixes. An unreleased club performance feature on the fifth disc. It was recorded on May 9th, 1970 at the Second Fret in Philadelphia. The band was down to a trio that night: Lou Reed, Sterling Morrison and Doug Yule, who alternated between bass and drums to fill in for Moe Tucker, who was pregnant at the time. Loaded, which came out six months after the show, is well represented with seven songs, including: “Cool It Down,” “Oh! Sweet Nuthin’” and “Sweet Jane”.


In 1997, Rhino Records released the Fully Loaded 2-CD reissue, with 23 outtakes, demos and alternate mixes. This release forms the basis of the additional material on Disc Three of Re-Loaded, with the outtakes appended to Disc One and the single versions (including two previously unreleased mono single mixes) on Disc Two. Note that, per Rhino, for the surround and stereo downmix on the DVD, the original album track listing has been slightly re-sequenced to include the segue originally planned for “I Found a Reason/Head Held High.” The press release also indicates that the album’s surround mix (the first surround release for the Velvets) will be playable in DTS and Dolby Digital.

Rhino re-loads on October 30th with this deluxe set. You can peruse the track listing and pre-order below! A single-disc remastered edition of the album will also be available at Amazon U.S. that same day. (Amazon U.K. link is TBD.)

The Velvet Underground, Loaded: Re-Loaded 45th Anniversary Edition (Rhino/Atlantic, 2015) Amazon U.S. / Amazon U.K. TBD)

CD 1: Loaded – Remastered Stereo LP plus bonus tracks
1.Who Loves the Sun
2.Sweet Jane (Full Length Version)
3.Rock and Roll (Full Length Version)
4.Cool It Down
5.New Age
6.Head Held High
7.Lonesome Cowboy Bill
8.I Found a Reason
9 Train Round the Bend
10.Oh! Sweet Nuthin’
11.I’m Sticking with You (Outtake – New Remix)
12.Ocean (Outtake)
13.I Love You (Outtake)
14.Ride Into the Sun (Outtake)

CD 2: Loaded – Promotional Mono Version, Singles and B-Sides
1.Who Loves the Sun
2.Sweet Jane (Full Length Version)
3.Rock and Roll (Full Length Version)
4.Cool It Down
5.New Age
6.Head Held High
7.Lonesome Cowboy Bill
8.I Found a Reason
9.Train Round the Bend
10.Oh! Sweet Nuthin’
11.Who Loves the Sun Single)
12.Oh! Sweet Nuthin’ (Single)
13.Rock and Roll (*)
14.Lonesome Cowboy Bill (*)

CD 3: Demos, Early Versions and Alternate Mixes
1.Rock and Roll Demo)
2.Sad Song (Demo)
3 Satellite of Love (Demo)
4.Walk and Talk (Demo)
5.Oh Gin (Demo)
6.Ocean (Demo)
7.I Love You (Demo)
8.Love Makes You Feel Ten Feet Tall (Demo)
9.I Found a Reason (Demo)
10.Cool It Down (Early Version – Remix)
11.Sweet Jane (Early Version – Remix)
12.Lonesome Cowboy Bill (Early Version -Remix)
13.Head Held High (Early Version – Remix)
14.Oh! Sweet Nuthin’ (Early Version -Remix)
15.Who Loves the Sun (Alternate Mix)
16.Sweet Jane (Alternate Mix)
17.Cool It Down (Alternate Mix)
18.Lonesome Cowboy Bill (Alternate Mix)
19 Train Round the Bend (Alternate Mix)
20.Head Held High (Alternate Mix)
21.Rock and Roll (Alternate Mix)

CD 4: Live at Max’s Kansas City – Remastered and Re-Edited
1.I’m Waiting for the Man
2.White Light/White Heat
3.I’m Set Free
4.Sweet Jane
5.Lonesome Cowboy Bill
6.New Age
7.Beginning to See the Light
8.I’ll Be Your Mirror
9.Pale Blue Eyes
10.Candy Says
11.Sunday Morning
12.After Hours
13.Femme Fatale
14.Some Kinda Love
15.Lonesome Cowboy Bill (Version 2)

CD 5: Live at Second Fret, Philadelphia 1970 (*)
1.I’m Waiting for the Man
2.What Goes On
3.Cool It Down
4.Sweet Jane
5.Rock and Roll
6.Some Kinda Love
7.New Age
8.Candy Says
9.Head Held High
10.Train Round the Bend
11.Oh! Sweet Nuthin’

DVD: (*)
1.96/24 Hi-Resolution Surround Sound Mix (DTS, Dolby Digital)
2.96/24 Hi-Resolution Stereo Downmix
3.96/24 Original Stereo Mix

(*) denotes previously unreleased track

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An experimental surf instrumental version of The Velvet Underground’s “I’m Waiting For The Man”. From the album “Nico and The Velvet Underground”. The Kettering Vampires (previously Otter Sandwich) one fated morning, musical history was (almost) born. The band (Lenny Ninja Snake on lead guitar and ostrich guitar, Neil Ska on prepared piano and ostrich prepared piano, the superbly named Jack Darkness on bass guitar and prepared bass guitar and Minnie Bannister on drums, ostrich spoons and prepared ostrich spoons) were poised to create a musical masterpiece in this, an instrumental surf version of some obscure and previously unheard of album named ‘Nico And The Velvet Underground’. Despite Jenkins putting together a stage show extravaganza for the band called The Unexpected Vegetable Incident ( ‘basically we projected cabbages over the band and sometimes a man in leather trousers would come on and juggle onions; the press loved it, it was a big hit everywhere’) the band imploded, personal and musical differences splitting the group at the height of their powers (not helped by the antics of the avant gardist Neil Ska moving on from playing ‘treated pianos’ to trying to play things like a treated tank full of penguins). So the story goes and so here we have it; a surf guitar version of that album. And it is as you would expect from such a concept; utter genius.

Opening with ‘European Son’, the Duane Eddy/ Dick Dale guitars pleasingly suit the material perfectly. Bursts of xylophone and mellotron complete the picture as Lou Reed’s paean to decadence takes a different path into a strident ‘hit the beach’ vibe. Likewise ‘The Black Angel’s Death Song’, transformed into a church organ and chattering modular synth epic, leads into a Del-Tones take on ‘I’ll Be Your Mirror’ – and it works like a dream. It is actually a tribute to Reed’s songwriting that his melodic sense is so easily transferable to another genre; it is also a testament to The Kettering Vampires who manged to stop squabbling long enough to record this opus. ‘There She Goes Again’, always a 60’s beat song at heart, is ably and beautifully transformed into a twangy, tremeloed wonder; you really have to hear this! A somewhat trickier proposition for the Vampires must have been ‘Heroin’, however they go at this doomed anthem with gusto, creating a fifteen minute epic of sustained glacial church organ, building and layering reverberated guitar and, curiously, a real sense of joy. ‘All Tomorrow’s Parties’ is Nico as performed by The Shadows; if you never thought you wanted to hear that it turns out you were wrong, this is an absolute gem. Casio Tone keyboard finishes the track in style before ‘Run, Run, Run’ becomes an epic, widescreen Sergio Leone tinged revelation.

Originally broadcast in 1986 in the UK, The South Bank Show’s Velvet Underground documentary . It contains interviews with Lou Reed, John Cale, Sterling Morrison, Moe Tucker, Nico, Andy Warhol and lots of early Velvet performance footage.

Andy Warhol took a break from painting, immersed himself in filmmaking and multimedia projects, then threw his influence behind the up-and-coming NYC band, The Velvet Underground. He became the band’s manager and “produced” their first album, which meant designing the album cover and giving the band members the freedom to make whatever album they pleased.

He also gave the band other kinds of multimedia support, like shooting the 1967 concert film above. The film, available on YouTube, comes with this supporting information: “This newly unearthed film, which Warhol shot during a concert at the Boston Tea Party, features a variety of filmmaking techniques. Sudden in-and-out zooms, sweeping panning shots, in-camera edits that create single frame images and bursts of light like paparazzi flash bulbs going off mirror the kinesthetic experience of the Exploding Plastic Inevitable, with its strobe lights, whip dancers, colorful slide shows, multi-screen projections, liberal use of amphetamines, and overpowering sound. It is a significant find indeed for fans of the Velvets, being one of only two known films with synchronous sound of the band performing live, and this the only one in color. It’s fitting that it was shot at the Boston Tea Party, as the Beantown club became one of the band’s favorite, most-played venues, and was where a 16-year-old Jonathan Richman faithfully attended every show and befriended the group. Richman, who would later have his debut recordings produced by John Cale, and later yet record a song about the group, is just possibly seen in the background of this film.”

Today marks One year since the incredible musician Lou Reed passed away, In tribute to the founding member of the Velvet Underground, John Cale has taken this song from 1982 and made a video as a fitting tribute, with thoughts to Andy, Nico and Sterling a fitting tribute from John Cale.

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this tour in 1976 was around the same time that the second album RADIO ETHIOPIA had been released and the follow-up to the critically acclaimed “HORSES” it features a small interview with Patti, and a near full set from the band in Sweden. One of the best document and records of the Patti Smith band there are two velvet underground covers.the Bands classic finale Van Morrison’s “Gloria” The band starts off with Were Gonna Have a Real Good Time Together, Redondo Beach, Free Money, the Velvets Pale Blue Eyes running into a version of Louie Louie, Ask The Angels, The Rolling Stones Time is On My Side, Ain’t It Strange, Patti then straps on guitar for Radio Ethiopia, Rock N’ Roll Nigger, Gloria, and Land. Radio Ethiopia had not been well received the Douglas production relying on a more heavier guitar sound smothering Smiths Vocals,influenced by the MC5 but many of the songs became regularly played in concert. Patti who was highly influential fusing rock and poetry. in January 1977 Smith accidentally danced and fell offstage into the concrete orchestra pit some 15 feet down breaking several vertebrae