Velvet jacket 24/2/11 16:07 Page 1

W

H

White Light/White Heat is the most comprehensive, immensely detailed work Richie Unterberger is the author of numerous rock IT about one of the most influential bands in the history of rock. history books. His first book, Unknown Legends Of E

The Velvet Underground are by turns fiercely confrontational, literate, primitive, and HT/LIG Rock’n’Roll, profiles underappreciated cult artists of

all styles and eras; the next, Urban Spacemen &

sweetly melodic. They are the ultimate cult band and the ultimate art-rock

experience, their music and style providing a blueprint for everyone from David Wayfaring Strangers: Overlooked Innovators & WH

Bowie to The Jesus And Mary Chain. Yet for all their Eccentric Visionaries Of ’60s Rock, features in-depth

enduring importance, the band were largely unsuccessful in their day. Their records surveys of 20 underrated greats of the era. His other IT

sold in tiny quantities, their monochrome look and photo-realist lyrics at odds with books include a two-part history of 60s folk-rock, E

the garish colors and peaceful spirit of the hippie era. It was only when David Bowie H Turn! Turn! Turn!: The ’60s Folk-Rock Revolution and championed the band in the early 70s – after they had E split up – that The Velvet Underground’s reputation A Eight Miles High: Folk-Rock’s Flight From Haight-

started to spread. Ashbury To Woodstock, and The Unreleased Beatles: T

Music And Film, which won a 2007 Association For In White Light/White Heat, noted rock writer and historian Richie Unterberger Recorded Sound Collections Award For Excellence THE

analyses the band’s career and influence in forensic detail, drawing on more than In Historical Recorded Sound Research. VEL 100 interviews with band-members and associates, countless previously VET

undiscovered archive sources, and a vast knowledge of the music of the times. He covers everything from Lou Reed’s first musical UNDERGROUND Unterberger is also the author of The Rough Guide

experiments, John Cale’s journeys into the mid-60s avant-garde, and Nico’s early To Music USA, which charts the evolution of regional

ALSO IN THIS SERIES: career as a model and actress, through to the recording of their landmark albums, popular-music styles throughout America in the 20th

STRANGE BREW their association with Andy Warhol, their legendary live shows and acrimonious century. He is a frequent contributor to the All Music ERIC CLAPTON & THE BRITISH

BLUES BOOM 1965–1970 split, and beyond. DA Guide and Mojo magazine, and has written hundreds by Christopher Hjort Y-BY of liner notes for CD reissues. He lives in San Praise for Richie Unterberger’s books: -DA Francisco.

Y

“Impeccably researched, full of revealing anecdotes and hidden treasures, and told in a commendably unfussy way, Turn! Turn! Turn! is a landmark in rock history.” RECORD COLLECTOR Richie More information about the author, his books, and

“Unterberger leaves no stone unturned.” MOJO ON EIGHT MILES HIGH Unterberger LIGHT/ WHITE HEAT WHITE the music he documents can be found on his

SO YOU WANT TO BE A website at richieunterberger.com.

ROCK’N’ROLL STAR “Thorough research yielding fascinating mini-biographies of hipster heroes.” THE VELVET UNDERGROUND DAY-BY-DAY THE BYRDS DAY-BY-DAY

1965–1973 LOS ANGELES NEW TIMES ON UNKNOWN LEGENDS OF ROCK’N’ROLL

by Christopher Hjort

www.jawbonepress.com Richie Unterberger A GENUINE JAWBONE BOOK

Velvet jacket 24/2/11 16:07 Page 1

W

H

White Light/White Heat is the most comprehensive, immensely detailed work Richie Unterberger is the author of numerous rock IT about one of the most influential bands in the history of rock. history books. His first book, Unknown Legends Of E

The Velvet Underground are by turns fiercely confrontational, literate, primitive, and HT/LIG Rock’n’Roll, profiles underappreciated cult artists of

all styles and eras; the next, Urban Spacemen &

sweetly melodic. They are the ultimate cult band and the ultimate art-rock

experience, their music and style providing a blueprint for everyone from David Wayfaring Strangers: Overlooked Innovators & WH

Bowie to The Jesus And Mary Chain. Yet for all their Eccentric Visionaries Of ’60s Rock, features in-depth

enduring importance, the band were largely unsuccessful in their day. Their records surveys of 20 underrated greats of the era. His other IT

sold in tiny quantities, their monochrome look and photo-realist lyrics at odds with books include a two-part history of 60s folk-rock, E

the garish colors and peaceful spirit of the hippie era. It was only when David Bowie H Turn! Turn! Turn!: The ’60s Folk-Rock Revolution and championed the band in the early 70s – after they had E split up – that The Velvet Underground’s reputation A Eight Miles High: Folk-Rock’s Flight From Haight-

started to spread. Ashbury To Woodstock, and The Unreleased Beatles: T

Music And Film, which won a 2007 Association For In White Light/White Heat, noted rock writer and historian Richie Unterberger Recorded Sound Collections Award For Excellence THE

analyses the band’s career and influence in forensic detail, drawing on more than In Historical Recorded Sound Research. VEL 100 interviews with band-members and associates, countless previously VET

undiscovered archive sources, and a vast knowledge of the music of the times. He covers everything from Lou Reed’s first musical UNDERGROUND Unterberger is also the author of The Rough Guide

experiments, John Cale’s journeys into the mid-60s avant-garde, and Nico’s early To Music USA, which charts the evolution of regional

ALSO IN THIS SERIES: career as a model and actress, through to the recording of their landmark albums, popular-music styles throughout America in the 20th

STRANGE BREW their association with Andy Warhol, their legendary live shows and acrimonious century. He is a frequent contributor to the All Music ERIC CLAPTON & THE BRITISH

BLUES BOOM 1965–1970 split, and beyond. DA Guide and Mojo magazine, and has written hundreds by Christopher Hjort Y-BY of liner notes for CD reissues. He lives in San Praise for Richie Unterberger’s books: -DA Francisco.

Y

“Impeccably researched, full of revealing anecdotes and hidden treasures, and told in a commendably unfussy way, Turn! Turn! Turn! is a landmark in rock history.” RECORD COLLECTOR Richie More information about the author, his books, and

“Unterberger leaves no stone unturned.” MOJO ON EIGHT MILES HIGH Unterberger LIGHT/ WHITE HEAT WHITE the music he documents can be found on his

SO YOU WANT TO BE A website at richieunterberger.com.

ROCK’N’ROLL STAR “Thorough research yielding fascinating mini-biographies of hipster heroes.” THE VELVET UNDERGROUND DAY-BY-DAY THE BYRDS DAY-BY-DAY

1965–1973 LOS ANGELES NEW TIMES ON UNKNOWN LEGENDS OF ROCK’N’ROLL

by Christopher Hjort

www.jawbonepress.com Richie Unterberger A GENUINE JAWBONE BOOK

WHITE LIGHT/WHITE HEAT

THE VELVET UNDERGROUND DAY-BY-DAY

Richie Unterberger

A Jawbone Book First Edition 2009

Published in the UK and the USA by Jawbone Press

2a Union Court,

20–22 Union Road, London SW4 6JP, England

www.jawbonepress.com

ISBN 978-1-906002-81-7

Volume copyright © 2009 Outline Press Ltd. Text copyright © Richie Unterberger. All rights reserved.

No part of this book covered by the copyrights hereon may be reproduced or copied in any manner whatsoever without written permission, except in the case of brief quotations embodied in articles or reviews where the source should be made clear. For more information contact the publishers.

DESIGN Christopher Hjort & Gøril Johnstad Hansen EDITOR Thomas Jerome Seabrook Printed by Colorprint Offset Ltd (Hong Kong) 1 2 3 4 5 13 12 11 10 09

WHITE LIGHT/WHITE HEAT

THE VELVET UNDERGROUND DAY-BY-DAY

Richie Unterberger

3

Contents Introduction 6 Maureen Tucker; waiting in the wings Background 8 are management duo Andy Warhol and

1958–64 Paul Morrissey, and vocalist Nico, who records her first solo single in London this year.

Page 38

1966

1967

The Velvet Underground & Nico is The pre-history of The Velvet Under- released in March, complete with a

ground: Lou Reed’s early rock’n’roll jacket designed by Andy Warhol. By

records, John Cale’s role in the New the middle of the year, the Velvets

York avant-garde scene of the mid 60s, are finally touring as a standalone

and Nico’s parallel career as an actress rock band, having lost Nico (who has

and model. Plus the origins of Reed already recorded her own Chelsea Girl) and Cale’s brief stint as The Primitives. and managers Andy Warhol and Paul

Page Morrissey (who are replaced by Steve 10

Sesnick). They stop playing in New York, but are starting to build a cult follow— Nico joins The Velvet Underground, ing elsewhere, and are soon working

1965 who have started touring as part of on a second album, the uncompromis-

Andy Warhol’s Exploding Plastic Inevi— ing White Light/White Heat.

Reed and Cale set about forming the film, projections, dance, and theater. table – a groundbreaking mix of music, core axis on which The Velvet Under- Page 128

to perform with La Monte Young and for MGM Records, but their momentum Reed carries on churning out cheapo is derailed by the muted response to rock’n’roll at Pickwick Records, but the 1968 their first Californian tour and by the ground’s sound is built. Cale continues national press coverage and recording By the spring the Velvets are attracting

new group gains momentum with the inexplicable delays to the release of White Light/White Heat is released in addition of guitarist Sterling Morrison their debut LP. January. Like its predecessor, it is not and drummer Angus MacLise. By the a commercial success, but the Velvets end of the year MacLise is replaced by Page 70 are continuing to develop as a live act as a band – and not just some weird 1971–73 manifestation of the sleazy New York

art scene – their relationship with The Velvet Underground continue to

MGM is beginning to deteriorate. At perform and record, but with Doug

least an album’s worth of material is Yule as the only constant member.

recorded for the label this year but not Sterling Morrison and Maureen Tucker

released. The Velvets continue to tour are still around for some of the time,

nationally, reaching their peak as a live but the band can’t hope to match their

and are building a strong grassroots band, as documented on 1969 Velvet former glories, and eventually peter out

following in cities such as Boston and Underground Live – which, in typically unnoticed in mid 1973. Lou Reed carries

Philadelphia. A major rift between the perverse fashion, won’t be released on the Velvets’ legacy by using leftovers

group’s co-founders culminates in the until some time after the band have from his time with the group on his first

sacking of John Cale in September. His split up. two solo albums, and reunites briefly but

replacement is the multi-instrumentalist memorably with John Cale and Nico for Page 220 a concert in Paris in January 1972. Doug Yule, who heads straight into the

sessions for the group’s eponymous Page 300

third album, which once again sounds 1970 very different to what came before it.

Page 176 1973–2007

Apart from a one-off performance in

1969 1990 and a brief reunion tour of Europe

in 1993, The Velvet Underground don’t play or record together again after 1973,

yet they seem to receive more attention than ever with each passing decade.

The Velvets leave MGM and record After years of neglect, the Velvets’

their fourth album, Loaded, for Atlantic core catalog is made available again,

Records. They also finally return to bolstered by numerous releases from

playing in New York City with a two- the archives. Critics belatedly recognize

month residency at Max’s Kansas City. the Velvets as one of the best and most

Maureen Tucker’s pregnancy forces her important bands of all time, culminating

to take a leave of absence from both in the group’s induction into the Rock

the album sessions and the Max’s And Roll Hall Of Fame in 1996. engagement, however, and by the time Loaded is released, Lou Reed has quit Page 322 the band. His last night with the Velvets is recorded, and will subsequently be issued as Live At Max’s Kansas City. Selected discography 359 The remaining band-members carry on VU concerts by location 360

The Velvet Underground without him, but are really The Velvet is well received Bibliography 361 by the critics, but fails to chart. While Underground in name only. Index 362

the Velvets are finally gaining respect Page 266 Acknowledgments 367

INTRODUCTION n WHITE LIGHT/WHITE HEAT

Introduction

“If this is what America’s waiting for, we are Coop for $1.99.” – The Tech, the student a conductor on the mass-transit BART trains in going to die of boredom because this is a newspaper of MIT, October 17 1972 the San Francisco Bay Area even announcing to celebration of the silliness of café society, his passengers ahead of a tunnel, “We’re now way out in left field instead of far out, and “For decades this album has cast a huge entering The Velvet Underground.” joyless.” – Ralph Gleason, reviewing a Velvet shadow over nearly every sub-variety of Underground show in the San Francisco avant-garde rock, from 70s art-rock to no The disparity between the failure of the band Chronicle, May 1966. wave, new wave, and punk.” – The website to achieve anything near the success and rec— of the National Recording Preservation Board ognition they deserved in their lifetime and

“Sales are not the be all and end all of of the Library Of Congress, upon the addition the stratospheric status they now enjoy sup-rock’n’roll … Inspiration and artistic freedom on March 6 2007 of The Velvet Underground plies the hook to most histories of The Velvet is the cornerstone of rock’n’roll.” – John Cale, & Nico to the National Recording Registry, Underground. So too does the aura of their from his acceptance speech at The Velvet established in 2000 “to maintain and preserve dark and mysterious image, their faces often Underground’s induction into the Rock And sound recordings and collections of sound hidden behind dark sunglasses; the individual Roll Hall Of Fame, January 17 1996. recordings that are culturally, historically, or members so contrasting and striking, both visu— aesthetically significant.” ally and personally; their music so enigmatically

“A tasteless, vulgar review that should never packaged. On top of that, there is the group’s have opened.” – Hitline, reviewing a Velvet • renowned – if rather brief – association with Underground show in Los Angeles, May 1966. one of the most famous visual artists of the Perhaps no other musicians of the 20th century 20th century, Andy Warhol, and the legendary

“These are your lyrics, hand-printed and were as roundly criticized and undervalued at multimedia shows they pioneered as part of the translated into Czechoslovakian. There were their outset as were The Velvet Underground. Exploding Plastic Inevitable when Warhol was only 200 of them. They were very dangerous When the most famous line-up began per-involved in the band’s management from early to have. People went to jail.” – Vaclav Havel, forming and recording in 1966, more listeners 1966 to mid 1967. explaining to Lou Reed the importance of The than not reacted with disgust or bewilderment. Velvet Underground’s music in the dissident The group failed to land anything close to a For years it was hard to actually find out much movement that overthrew communism in the hit record by the time Lou Reed left in 1970, about the group, how they had formed, and Czech Republic, April 17 1990. and had yet to gain a sizable national following how they’d recorded their brilliant music. Even despite increasingly ecstatic acclaim from rock finding The Velvet Underground’s records was,

“The first Velvet Underground album, the one critics and a growing, fervent cult audience. for a long time after their demise, something with Andy Warhol’s banana on the cover, has of an adventure, assuming you were even lucky recently been cut out and can now be bought Today The Velvet Underground are not so much enough to hear about the band in the first place. at unbelievably low prices, like at the Harvard reviled as revered. Their status as one of the very Despite Lou Reed’s subsequent solo stardom and greatest rock bands of the 60s – indeed, one of John Cale and Nico’s status as cult icons, the

the very greatest of all time – is uncontested. Velvets’ music was rarely played on the radio.

GUIDE TO SYMBOLS Their albums have become catalog perennials Even basic information about the group was , An arrow denotes an estimated or and continue to sell to new generations of fans hard to acquire, beyond occasional passing raves probable date not yet born when the group were active. They by critics in the rock press. If you were a teen-M Studio recording or mixing session have been cited as a major influence by count-ager in the late 70s, buying the VU’s first album B Live recording for the purpose of less rockers, from David Bowie and Patti Smith unheard, based on its reputation alone – after making an official recording to Brian Eno. And their music – considered by scouring for it in a seemingly disused section of N Guest session appearance on a so many to be shocking and inaccessible at a record shop, as I did as a 17-year-old in 1979 – studio recording the time it was produced – is now recognized was not just an unavoidable inconvenience, but I An appearance for the purpose as having pioneered many innovations now a solitary rite of passage. Not one person I knew of a television broadcast, either regarded as standard in rock music, from the had even heard anything of consequence about live or recorded for subsequent incorporation of avant-garde composition and the band, let alone actually heard them. transmission electronics to lyrics dealing with drugs, sex, and O An appearance for the purpose street-level reality. The group have become chic Some fans and critics would like that mystique of a radio broadcast, either live enough in some respects to have infiltrated the surrounding the group to remain, and for col-or recorded for subsequent mainstream, with a Velvet Underground cloth-lecting and listening to the Velvets to continue to transmission ing shop operating in Santa Cruz, California; be a somewhat private, elitist pleasure unshared C Film or video recording a top London record store, Sister Ray, named by the huddled masses. Some would also like to after one of their most notorious songs; and emphasize, above all, the group’s songs about

6 xxxx

WHITE LIGHT/WHITE HEAT n INTRODUCTION

drugs, sex, sadomasochism, and rock’n’roll – as which the band’s legacy was both influential of drugs, sex, and depravity in songs such as well as some of the members’ semi-legendary and expanded upon after 1970, not only via ‘Heroin,’ ‘Venus In Furs,’ and ‘Sister Ray,’ there pursuits along those same lines in their private numerous volumes of unreleased Velvets mate-is also a lot of beautiful, compassionate, and lives – as the alpha and omega of what the VU rial, but also through the way the stature of highly melodic romanticism in tunes such as have come to mean to popular culture. That’s their achievements has grown and grown with ‘I’ll Be Your Mirror’ and ‘Candy Says,’ as well admittedly a big part of the story, but hardly a wealth of posthumous honors and tributes. as flat-out, joyous rock’n’roll in classics such the whole story. Getting as close as possible to (The work of the group between late August as ‘What Goes On,’ ‘Sweet Jane,’ and ‘Rock the whole story about this fascinating group is 1970 and their dissolution in mid-1973 is cov- & Roll’ itself. what White Light/White Heat: The Velvet Under- ered relatively lightly in comparison, as is their ground Day-By-Day is all about. brief 1993 reunion tour and numerous post-As Lou Reed admitted in so many words in ‘Rock

1970 solo projects. It’s really the years prior to & Roll,’ his life was saved by the music. The Vel-

Certainly this book has a wealth of informa-1971 that count most when you’re surveying vet Underground’s music in turn has done much, tion about the concerts they played, the music The Velvet Underground’s achievements.) if not quite to save our lives, then to enlighten they recorded, and the events that sparked their and enrich us beyond Lou Reed and John Cale’s

numerous and sometimes fractious changes of Although this book is the product of a couple wildest expectations when they joined forces to personnel and management. My main reason years of intensive research – involving care-co-found the band in early 1965. No rock group for writing it was not, however, simply to ascer-ful sleuthing through mounds of printed and becomes as great as The Velvet Underground tain as accurately as possible what happened recorded material as well as about 100 first-without addressing themselves to all dimen-when, although I did learn a lot of fascinating hand interviews – it should be acknowledged sions of human existence. And no rock group and sometimes previously unearthed informa-that some incidents might still have escaped dis-has done so with such unflinching honesty and tion along those lines as well. What fascinates covery by myself or other Velvet Underground power. me more is how all of these stories add up to fans. It’s entirely possible, particularly as the more than a mere document of the group’s group weren’t granted heavy media coverage often confusing, misreported history. Far more while they were active, that some concert dates important, I think, is the insight it affords us have escaped detection, or that other events Richie Unterberger into the creation of their music – the aspect of took place at different times than those sug- San Francisco The Velvet Underground’s legacy that is, after gested in this book. With all rock artists, not just September 29 2008 all, the most enduring. the Velvets, some concert dates are changed or

canceled after being advertised; some reviews,

It’s partly for that reason, then, that this book even in major daily papers, contain inaccuracies; includes not only basic nuts-and-bolts facts, and some performances have yet even to be but also numerous behind-the-scenes stories reported. Corrections, clarifications, memories, as to how the group’s songs were written and and eyewitness accounts from interested readers recorded; how their strikingly original stage will be welcomed at my email address, richie@ shows were devised; how they were perceived richieunterberger.com. by reviewers at the time of their 1965–70 heyday (not just in retrospect); and how the group What I most hope this book reveals to the many as a whole underwent a most improbable, inces-fans of The Velvet Underground around the santly unpredictable evolution from the most world is a true appreciation of just how multi-avant-garde of bohemian origins into a highly faceted their music is, and just how many myths accessible yet still boldly creative rock band by surrounding their career have turned out to be the time Reed left the group. more complex than they first seemed. While

it’s often claimed that the group were wildly

To draw the whole picture, I felt it was not unpopular in the 60s, for instance, they did in only necessary to fully document those years fact receive quite a few critical raves as the dec-in which Reed was in the group, but also the ade progressed, and sold more records, while individual members’ surprisingly extensive (if gathering more committed fans, than is usually mightily obscure) pre-1965 activities; the solo documented. The Velvets are often perceived as or extracurricular projects in which they were operating in opposition to or in isolation from involved during 1965–70, which were numerous the rock trends of the day, when in fact they and often quite intimately related to what the did interact with and even influence quite a group themselves were doing; and the ways in few of the era’s greats. And while there is a lot

7

BACKGROUND n WHITE LIGHT/WHITE HEAT

Background vet Underground would record a classic song when her son left home and approached about a five-year-old girl named Jenny whose adulthood, she would, Cale says in his auto-life was saved by rock’n’roll (on a New York biography, “usually get her voice back after

The history of The Velvet Underground is radio station, no less). It’s likely however that I’d been home for a week.” unlike that of almost any other important rock the protagonist of ‘Rock & Roll,’ a highlight In several other respects Cale’s childhood band. Right from the start, long before the of the group’s 1970 album Loaded, was at least was not only unusual but rough. According musicians had even met each other. There may in part an autobiographical standin for the to his autobiography, he suffered “asthmatic be no other major group whose three most real-life teenage Lou Reed, his life saved by or bronchial attacks which I was hazily given famous members – the only three who would the fine, fine sounds he found by twiddling to understand were psychologically induced” establish long-running, widely acclaimed solo the dial at home in Freeport. around the age of seven, and was prescribed careers after the group’s heyday – came from “‘Rock & Roll’ is about me,” he admits in a hallucination-generating cough syrup laced such disparate social and geographic back-David Fricke’s liner notes to the 1995 Velvet with opium. When he was 12, he was sexually grounds. That their paths crossed in the first Underground boxed set, Peel Slowly And See. “If molested by the male organist at the local place is in itself astonishing. That they would I hadn’t heard rock’n’roll on the radio, I would church. A year later his mother was diagnosed meld, if only briefly, their incongruous sen-have had no idea there was life on this planet. with breast cancer, underwent a mastectomy, sibilities into the foundation of one of the You know what I’m saying? Which would have and was so weakened by the illness that her greatest and most influential bands of all time been devastating – to think that everything activities were drastically curtailed upon her is nothing less than miraculous. everywhere was like it was where I came from. return to the Cale household after an absence

Lou Reed – the group’s principal songwriter That would have been profoundly discourag-of about five weeks. At 16 John had what he and singer, and ultimately the most important ing. Movies didn’t do it for me. TV didn’t do it remembers as a nervous breakdown. It was visionary of The Velvet Underground – was for me. It was the radio that did it.” thought to be meningitis at the time, and led born Lewis Alan Reed on March 2 1942, in Most of the early rock’n’rollers were to him staying in a hospital isolation ward for Brooklyn, New York. He was the oldest child African-American, and from modest-to-poor several weeks. of accountant Sidney Reed and his wife, Toby urban neighborhoods, or white Southerners of Despite all of this Cale displayed promise (a sister, Elizabeth, followed five years later), rural origins who weren’t economically much as both a student and a musician from a very and moved with his family to a house in the better off. Yet such was rock’n’roll’s wildfire young age. He began classical piano lessons New York suburb of Freeport, Long Island, spread that it wasn’t long before even middle-when he was seven. His status as a child prod-in 1953. Although his neighborhood, like class suburban Jewish high school kids were igy might be exaggerated by Sterling Morri-many in the New York area, was predomi-getting involved as both songwriters and per-son in Diana Clapton’s Lou Reed & The Velvet nantly Jewish, Reed had in many respects a formers – as Paul Simon from nearby Queens Underground, in which Morrison claimed, “He typical middle-class American upbringing. He did when he formed a duo with his friend Art was incredible – started piano at three, viola dated girls, played basketball, and was on the Garfunkel and recorded a minor 1957 hit, at five, then gave his first BBC performance Freeport High track team. ‘Hey Schoolgirl,’ as half of Tom & Jerry. As a when he was eight.” But Cale did start com—

Reaching adolescence in the conform-child Reed had studied classical piano for a posing while still in grammar school, and was ist milieu of mid-50s suburban American few years, but by high school, rock’n’roll, the recorded doing one of his own pieces, the affluence could be deadly dull, however, guitar, and songwriting had become his main two-and-a-half minute ‘Toccata in the style particularly for a teenager with creative and musical interests. He was starting to play in of Khachaturian,’ by BBC Wales in the mid rebellious inclinations. In high school, Reed groups like The Shades, who took the stage 50s. If it had somehow survived, a tape of the began filling notebooks with poems and short in sunglasses and sequins. And if Freeport was performance would almost certainly be the stories, and displaying tendencies toward entire cultural worlds away from Manhattan, it earliest musical recording of note by a mem-unconventional behavior that his parents was just a short train ride away from the city’s ber of The Velvet Underground. found worrisome. recording studios. Reed would enter one of At 13, Cale became a violist in the Welsh

“I came from this small town out on Long them to cut a single with The Shades even Youth Orchestra, touring with them through-Island,” Reed is later quoted as saying in Trans- before he’d graduated from high school. out Wales and even making a trip to the Neth-former: The Lou Reed Story by Victor Bockris. Across the Atlantic Ocean, John Cale was erlands. He was also beginning to cultivate the “Nowhere. I mean nowhere. The most boring born in the small rural mining village of wide-ranging musical and intellectual curiosity place on earth. The only good thing about it was Garnant, South Wales, on March 9 1942, just that would become one of his trademarks. He you knew you were going to get out of there.” one week after Reed. (“I always knew he had developed serious interests in history and phi—

In the mid 50s, however, the explosion of an edge on me!” he exclaims at the start of losophy, as well as contemporary composers rock’n’roll extended a lifeline to an entirely his autobiography, What’s Welsh For Zen.) His such as John Cage who went well beyond the different world. The New York area was a great mother was a school teacher; his father, a bounds of the classical music usually taught place to be if you were just entering your teens coal miner, was from the area of Wales near in school. He played Dixieland jazz on piano and fascinated by the new sounds of rocka-the English border. John’s father understood in a band led by classmate Denzil Jones at a billy, doo-wop, and rhythm & blues that were some of the Welsh language but spoke no school dance in 1959. turning pop music upside down – a revolution Welsh at home. John would not begin to learn For all their different backgrounds, musi-beamed into suburban homes such as Reed’s English until he was seven. cal and otherwise, there was one key similarity by radio DJs such as Alan Freed and Murray While a later remark by fellow VU member between the teenage John Cale and Lou Reed. The K. Although Freeport was only a half-hour Nico has given some fans the impression that Cale too was extended a lifeline into a distant from Manhattan, the authentic earthiness of John grew up with a mute mother and deaf world by the sound of rock’n’roll on the radio, the rock’n’roll records these DJs span sounded father, this was not in fact the case. His father listening – like so many teenagers in the UK like it came from another galaxy. had a hearing problem, but was not deaf, and in the late 50s – to the likes of Elvis Presley

About a decade and a half later, The Vel-although his mother lost her voice at times and Bill Haley (as well as the skiffle of Lonnie

8

WHITE LIGHT/WHITE HEAT n BACKGROUND

Donegan and the jazz of John Coltrane) on ing the Nazi period. Christa briefly took ballet Nico’s musical horizons broadened in Radio Luxembourg and Voice Of America as lessons, but her artistic aspirations centered Paris when she saw jazz giants such as Dizzy he shivered in bed under the covers. on the world of fashion. She did share at least Gillespie and Bud Powell perform and was

While Lou Reed and John Cale rode bump-one crucial characteristic with the young Lou exposed to the music of popular vocalists such ily through adolescence, their future collabo-Reed and John Cale, however: a burning desire as Jacques Brel, Georges Brassens, and Juliette rator Nico had already been through much to escape her drab surroundings for a more Greco. Although she had yet to start singing lower lows and higher highs. Always evasive exciting, stimulating world. It was fashion, not herself, her artistic aspirations broadened as – and sometimes contradictory – about her music, that got her out of a war-scarred Berlin her assignments took her to Ibiza – where she personal history in interviews, she is variously and into the international jet set, long before rented a house for her mother – and Rome. reported to have been born in Poland in 1938, Reed and Cale had even left home. While staying with Italian actress Silvana Köln in 1942, Berlin in 1943, and Budapest Christa left school at around the age of Mangano in Rome in the summer of 1958, in 1944, while also at various points claiming 14 and, after a shortlived stint in a clothing she met Mangano’s husband, the Italian film German, Russian, Turkish, and Polish ances-shop, took to hanging around the chic Ber-producer Dino De Laurentiis, which would try. She was in fact born Christa Päffgen in lin department store KaDeWe in the hope of lead in turn to her first major step toward Köln, Germany on October 16 1938, one year being discovered by fashion designers and developing a career outside modeling. before the outbreak of World War II. Even photographers. In 1953, the beautiful blonde The upbringings of the other two members before her birth, however, her parents’ mar-teenager was indeed invited to model for the of the most famous line-up of The Velvet Under-riage had been annulled, leaving her mother, leading German fashion designer, Heinz ground were, relatively speaking, fairly ordinary, Grete, to bring Christa up on her own as an Oestergaard. She soon began to pose for and much closer to Lou Reed’s than to Nico’s only child. Christa’s father, Wilhelm, died in fashion spreads in newspapers and magazines or John Cale’s. Sterling Morrison was born Hol-combat in 1942; it has been speculated that he as well, many of them photographed by Her-mes Sterling Morrison Jr on August 29 1942 in was shot to death by his commanding officer bert Tobias. It’s not known when the first such East Meadow, Long Island, just seven miles from after a bullet from the gun of a French sniper photograph was published, but her first full-where the Reed family would settle in Freeport. entered his brain. Christa attempted to visit color portrait (taken by Tobias) appeared in Like Reed, Morrison had music lessons before and speak with her father’s sister in Köln as Bunte magazine in January 1955, when Christa the dawn of rock’n’roll, studying trumpet from a teenager in the mid 50s but, according to was still 16. With a scout for Elle magazine, the ages of seven through 12. (In a conversation the adult Nico’s recollection years later, the Tobias also arranged for Christa to get regu-with Nat Finkelstein taped in the fall of 1966, woman slammed the door in her face. lar assignments with the Paris-based German Reed said that The Velvet Underground had

Shortly after her father’s death, Christa and fashion photographer Willy Maywald, which been trying to get Morrison to take up the trum-her mother left Köln for a brief stay with Grete’s led to her moving to Paris a year later. pet again, but that Sterling had refused.) When sister Helma in Berlin before they moved on to It was shortly after moving to Paris that Christa his teacher was drafted, however, Morrison the relative safety of Lübbenau, a small town Päffgen became Nico, the name – suggested by changed to guitar, inspired – like Reed – by the about 60 miles away. Grete’s father worked Tobias in honor of his friend, the Greek night-rock’n’roll he heard on the New York radio sta-in Lübbenau as a signalman, and the family club owner Nico Papatakis – by which she would tions. Doo-wop groups, pioneering rock’n’roll was able to live out most of the war there away be known for the rest of her life. “In front of guitarists Bo Diddley and Chuck Berry, and from the path of the Allies’ bombing. After me stood a most beautiful girl with bright eyes,” bluesmen T-Bone Walker, Jimmy Reed, and Germany surrendered in May 1945, Lübbenau Maywald recalled of his first meeting with Nico Lightnin’ Hopkins were all later cited by Mor-fell under Soviet control, so Grete and Helma in his autobiography, Die Splitter Des Spiegels. rison as key inspirations, but he wouldn’t meet moved back to Berlin, where more work was “She was tall and well-proportioned, and her Reed until he visited Syracuse University in the available. Christa and her mother eventually hair was cut short … I had just had the assign-early 60s. There he stayed with his friend Jim found lodgings in Berlin’s Schöneberg dis-ment to shoot some ready-made clothes at the Tucker – the older brother of fellow rock’n’roll trict, in the American-controlled sector of the Côte d’Azur. And because Nico was exactly the fan and future drummer Maureen Tucker, who former German capital. Working as a seam-right look for that I hired her at once.” grew up in Levittown, a Long Island town just stress, Grete was able to support her daughter It will probably never be known how many three miles or so from East Meadow, and a little in a city in which many neighborhoods had photos of Nico were published during her less than ten miles from Freeport (birthdates been reduced to rubble, suffering with fellow time as a model from the mid 50s through of both 1945 and August 26 1944 in New Jersey Berliners through a Soviet blockade in 1948–49 the mid 60s, but she is likely to have appeared or Levittown, New York have been reported). that would have brought the city to its knees in many magazines during these years. (At the Tucker and Morrison, who’d known each other without the supplies flown in by the Western time of writing, a selection of about 30 pho-since the late 50s, would become vital cogs in Allies during the Berlin Airlift. tos of Nico from her modeling days – most of grounding the avant-garde sensibilities of The

There was no rock’n’roll in Christa’s teenage them rarely seen since their initial publication, Velvet Underground in the earthiest elements years, and apparently no musical ambition, but and dating as far back as the mid-’50s – can be of rock’n’roll. she did once claim (in the notes for a planned viewed at smironne.free.fr/NICO/mode.html; Three different nationalities, two different autobiography) that the damp apartment in a few others can also be seen in Susanne Ofter-genders, and musical backgrounds that var-which she lived as a child in Berlin “gave me inger’s excellent 1995 documentary Nico/Icon.) ied from rhythm & blues to classical to virtu-a bad chest … and the power to overcome Although she would be known simply as Nico ally none hardly sounds like a recipe for a this weakness by wanting to be a big singer.” for most of the rest of her life, she was appar-mid-60s rock group. Yet this was the quintet The records to which she was most regularly ently also known for a time – for reasons now that formed the most renowned of the vari-exposed at home were not rock’n’roll but forgotten – as Nico Otzak (sometimes spelled ous Velvet Underground line-ups, and who those by her mother’s favorite vocalist, Zarah Otzaak or Otzack). The cover of a 1958 issue in 1966 would record a debut LP that is now Leander, a Swedish balladeer who became the of the Italian magazine Tempo credits her that acknowledged as one of the greatest and most most popular singing film-star in Germany dur-way, as does the 1960 film La Dolce Vita. seminal albums in rock history.

9

When The Velvet Underground & Nico is released in March

1967, it will sound so unlike any previous rock album that it

might seem that the quintet have alighted from another planet,

or that they are characters from an Andy Warhol film magically

brought to life. In fact, by then they will have been active and

working hard to devise their strikingly original sound for about

1958-64 two years. Even before 1965, Lou Reed plays on a number of

rock’n’roll records; John Cale establishes himself as an important

part of the New York avant-garde scene; and Nico appears as an

actress in a major motion picture, while also gracing numerous

fashion magazines as a model. In their recordings from 1958–64,

you can already hear Reed’s diffident vocal style and irreverent

rock riffs; Cale’s ambient drone, on viola and other instruments;

original drummer Angus MacLise’s unconventional, frantic

percussion; and Nico’s regal, glacial demeanor.

1958-64 n WHITE LIGHT/WHITE HEAT

1958

, June

C FILMING La Tempesta

It’s probably this summer that Nico makes

her big-screen debut with a minuscule,

uncredited part as a blonde girl at a festival

in La Tempesta, better known as The Tempest

in Britain and America. She will later explain,

in Jim Condon’s filmography for What Goes

On, that she played “a Russian princess – but,

you know, rococo-style, with these funny white

wigs and these funny dresses.” She was probably offered the role while staying in Rome

with Silvana Mangano, the star of La Tempesta,

and Mangano’s producer husband, Dino De

Laurentiis – a connection that will land Nico

a bigger role in a far more famous film the

following year.

Around the same time Nico appears in

Mario Lanza’s final film, For The First Time,

which is shot in various European locations

between June and November 1958. Her role

is once again tiny, but she does at least get

a couple of lines this time as the leader of a

group of fans who ask Lanza for a song in a

Capri village square.

Later in 1958, Nico has a non-speaking role

as a Swedish art student in the ten-minute

German film Montparnasse, a documentary

about the Parisian district of the same name

directed by her friend, the fashion photographer Willy Maywald. A short-haired Nico is

seen on screen for about a minute, first sip-Europe more than once, attending the Dol-part of the Exploding Plastic Inevitable. As ping coffee in a café and then going to a draw-metsch School in Haslemere, Surrey (around Sterling Morrison will later write in the liter-ing workshop. (Although rarely shown since 45 miles from London), from 1945–51. He ary magazine Little Caesar in 1979, “Angus was the 50s, Montparnasse will later be included in also did a short stint in the army and studied the most rabidly artistic of us all, with inter-a Maywald exhibit at the Musée Carnavalet in geology at New York University before com-ests in literature, dance, music, film, lights, Paris from April 25 to September 30 2007.) ing to Paris. Never one to compromise his slides, incense, diaphanes, and religion – all

art or lifestyle for commercial reasons, he will at once. He mused day and night on a stage

July continue to travel widely and unpredictably spectacle that might combine them all, and

The poet and filmmaker Piero Heliczer – throughout the 41 years of his life, giving on what the dizzying effects of such a cata-who will later play a key role in The Velvet equal weight to a range of artistic pursuits that clysm might be.” Underground’s evolution – moves to Paris, includes music, film, acting, poetry, teaching, where he co-founds the Dead Language Press editing, publishing, and calligraphy. September with Angus MacLise. The two men have been MacLise’s important contributions to The M RECORDING The ShadeS exact loca-friends since they attended Forest Hills High Velvet Underground during his short stint as tion unknown, New York, NY. Producer Bob School together in Queens during the mid the group’s original drummer in 1965 remain Shad. 50s. It is probably during the second half of obscure and underappreciated. He quits the Some time this month, Lou Reed enters 1958 that the Dead Language Press publishes group shortly before Andy Warhol becomes a New York recording studio to cut his first a volume of MacLise’s poetry, Imprimatur 1281, their manager and never appears on any of single with The Shades – a trio comprising a short-run rarity that will eventually become their studio releases. But he does leave a defi-guitarist/singer Reed and Freeport High almost impossible to find. nite imprint in terms of his unconventional School classmates Phil Harris on lead vocals

The entry of MacLise (born Bridgeport, approach to rhythm and percussion, some-and Al Walters on background vocals. (Har-Connecticut, on March 14 1938) into the times said to have been intended to emulate ris also plays guitar on stage but later admits Velvet Underground story adds an interesting the sound of falling rain; the other avant-in an interview with Olivier Landemaine for and colorful character to the unfolding saga. garde figures he helps bring into the band’s The Velvet Underground Web Page that the By the end of his teenage years MacLise had orbit; and his thirst for combining music with instrument was “mostly for looks.”) already studied jazz drumming and various other media, echoed heavily in The Velvet The single is produced by Bob Shad, a forms of ethnic percussion and traveled to Underground’s celebrated performances as music industry veteran who has been mak-

12 , An arrow denotes an estimated date.

WHITE LIGHT/WHITE HEAT n 1958-64

ing jazz, blues, and rhythm & blues records platform that I had to stand on in order to get Shuman, who will soon write numerous Brill since the late 40s. He worked first for small close enough to the microphone,” Harris tells Building hits for the likes of The Drifters, labels such as Manor, Black & White, Conti-Finnis. “I was in another part of the studio in Dion, and Elvis Presley. (Shuman’s Shades nental, National, and his own Sittin’ In With a sound enclosure and Lou and Al and this released ‘Sun Glasses’ on the Big Top label imprint, recording bluesmen such as Light-fellow were in another small room doing their earlier in 1958.) nin’ Hopkins, Big Bill Broonzy, and Memphis thing. I think Shad or the arranger, Leroy Like so many other 45s by young doo-wop Slim. In the early 50s he was named director Kirkland, felt we didn’t have enough depth groups – and indeed like most of the acts on of blues and jazz at Mercury Records, one of with just the two guys and added Mr Snot.” Bob Shad’s Time imprint – The Jades’ only the most powerful labels of the post-war era. ‘So Blue’ is clearly the better of the two single sinks without a trace. As Reed tells A brief stint at Decca in 1954 aside, he has tracks recorded, and is chosen as the single Sounds in 1977, “Our big moment came when remained with Mercury ever since – working A-side. It’s a somewhat routine blend of 50s Murray The K played it, but he was sick and on sessions by Dinah Washington, Illinois Jac-rock’n’roll and doo-wop, but has a catchy tune someone else stood in. Played it once. I got quet, and Junior Wells, and then, following (which vaguely resembles The Rays’ 1957 hit royalties of 78 cents. We were still in school. the rock’n’roll explosion of the mid 50s, stars ‘Silhouettes’) and fine backing harmonies. We’d open supermarkets, shopping centers, such as Screamin’ Jay Hawkins and Conway The lyrics however are typically sorrowful things like that. We had glitter jackets. It was Twitty as well as doo-wop acts The Platters, teen-romantic piffle. Lou Reed can presum-what we called style – later on people would The Diamonds, and The Penguins – but is ably be heard contributing some commend-call it punk but at the time what we meant preparing to leave later this year to launch ably fluent rhythm-guitar and backing vocals, by punk was a pusher, y’know: ‘He’s just a two new labels, Time and Junior. but there’s little if anything that anticipates fucking punk!’”

The Shades met Shad through Elliot his work with The Velvet Underground. In his interview with Olivier Landemaine, Gottfried, a neighbor of Harris’s girlfriend, ‘Leave Her For Me’ is a far more trivial doo-Harris recalls “seeing the song in some din-Karen. After hearing the trio perform a Little wop ballad, complete with dramatic spoken ers on the selection gadget that plays records Richard-style act at a high school variety show, interlude. There’s little to distinguish it from at the table while you were eating,” but not Gottfried invited The Shades to his house to the countless other doo-wop flops of the late “getting any money for those songs. We were sing some tunes. “After that, the three of us 50s. “I was just copying what I heard on the told that the group singing doesn’t get the decided to get together and try to come up radio,” Reed explains 40 years later in Lou big bucks, it was the writers that got that … I with some songs that we could all participate Reed: Rock And Roll Heart. “I didn’t really sing. used to ask Bob Shad how we were going to in,” Harris tells Rob Finnis in the liner notes I was just in the back going ‘ooh.’ I put myself get paid from record sales and what I got for to Rockin’ On Broadway: The Time Brent Shad there, ’cause I didn’t think I could sing. There an answer was not to worry about the business Story. “One evening both ‘So Blue’ and ‘Leave are people who still will go along with that!” end of the deal.” Her For Me’ were written. You just thought of The eventual 45 release lists Lewis Reed Despite the failure of ‘So Blue’/‘Leave Her an experience you might have gone through and Phil Harris as co-composers of ‘So Blue’ For Me,’ both Reed and Harris end up record-and wrote it down.” Gottfried recommended and Lewis Reed as sole composer of ‘Leave ing with Shad again. In 1959 Harris cuts a The Shades to Shad, who is impressed enough Her For Me,’ but Harris later claims in an solo single for the Shad label as Bobby Ran-to tell the group about his plans to start the interview with Olivier Landemaine that “I dle, ‘Karen’/‘Walking In Shadows,’ with the Time label and sign them on the spot. The wrote all of ‘So Blue’ and helped Lou out A-side presumably inspired by the girlfriend three high school students inked the deal with ‘Leave Her For Me.’” Almost a decade who indirectly led The Shades/Jades to Shad without hesitation. after the single’s release, Reed will recite in the first place. Although Harris will later

The arranger at the Shades session is Leroy a long list of influences on a tape made at claim that the record did well in Atlanta, it Kirkland, a regular collaborator of Shad’s Andy Warhol’s Factory by Nat Finkelstein, fails to make the national charts; Harris will who has worked with early rock’n’roll stars among them The El Dorados, The Elchords, abandon his musical career in 1960 and join Screamin’ Jay Hawkins and Chuck Willis. Har-Alicia & The Rockaways, The Spaniels, The the Navy. Reed meanwhile will record some ris will later recall that the backing musicians Mellows, and The Solitaires. His affection unissued material with Shad in 1962. include the great rhythm & blues saxophonist for these obscure, prehistoric sounds might As the years pass, ‘So Blue’/‘Leave Her King Curtis and a band of session men includ-sound downright preposterous in 1966, but it For Me’ becomes almost impossible to find, ing a pianist and a drummer. In a November is genuine, and can be seen here long before except on bootlegs such as the 1982 boxed 1968 interview with the Georgia Straight, Reed becoming apparent in the background har-set Everything You’ve Ever Heard About … The lists guitarist Mickey Baker (half of Mickey monies of ‘Femme Fatale,’ ‘There She Goes Velvet Underground. The two songs will finally & Sylvia, famous for the 1957 classic ‘Love Is Again,’ and ‘I’ll Be Your Mirror.’ The Shades be given a legitimate release on the 2000 Ace Strange’) among the players, and notes that debut 45 sells so poorly, meanwhile, that it Records compilation Rockin’ On Broadway: King Curtis “wouldn’t talk to anybody; big makes the obscure songs Reed later cites The Time Brent Shad Story, and on a four-song spade, five-foot high pompadour, stood in sound like smash hits by comparison. the corner playing saxophone.” Many years

later, Reed adds, in an interview with Peter November THE JADES

he could reach the microphone, ’cause they – piece of national press when Cashbox men- ‘So Blue’ Doggett, that Harris “had to stand on a box so Lou Reed gets his very first – if rather oblique had a very big black guy singing the harmony tions a forthcoming release by The Jades in a A ‘So Blue’ (PHIL HARRIS/LEWIS REED) parts with the rest of us. I’ll always remember report on the formation of Bob Shad’s Time B ‘Leave Her for Me’ (LEWIS REED) he was huge, and he had a giant mound of and Junior labels. Even before the release snot hanging out of his nose and we were too of their debut single, The Shades have had US RELEASE: November 1958 (Time afraid to tell him.” to change their name because of the exist-1002)

“There was some sort of sound deadening ence of a studio-only group fronted by Mort

13

1958-64 n WHITE LIGHT/WHITE HEAT

seven-inch EP released on the Norton label trip with none of the benefits.” Reed’s bitter-century castle in Bassano di Sutri, a half hour later the same year entitled All Tomorrow’s ness at being sent for electroshock treatment from Rome. Her goofy, fun-loving manner is Dance Parties. (The other two songs are a pair will inform some of his later songs, notably wholly at odds with the icy, gothic image she of solo tracks cut by Reed in 1962, both of ‘Kill Your Sons’ from his 1974 solo album, will later cultivate. But as Jackson Browne later which also feature on Rockin’ On Broadway.) Sally Can’t Dance. He will also allude to the points out in Nico: The Life & Times Of An Icon, Fortunately, Reed himself doesn’t have to treatment in the first line of The Velvet Under- “When I knew her she was just like you see her resort to buying a bootleg of his own single; in ground & Nico’s closing track, ‘European Son.’ in La Dolce Vita. You know that scene where an April 1986 interview with George Gimarc (The song is listed in the songwriting credits she’s giggling a lot in a castle? That’s how she of the Dallas radio station KZEW-FM he con-as ‘European Son To Delmore Schwartz,’ a could be, like a child. Playing, sweet, and real firms that “a friend of mine gave me a copy.” nod to the writer, university professor, and fun.” (Nico will have a brief relationship with It is not known how long The Jades con-mentor to Reed who himself underwent the Browne in the late 60s.) tinue to play together, but Reed will later same treatment.) Upon its release in 1960, La Dolce Vita recall them playing in shopping malls and, “When I was younger I was kind of mad at becomes a big international success, winning according to a 1972 RCA Records bio, at Lou about some stuff, not really angry, just the New York Film Critics Circle award for Best other places “where there were fights.” It’s kind of a little ticked off,” says Doug Yule, Foreign Film and the Palme d’Or at Cannes. likely that the group will have petered out who will join The Velvet Underground in late Years later, it is still regarded as a classic, and before Reed graduates from high school in 1968 and later play in Reed’s mid-70s tour-one of Fellini’s finest works. According to Fel-mid 1959, and that he played in other bands ing band. “[Then] I learned about his elec- lini: The Biography, the polo-neck sweater Nico during this period. He is pictured in Victor troshock therapy, and I said, ‘Oh man, that’s wears in the film will become known in Italy Bockris’s Transformer: The Lou Reed Story play-just awful.’ Anybody who’s been through that as a Dolce Vita. ing guitar in a clean-cut quartet with two other for those reasons deserves all the slack you Nico herself is already keen to move away unidentified guys and a girl. Here the band can give him. I just let everything go at that from fashion. One of her lines to Mastroi-is identified as “the CHD, or backward, Dry point. He deserves every break that I can give anni, about being fed up with modeling, Hump Club,” but one suspects this explana-him.” contains more than a grain of truth. La Dolce tion is a joke on someone or other’s part. Vita makes her all the more determined to C FILMING La Dolce Vita become a screen actress. According to John While Reed is in Creedmore, Nico is film-Baxter’s Fellini: The Biography, she will later

1959 ing her most famous screen role in Italian claim to have been the catalyst for the orgy

director Federico Fellini’s La Dolce Vita. She that concludes the film: “They wanted to do met Fellini in passing while spending a second an orgy scene, but nobody knew how. Well, I

summer with Silvana Mangano and Dino De thought, I can help them …” (Given that Nico

Laurentiis in Rome, attracting the director’s does not feature in the scene, her claim seems

March attention while wielding a candelabra being rather suspect.) Concerned about their son’s homosexual used as a prop on a film set. Soon after appearing in La Dolce Vita, Nico tendencies and generally unconventional La Dolce Vita is – like several of Fellini’s is chosen for the lead role (thanks to an behavior, Lou Reed’s parents send him to a productions – a sprawling circus of a film. introduction by another actor friend, Mau-psychiatrist, who prescribes a course of elec-It is nearly three hours long, during which rice Ronet) in Plein Soleil, a French adapta-troshock treatment. time dozens of actors whirl through a series tion of a Patricia Highsmith novel known in of alternately flippant and dour vignettes of the USA and the UK as Purple Noon. Another

June post-war alienation and decadence, with a sav-Highsmith thriller, Strangers On A Train, Shortly after graduating Freeport High, Reed age critique of media glitz and amoral glam-has already been adapted for the cinema undergoes a course of electroshock treat-our thrown in for good measure. One of the by Alfred Hitchcock to great success, while ment three times a week for eight weeks at female leads is Anouk Aimeé, who tells Nico Plein Soleil’s director, René Clement, won the Creedmore State Psychiatric Hospital, Long during filming that she used to be married to Best Foreign Film Oscar for Forbidden Games in Island. The use of electroshock therapy is not a nightclub owner named Nico Papatakis – the 1952. Somehow however Nico fails to show up nearly as controversial as it will become in same Nico Papatakis from whom the former on the Italian island of Ischia for the start of subsequent decades; homosexuality won’t be Christa Päffgen took her new name. The male shooting. When she does arrive she finds that declassified as a mental illness by the Ameri-lead, meanwhile, is Marcello Mastroianni, her part has been given by an impatient Clem-can Psychiatric Association until 1973. whose tabloid-reporter role will shortly launch ent to another actress, Marie Laforêt. Nico is Although there are no apparent long-term him to international stardom. consoled by the male lead, Alain Delon, with effects on Reed’s memory or talent, he will Nico doesn’t appear until almost two hours whom she has a brief affair – one that will later recall (as quoted in Transformer: The Lou into the movie, and hardly stands out. Years be resumed a few years later, with permanent Reed Story) that he felt immediately afterward later, in the commentary track that accom-consequences. that he had “become a vegetable. You can’t panies the 2004 DVD release, Time magazine Although she goes on to appear in several read a book because you get to page 17 and critic Richard Schickel seems wholly una-other films, including numerous avant-garde you have to go right back to page one again. ware of who she is or was, referring to her efforts by Andy Warhol and Philippe Garrel, Or if you put the book down for an hour and only as “the blonde” or “the woman.” But Nico’s career in mainstream cinema never went back to pick up where you started, you Nico’s part – for which she’s referred to as a really gets back on track. Ironically, for all that didn’t remember the pages you read. You Swedish girl named Nico or Nicolina in the will follow, her rather fleeting appearance in had to start all over. If you walked around film itself, and billed as Nico Otzak – is still La Dolce Vita – a role she took on almost by the block, you forgot where you were. It was a memorable. Meeting Mastroianni in a café, accident – remains the artistic endeavor that problem. It was like a very prolonged bad acid she asks him to take her to her fiancé’s 16th gives Nico her widest worldwide exposure.

14

Nico in La Dolce Vita. 15

1958-64 n WHITE LIGHT/WHITE HEAT

song, reflects Reed’s remarkably eclectic taste

in music, showing the teenager to be a fan not

just of doo-wop and rockabilly but also of James

Brown and the emerging free-jazz of Taylor,

Ornette Coleman, and Archie Shepp.

Reed will soon be removed from the radio

station by program director Katharine Griffin

after complaints from several faculty members, including the dean of men. “Excursions On A Wobbly Rail was a really weird jazz show that sounded like some new kind of noise,”

Griffin explains in Transformer: The Lou Reed Story. “It was just too weird and cutting edge. Lou was presaging the 60s and 70s and we just

weren’t ready for it. He was right on the cusp

of two generations. A little too far ahead to

be admired in the 50s.”

Some consolation comes from the fact

that Reed is not the only budding rock’n’roll

musician at Syracuse. These include Felix

September Nico Papatakis, a 42-year-old of Greek and Cavaliere, who will go on to become the

Still feeling the aftershocks of electro-Ethiopian descent who runs a nightclub on key singer-songwriter in The Rascals; Mike shock, Lou Reed begins his college years as the Left Bank called La Rose Rouge. The pair Esposito, who will later play with The Blues a student at the Bronx branch of New York begin a relationship and will live together for Magoos; and Garland Jeffreys, who will con-University. He will remain there only until the next two years. Papatakis recognizes in tribute vocals to Reed’s 1976 album Rock And the spring of 1960, receiving post-shock treat-Nico something that she has yet to realize Roll Heart, with Reed returning the favor on ment and medication at the Payne Whitney herself. “I had spent a lot of time listening to Jeffrey’s Escape Artist in 1981. (Reports else-psychiatric clinic on the Upper West Side. singers, and talking to them, because of La where claim that Peter Stampfel of The Holy Reed’s brief stint at NYU affords him his first Rose Rouge,” he subsequently tells Richard Modal Rounders and The Fugs was another opportunity to hear the adventurous jazz Witt, author of Nico: The Life & Lies Of An contemporary of Reed’s, but Stampfel himself of John Coltrane and Ornette Coleman – a Icon. “There wasn’t only [Juliette] Greco in confirms that they were not at Syracuse at the growing influence that will supplement his those days, I heard and dealt with so many. I same time, and that they didn’t meet until deepest love, rock’n’roll – but it is largely got to the point where I could recognize by the Rounders opened for The Velvet Underan unhappy time, leading him eventually to their speech if someone could sing. Nico had ground in Boston in January 1969.) transfer to another college elsewhere in New this deep tone. In New York once (I would say The most crucial connection Reed makes York State. 1961), I asked her, ‘Do you sing? You could at Syracuse will not bear fruit for another

do.’ She hadn’t thought about it. So I took her four years or so. Shortly after Reed’s oust-

Also in 1959 … to a voice teacher in New York. I can’t remem-ing from the ROTC, Jim Tucker, who lives in

Another volume of Angus MacLise’s poetry, ber who it was now, just a singing teacher. She the dorm room below, is visited by his friend Straight Farthest Blood Towards – also known went there and also to acting school – the one Sterling Morrison. Morrison, who has been as (Opening Section) – is published by Dead run by Lee Strasberg, the Actors Studio.” friends with Tucker since eighth grade, has Language Press. Much like his music, it is been accepted to Syracuse on a Regents Schol—

free-associative, dispensing with conventional September arship, but has chosen instead to begin his punctuation and avoiding any set themes Lou Reed begins his studies at Syracuse Uni-studies at the University Of Illinois, where he or rhythms. A copy will shortly be seen by versity, 250 miles from New York City. (He is studying physics. Like Reed, Morrison has another young avant-garde musician and had actually been accepted to the university been playing rock’n’roll in Long Island bands multimedia artist, La Monte Young, on a visit a year earlier, but had initially decided to since high school, but this is apparently the to San Francisco’s famed City Lights Books. attend NYU instead.) He quickly makes him-first time their paths cross. Young is impressed, and will shortly meet self known as a maverick on campus by getting “The first sound I ever heard from Lou was MacLise in New York, where the two men will kicked out of the Reserve Officers’ Training when the ROTC were marching in the field play together in one of the most experimental Corps – a freshman requirement for those stu-behind the dorm in their uniforms,” Morrison groups of the early 60s. dents not taking physical education – within will later tell Mary Harron of the New Musical

a few weeks. A decade later, in promotional Express in April 1981. “First I heard ear-split-material for his debut solo album, Reed will ting bagpipe music from his hi-fi, and then he

1960 claim to have been expelled from ROTC for cranked up his electric guitar and gave a few

threatening to shoot an officer, but there is blasts on that. So I knew there was a guitar-

some doubt as to whether he really went to player living upstairs.” (In Transformer: The Lou such extremes. Reed Story, Victor Bockris places this meeting

While at Syracuse Reed enjoys a stint as host in the fall of 1960, but it might possibly have

June of Excursion On A Wobbly Rail on the univer-taken place a year later, when Morrison would

In Paris, Nico has a chance meeting with the sity radio station, WAER-FM. The content of spend a lot of time in Syracuse in anticipation man whose name she has adopted as her own, the show, which is named after a Cecil Taylor of enrolling the following January.)

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WHITE LIGHT/WHITE HEAT n 1958-64

Morrison and Reed soon find that they share perform with black female vocalists, as well as 1961

a taste for rhythm & blues and rock’n’roll, singers from a group called (perhaps apocry-

bonding over a mutual enthusiasm for Ike & phally) The Three Screaming Niggers.

Tina Turner and thus planting the first seeds Reed will later describe the bands he played

of The Velvet Underground. The pair will stay January 24 with during high school and college as “really in irregular contact over the next few years, Nico appears on the cover of the Italian bad groups, really bad” in the Rock & Roll occasionally playing music together. Morri-magazine Mascotte Spettacolo, the credits of Heart documentary. “We were so bad we had son will later recall visiting Syracuse often and which show that she is still using the name to change our name every week. No one playing with Reed whenever possible, includ-Nico Otzack for professional purposes. She would ever hire us twice knowingly.” ing on spring and summer breaks, but it will is billed in the same way four months later LA & The Eldorados do nonetheless receive be some time before they are permanent when she features on the front of the Swiss the benefit of some of Reed’s earliest original members of the same band. magazine Camera, but will have changed the songs. One is a version of ‘Coney Island Baby,’

spelling to Otzak by the time she appears on a song that will eventually become the title

ALSO … the cover of Esquire in September. As keen as track on his 1976 solo album. A less serious John Cale moves to London to begin his own she is to move away from fashion modeling, contribution is ‘Fuck Around Blues,’ which course of higher education after accepting a it remains her bread-and-butter – never more will later be described by Mishkin in Trans-scholarship to Goldsmiths College. He takes notoriously than in 1961, when she appears former: The Lou Reed Story as “an insult song. a triple music course – which includes a study in Elle dressed as a housewife in an advertise-It sometimes went over well and it sometimes of the viola with Gwynn Edwards – and pur-ment for a dishwasher. got us thrown out of fraternity parties.” sues his interests in musique concrete and Reed’s roommate this year is fellow eccen— adventurous 20th century composers such April tric (at least by the standards of early-60s cam-as Anton Webern, Pierre Boulez, and Luigi Asked to leave the University Of Illinois after pus life) Lincoln Swados, the older brother Nono. Goldsmiths specializes in preparing its two semesters for not attending class and – of Elizabeth Swados, who in the late 70s will students for entering the teaching profession, like Lou Reed – getting thrown out of the become famous as a composer of musicals. but Cale has already started to realize that he ROTC, Sterling Morrison transfers to City Col-Her 1978 production of Runaways will receive wants to be a composer, not a teacher. lege of New York, but leaves after two weeks. five Tony Awards nominations, while she will Cale continues to tour with the Welsh Youth later collaborate with Doonesbury cartoonist Orchestra during his summer breaks. One September Garry Trudeau. Her brother doesn’t fare so of his fellow musicians is oboist Karl Jenkins, Returning to Syracuse University for his well. He leaves Syracuse after being diagnosed who will go on to join jazz-rock pioneers sophomore year, Reed directs a play by Span-as a paranoid schizophrenic, later claiming – Soft Machine in the 70s before becoming a ish playwright Fernando Arrabal, The Car in an echo of Reed’s earlier experiences – to respected contemporary composer. “I remem- Cemetery (also known as Automobile Graveyard, have been given shock treatments and medica-ber he wrote this pictorial piece,” Jenkins tells and adapted for the screen, in French, in the tion against his will. A few years later he loses The Daily Telegraph in 2004. “He’d cut things early 80s), as part of a drama course. He also his right leg and right arm in an attempt to out of magazines – a lavatory pan, a swastika – plays guitar in a folk quartet with singers John throw himself into the path of a subway train. and one had to play with what this suggested. Gaines and Joe Annus and another musician He spends much of the rest of his life playing Pretentious is the word, really.” described in Transformer: The Lou Reed Story as music on the streets of the Lower East Side. In “The other thing I remember about him, “a great banjo player with a big Afro hairdo 1989 his body is discovered in his Lower East apart from being a good viola player, is that who looked like Art Garfunkel.” They play at Side storefront living quarters, several weeks we used to have [jazz] jam sessions,” Jenkins a small Syracuse bar, the Clam Shack. after he misses the deadline to vacate as per adds in 2007. “But as I recall John couldn’t Folk will remain an underestimated influ-an eviction notice. The incident prompts a really improvise and would play from the Dave ence on Reed’s songwriting, but he hasn’t front-page feature in the Village Voice. Brubeck songbook.” forgotten his first love. He also forms a Much of Elizabeth Swados’s 1991 memoir Through Gwynn Edwards, Cale meets the rock’n’roll band, LA & The Eldorados, with The Four Of Us: The Story Of A Family concerns composer Tristram Cary (son of the writer high school friend Allen Hyman on drums, her brother’s troubled life, but Reed makes Joyce Cary), who works for the BBC Radio-Richard Mishkin on piano and bass, Stephen only one brief, nameless appearance as Lin-phonic Workshop and will later write music Windheim on lead guitar, and Bobby Newman coln’s “musician-writer roommate.” Lincoln’s for the Doctor Who television series as well as on saxophone. Newman will soon be replaced travails are nonetheless reported to have the Hammer horror films Quatermass And The by Bernie Kroll, while the ‘LA’ of the name inspired Reed’s songs ‘Home Of The Brave’ Pit and Blood From The Mummy’s Pit. Cary shows is variously reported to stand for either Lewis (from 1983’s Legendary Hearts) and ‘Harry’s Cale how to simulate the sound of birds’ wings and Alan (Reed’s first and middle names) or Circumcision’ (from 1992’s Magic and Loss, flapping for a play and works on several pieces Lou and Allen, in honor of the two founding as verified by an interview in the accompany-of music with him. members. ing press kit).

Cale also meets avant-garde composer Fellow student Donald Schupak, who will Cornelius Cardew, who is about five years his later play a key role in helping Reed gain his ALSO … senior, and who introduces him to the Fluxus first foothold in the music business, comes Sterling Morrison spends a lot of time at Syra-art movement, which emphasizes irreverent, aboard as the group’s manager. Another stu-cuse this semester after moving in with Jim original works combining various media. This dent, Joe Divoli, helps them get local bookings Tucker and sitting in on classes in anticipation in turn fans Cale’s appreciation of even more at clubs, bars, fraternity parties, and suchlike of enrolling at the University in January. He avant-garde composers such as John Cage and a few nights per week. Reed and his band-eventually decides instead to study English Lit-La Monte Young, both of whom he will work mates find work as far afield as Colgate (about erature at City College Of New York, where he with in New York within the next few years. 50 miles from Syrcause) and also sometimes will remain from September 1962 to July 1965.

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1958-64 n WHITE LIGHT/WHITE HEAT

(He will later claim to have still been a full- and his wife, Marian Zazeela, who met Young

time student when The Velvet Underground in the apartment MacLise shares with film-

first start to tour in the spring of 1966, but maker, poet, and Dead Language Press co-

by that time he is rarely on campus. He will founder Piero Heliczer. MacLise and Young

however manage to have picked up enough also play together in a larger group with an

credits while still in the band to graduate in ever-changing membership, which from the

the summer of 1970.) summer of 1962 to April 1963 includes, on

voice drone and guitar, Billy Linich, who will

AND … soon become better known as photographer

Around the same time John Cale begins his and Warhol assistant Billy Name, and play a

second year at Goldsmiths, during which he notable role in the early Velvet Underground

invites composer Roberto Gerhard (soon to story. score Lindsay Anderson’s debut feature film, Also in 1961, Dead Language Press pub-This Sporting Life, starring Richard Harris) to a lishes MacLise’s calendar/poem Year, which conference on modern music attended by the assigns a name to every one of its 365 days.

school’s faculty. “The faculty members were Some are simply labeled “second,” “third,”

incensed by the doctrinaire dryness of Mr “fourth,” and so on (but not necessarily cor-

Gerhard,” Cale writes in his autobiography. “I responding to the days of the month); the rest

was berated publicly by the department head are given more colorful names such as “day

for spending energies on the avant-garde of the gammadion,” “the ironkeeled pente-

that should have been better devoted to my cost,” “owl,” and “conflict of the hosts.” Young

studies.” In a more standard area of musical admires this MacLise volume as well, and even

schooling, Cale rehearses every Thursday as uses its calendar to date many of the tapes

part of the university’s orchestra, becoming he records during this period, such as ‘B-flat

leader of the viola section and performing Dorian Blues (Fifth Day Of The Hammer).’

pieces by Beethoven, Brahms, Debussy, Sibe- MacLise also contributes to various under-

lius, and Tchaikovsky. ground and avant-garde publications in the

early 60s, including a double-issue edition of

November the New Departures in 1960 and an issue of Nico is studying at Lee Strasberg’s Actors Stu-another British publication, Outburst, a year dio in New York (in a class, she later claims, later. He and Heliczer also co-edit the 1962

with Marilyn Monroe) and working with Dead Language Press release Wednesday Paper, Strasberg’s son John on the William Saroyan Young, the avant-garde musician who first which includes work by Gregory Corso and play Hello, Out There when she hears that old became aware of MacLise after spotting a Anselm Hollo. flame Alain Delon is in town and staying at the copy of his Straight Farthest Blood Towards in Saint Regis hotel. They briefly resume their San Francisco’s City Light Book. Young is affair; shortly afterward, Nico learns that she already regarded as an important figure in

is pregnant. the musical avant-garde for having pioneered 1962 minimalism, a form characterized by long sus-

December tained tones, drones, and repetition. In recent

John Cale, Goldsmiths College, London, years he has performed in a duo with Terry UK Riley, another figure hailed as a pioneer of At the Goldsmiths Christmas concert, the minimalism – and another musician who, like March 6 multi-talented John Cale plays viola in the Young, will eventually collaborate closely with Lou Reed registers the song ‘Your Love,’ first movement of Schubert’s Trout quintet; John Cale, although not until the 1971 album which he will record later this year for Bob composes settings for two Laurie Lee poems Church Of Anthrax. Shad, but which will remain unreleased until for unaccompanied counter-tenor voice; and Young’s approach is influenced by blues, 2000. comprises part of the orchestra for a cantata jazz, and Indian music. He is now a part of by Welsh composer Daniel Jones, which Fluxus, and has begun incorporating multi- May serves as the evening’s finale. Cale himself media elements of light and space into his With the help of friends such as Jim Tucker, has convinced the college’s head of music to work. He has also started working in Just Into-John Gaines, and art student Karl Stoecker, include the Jones cantata in the program; it nation, defined by the Just Intonation Net-Lou Reed and Lincoln Swados put out two is so new that the orchestra has to play from work as “any system of tuning in which all of issues of a literary magazine, Lonely Woman handwritten parts. A Mrs Spaul, who runs the the intervals can be represented by ratios of Quarterly (‘Lonely Woman’ being one of women’s dormitory (where Cale’s girlfriend whole numbers, with a strongly-implied pref-Reed’s favorite Ornette Coleman composi-Eileen Simpson lives), tells Cale she enjoyed erence for the smallest numbers compatible tions). The first issue contains a story, cred-the Lee poems, but that he should write for with a given musical purpose.” None of his ited to Luis Reed, about a wife-beating father more conventional voices in the future. work is available on record yet, however, and and child-molesting mother; the second con— he won’t release any of his recordings until tains ‘Profile: Michael Kogan – Syracuse’s Miss

Also in 1961 … 1968. Blanding,’ a vicious critique of the head of By now Angus MacLise has moved to New For the next three years or so, MacLise the Young Democrats Party at the university. York and is playing in groups with La Monte plays in the La Monte Young Trio with Young Kogan’s father, a powerful lawyer, causes a stir

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WHITE LIGHT/WHITE HEAT n 1958-64

that results in Reed having to appear before Europe. Why don’t you take a look at her?’ Eternal Music And “The Tortoise, His Dreams the Syracuse dean. As Allen Hyman later She came around to my studio, I took some And Journeys,”’ today marks the first record-recalls in Transformer: The Lou Reed Story, “The test photographs of her, and then we kind ing of his sopranino saxophone playing on a dean told Lou to finish up his work and get of became friends. Those photographs just piece also including MacLise on drums and his ass out of there, and nothing would hap-ended up in my files, which were later sold Simone Forti-Morris on voice (or “drone pen to him.” But Reed still has two more years for the record jackets. I had all these pho-tone,” as the musicians describe it). in which to get into further mischief … tographs of beautiful women, and if I was looking for some extra money, I would take July–August all these photographs around to the album Angus MacLise w/ La Monte Young and

companies, and they would buy photographs Marian Zazeela, 10-4 Gallery, New York,

for albums that they didn’t have pictures of NY the artists for.” (Sahula will make his most A revamped La Monte Young trio – with his famous contribution to an album jacket in future wife, Marian Zazeela, replacing Forti-

1966, when one of his photographs is used Morris – performs seven times during the

for Otis Blue/Otis Redding Sings Soul.) summer at this venue on 4th Avenue and 10th

“She was an interesting lady,” Sahula adds. Street. The first of the concerts, arranged by

“It seemed like Nico was always stoned, a little MacLise, takes place on July 15, according

bit. Not on hard drugs, but on marijuana. She to Henry Flynt’s essay in Sound And Light: La had this kind of spacey way. It was kind of hard Monte Young And Marian Zazeela. to understand what was in her mind when you As Zazeela later explains to the October were talking to her. It was like her mind was 1 2003 edition of the American Music Cent-

really somewhere else. Maybe she just didn’t er’s online magazine NewMusicBox, “Angus give a damn about talking to me!” MacLise knew somebody who had a gallery on 4th Avenue and they loaned it to us on Sun-

ALSO … days. In fact, at first it was two days a week; we June When the summer break begins, Lou Reed did concerts on Thursdays and Sundays. But A photograph of Nico is used on the front starts to miss his Syracuse girlfriend, Shel-in any case, we did have a chance to perform of Bill Evans Trio’s Moon Beams, marking her ley Albin, to whom he has taken to writing in a gallery, and that was very good because we first appearance on an album jacket, five years daily letters in Chicago. Some of these letters could sit on the floor and the audience could before the release of The Velvet Underground include short stories, one of which, ‘The Gift,’ sit on the floor, and it was a much freer space, & Nico. Pianist Evans is already a major fig-is about a young man who mails himself to his and we could really see that concert halls were ure in modern jazz, famed both for his work girlfriend – an act of ingenuity that leads to just not right at all for this kind of music.” Billy in Miles Davis’s group (notably on the 1959 his gruesome death. Five years later, the story Linich joins the group for the later shows; a classic Kind Of Blue) and also as a bandleader. will form the basis of a Velvet Underground brief extract from the August 26 performance Moon Beams however is the first album he has song of the same name on the band’s sec-will later be used on the soundtrack to the made since the death of bassist Scott LaFaro ond album, White Light/White Heat. Reed also Jack Smith film Flaming Creatures. in 1961, a passing from which Evans still seems writes a song for Albin, the doo-wop inflected Another aspiring multimedia artist (and to be recovering. ‘I Found A Reason,’ which will eventually find Harvard math graduate), Tony Conrad, At a time in which pictures of foxy models a place on Reed’s final studio album with The would later describe the concerts to The Wire are often used on jazz LPs in preference to Velvet Underground, 1970’s Loaded. magazine, recalling a combination of Dadaist images of the musicians themselves, the Riv- concepts, Indian drones, and “a reversion of erside label opts for a color sideways headshot AND … a kind of formal, high art music to what was of Nico for Moon Beams, which was recorded At some point during the summer, John Cale an improvisational kind of music.” This use of in May and issued in July. New York photog-writes a Fluxus-inspired work entitled ‘Out-light projection clearly foreshadows the kinds rapher Pete Sahula probably takes the photo-door Pieces For Robin Page, Summer 1962.’ of performances The Velvet Underground will graph in June: the printer’s instructions note In about a year’s time, Page himself will per-later undertake, with rather more visibility, as that “this is all ballads – let’s use a non-Evans form another of Cale’s Fluxus-style efforts, part of the Exploding Plastic Inevitable dur-photo – perhaps one of beautiful girl head ‘Plant Piece,’ at a concert in Goldsmiths. By ing 1966–67. a la pointillists,” indicating that the music the end of 1963 – when Cale is living in New Conrad soon starts playing with Young is already complete. Nico will make her sec-York – a couple of excerpts from ‘Outdoor (whom he first met in Berkeley in 1959) and ond appearance on an album cover in 1965 Pieces’ will make it into the Fluxus Preview MacLise, and will eventually become another when another Sahula photograph adorns an Review publication. crucial figure in The Velvet Underground’s obscure LP by folk singer Casey Anderson. genesis. “I had never been sort of exposed to “She was a model for the Ford model June 11 an improvised music tradition until I started agency,” Sahula explains, Eileen Ford’s agency Although his official output is limited, La participating in avant-garde music composi-being one of the most famous in the world Monte Young makes frequent recordings dur-tion,” he recalls. “That made it conceptually at the time. “She was only modeling to make ing the early to mid 60s. Some tapes likely still possible to perform certain kinds of music some extra money, but The Ford Agency had exist of his collaborations with Angus MacLise that I wouldn’t have ever thought possible a lot of respect for her. I got her by accident. from the time before John Cale moves to New earlier. I was breaking out of a Western tradi-There was another model who I was trying to York and starts rehearsing in groups with the tion in which I had been trained as a young book, but that model wasn’t available. And other two men in September 1963. According music student. It was really playing drone with they said, ‘Well, we have this great model from to Young’s essay ‘Notes On The Theater Of La Monte and Marian, and then also Angus,

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1958-64 n WHITE LIGHT/WHITE HEAT

in that group that made it clear to me that it song lyric.” summer school in London. was a great idea to make music off the cuff, Reed will later dedicate a song on The Velvet M RECORDING Lou Reed exact location as it were.” Underground & Nico to Schwartz, while ‘My unknown, New York, NY. Producer Bob House,’ the opening track on his 1982 solo Shad.

August 11 LP The Blue Mask, is inspired in part by the At some point in late 1962, Lou Reed goes Nico’s only child, Christian Aaron (Ari), is singer’s late mentor, whom he describes in an back into the studio with Bob Shad to record born in Neuilly-sur-Seine, a suburb of Paris. interview accompanying promotional copies two of his own songs as a solo artist. It’s not Alain Delon refuses to acknowledge the boy of the LP as “this person who I loved so much, clear why Reed hooks up with Shad again, as his own; as late as July 23 1988 the French and who was such a big influence and exam-four years after recording a single for the pro-newspaper Libération will print a forceful ple.” (Reed will continue to sing Schwartz’s ducer with The Shades. Nor is it clear who denial from him to that effect in response to praises, citing two works – the 1948 short story accompanies Reed on ‘Your Love’ (which an obituary of Nico that names him as Ari’s The World Is A Wedding and 1950’s Vaudeville he registered in March 1962) and ‘Merry Go father. Most believe that he is the father, how- For A Princess And Other Poems – as particular ’Round,’ but there’s obviously a full band, ever, as Ari grows up to up to look like him, favorites in a December 2006 interview with including backup singers and smoky sax. It’s while Delon’s mother, Edith Boulogne, helps the Sydney Morning Herald.) not known either whether Reed plays guitar raise the child. The young Ari will later make There are rough similarities between Reed on the tracks, but it’s definitely him singing cameo appearances in Nico’s photo shoots and Schwartz. Both are Jewish New Yorkers; on these, the first clear examples of his lead and movies, and even on her records. both have received psychiatric treatment at vocals.

the Payne Whitney clinic; both produce work ‘Your Love’ is a fairly gutsy if formulaic

with a heavily autobiographical streak; both early-60s rhythm & blues/pop/rock tune,

create masterworks in their mid-twenties that and is the more impressive of the pair largely

they will struggle to match later on. Further- because of Reed’s energetic vocals, which

more, neither will receive much in the way of already have the earthy growl and vibrato that

financial gain for those masterpieces, despite will become a trademark of his work with the

the critical raves they generate. Velvets. ‘Merry Go ’Round’ is less worthwhile,

But the comparison only goes so far. While with a calypso-tinged beat, shrill organ solo,

Schwartz will die half-mad and half-forgotten lyrics that sound almost like an unintentional

at a relatively young age, Reed will continue parody of early-60s teen pop, and an equally

to be a productive and critically acclaimed derivative and unadventurous melody. There

artist well into the 21st century. And unlike are still some brief, stinging guitar licks –

Schwartz, Reed will live to see his original possibly played by Reed – and the singing is

masterworks revered by millions of listeners impressively raw and heartfelt. the world over, spread across generations, as Why the tracks aren’t released isn’t clear, among the greatest ever works in his chief since they’re as good as – if not better than

idiom, rock music. – the run-of-the-mill rock’n’roll Shad usually

September Back at Syracuse, Schwartz often holds puts out. In any case, Shad is probably not Lou Reed begins his junior year at Syracuse, court at the Orange Bar just off campus. He the man to make a star out of Reed. Of all of where he will meet – and study Joyce, Yeats, doesn’t know or care about rock’n’roll music, his recordings of the late 50s and early 60s, and Keats under – poet and author Delmore but gives Reed some valuable advice that the only three – ‘I’ve Had It’ by The Bell Notes Schwartz, who has a teaching position at the aspiring poet and songwriter will remember and ‘It Was I’ and ‘Cherry Pie’ by Skip & Flip university. Schwartz, formerly an instructor at all his life, promising to haunt Reed from – became big hits, although he is responsi-Harvard University, has received numerous beyond the grave if he ever sells out. And ble for a couple of minor classics in the form accolades for his writing since the late 30s, Reed won’t – at least during the time he leads of The Genies’ frenetic doo-wopper ‘Who’s while his short story In Dreams Begin Responsi- The Velvet Underground from 1965–70. That Knocking’ (used much later as the musi-bilities is already regarded as a classic. Having cal theme for Martin Scorsese’s first feature been diagnosed at one point in the late 50s ALSO … film, Who’s That Knocking At My Door) and The as a paranoid schizophrenic, however, he is in Meanwhile, John Cale begins his third and Donays’ girl-group goodie ‘Devil In His Heart’ a downward spiral of depression, alcoholism, final year at Goldsmiths. Weathering the dis- (soon to be covered by The Beatles as ‘Devil mental illness, and declining productivity by appointment of being replaced as the leader In Her Heart’). the time Reed makes his acquaintance. of the viola section by a new teacher from the Shad will go on to found the Mainstream Reed nonetheless admires Schwartz, and college staff, he starts making serious plans label, achieving success in the late 60s with in a letter to him hails Schwartz as a “spir-for his post-college career. He has begun cor-Big Brother & The Holding Company’s first itual godfather.” Schwartz is soon influenc-respondence with major American composers album (recorded prior to the Janis Joplin-ing not just Reed’s written prose but also John Cage and Aaron Copland – as well as fronted group’s signing to Columbia for the his songwriting. As he will later note in the Fluxus founding member George Maciunas, chart-topping Cheap Thrills) and The Amboy documentary Lou Reed – Transformer, In Dreams who is often credited with having named the Dukes, featuring young guitarist Ted Nugent. Begin Responsibilities is “only about five pages movement – and applies for programs at ‘Your Love’ and ‘Merry Go ’Round,’ however, long, but it’s incredible. And I remember to Yale University, Moscow University, and the will remain in the vault until they’re issued this day thinking to myself, that’s amazing to Berkshire Music Center in Tanglewood, Mas-as part of the 2000 Ace Records compilation accomplish that with the simplest language sachusetts. He is asked to contact Copland Rockin’ On Broadway: The Time Brent Shad Story, you could imagine in such a short space. And again in May 1963, when the composer will be on which they are credited to Lewis Reed. I thought … maybe you could do that with a interviewing candidates for the Tanglewood They also appear on one side of a four-song

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WHITE LIGHT/WHITE HEAT n 1958-64

seven inch vinyl EP released the same year by the writer notes was eating a piece of cheese the Norton label, All Tomorrow’s Dance Parties, while the interview took place. Here, Poi-the other side of which features the two-song trenaud describes the film as “a sentimen-Jades single from 1958. The jacket features a tal comedy [that] tells the story of a young, nifty shot of a teenaged Lou – or should that foreign ballet-dancer who is bored in a small be Lewis? – in jacket and tie. company. This girl likes the vocation, but she

aspires to greater heights. One day she meets

C FILMING Strip-Tease by chance [actor] Dany Saval, a stripper who Three years might have passed since she likes her work and makes a good living. The filmed her part in La Dolce Vita, but Nico has girl is lured into this world. My film starts from not yet abandoned the idea of a career as a the moment the girl prepares to take off her screen actress. She had been considered for clothes. It reveals her isolation, the rejection the lead role in another film that will even-of her friends, and all she encounters, includ-tually become a controversial classic – Alain ing a handsome young playboy who likes her Resnais’s plot-less, stream-of-consciousness character but not her profession. She reviews Last Year At Marienbad – but the role went to her life and gives one final performance, fling-Delphine Seyrig instead. She has however ing away everything, including her jewels. It won the lead role in another film, Strip-Tease, is a film with two main themes: the solitude directed by Jacques Poitrenaud. of a beautiful girl, one who is vulnerable and “Basically it was a commission to make a foreign, but also the life of Paris between film on the art of peeling your clothes off in midnight and morning, the life of those that four different capitals,” the director explains fritter their existence away.” in the liner notes to the Serge Gainsbourg Asked later by Ciné Monde about her most boxed set Musiques De Films 1959–1990. “Dur-difficult scene, Nico says it was “the sequence ing the adaptation of it I centered everything where I am completely naked. They did it as I in Paris to construct the romantic plot around preferred. They cleared the set. I then drank the character of a stripper lost in the noc-several glasses of port. And they played a turnal world. For the lead we had to choose haunting tune to carry me through the ordeal. between two newcomers, Ursula Andress, As for the rest, a woman always finds out how who was Swiss, and Nico, the German who to keep on top of the situation.” was to be the driving force behind the Vel- recording a more conventionally nightclub— vet Underground group. Jules Borkon, the ALSO … styled, melodramatic version with one of producer, decided on Nico, convinced by John Cale, Goldsmiths College, London, Nico’s early influences, Juliette Greco. Nico’s her Teutonic charisma and her ‘Expression- UK version will remain unreleased for nearly 40 ist actress’ side.” On the same day, a Mr J.D. Cale plays Her-years, finally surfacing in 2001 on the three-Nico goes to Ibiza to prepare for the part bert Howells’s Elegy For Solo Viola, String Quartet disc Gainsbourg boxed set, Musiques De Films in the early fall. There she has an affair with And String Orchestra at Goldsmiths’ Christmas 1959–1990, which also includes Greco’s rendi-a young British jazz musician, Victor Brox, concert. He is also one of the musicians to tion of the song and some of the other music whose group is playing on the island. “She’d perform Holst’s Terzet, all three of whom have used in Strip-Tease. been curious about the free music group I ran to play in a different key. and she wanted to know everything about jazz M RECORDING aNguS MacLiSe w/ ToNy and blues, absolutely everything,” Brox later coNRad aNd Jack SMiTh 56 Ludlow Street, reveals in Nico: The Life & Lies Of An Icon. Also in 1962 … New York, NY “I’d talk her through the history of the forms, M RECORDING Nico Studio Blanqui, Paris, In 1962 the experimental filmmaker Jack the styles, the key musicians, the singers like France. Smith starts making recordings with some of Bessie Smith – just everything I could tell her The exact date that the well-known French the musicians on the New York avant-garde and play her. She just sat there and listened songwriter Serge Gainsbourg records a demo scene. The 1998 CD compilation Les Evening intently, though I had no way of knowing how of Nico singing ‘Strip-Tease’ – the musical Gowns Damnées: 56 Ludlow Street 1962–1964, much she took in. Then she came over to theme he has written for the film of the same Volume 1 includes a 16-minute piece, ‘Jack the improvisation sessions. There was a rule name – is unknown, but it’s probably around Smith Reads “Les E. G.’s Damneés,”’ featur-for entry – you had to bring an instrument. the end of the year, around the time Nico is ing MacLise on bowed mandola and Conrad Nico brought her tape recorder.” Brox will shooting her scenes in the film. on lute. It could have been recorded as early eventually make a modest mark on the Brit-The very first (surviving) Nico recording, as 1962, but no specific date is given. Smith ish blues-rock scene of the late 60s, singing this frothy, sultry jazz-pop-cabaret record with reads a melancholy story of drag queens on and playing on several albums by The Aynsley a slightly cha-cha beat is stylistically unlike any-a shopping expedition for evening gowns in Dunbar Retaliation. thing she will record in her subsequent career. his fey, nonchalant voice as MacLise and Con— But her sensual, wavering, almost whispered rad provide a simple backdrop of sympathetic

December 8 voice is immediately distinctive, even if she and largely soothing drones. To set the scene, The issue of La Cinématographie Française does sound a bit more nervous than she will Smith actually describes his surroundings at published today contains an interview with in the future. the loft on 56 Ludlow Street, noting MacLise Jacques Poitrenaud conducted on the set of Nico’s voice is too deep and Germanic for and Conrad’s instruments and making it clear Strip-Tease. The article mentions Nico, whom Gainsbourg’s tastes, however, so he ends up that he’s decked out in full drag gear.

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Conrad has gotten to know Smith in the Nico’s future, but Strip-Tease represents her 1963 summer of 1962 while staying from time to last attempt at a career in the commercial time in the same building as Smith, MacLise, cinema. and Piero Heliczer. He subsequently shares an apartment with Smith at 56 Ludlow Street, in January 3 May 19 a now-legendary building to which Heliczer Nico’s son Ari makes his media debut aged Angus MacLise w/ La Monte Young, also moves, with MacLise a frequent visitor. just a few months when a color portrait of George Segal’s farm/studio, NJ There are, Conrad later explains, “a lot of mother and child appears on the cover of An octet formed by La Monte Young performs occasions when I would record sessions in Elle magazine. The photograph is by Willy a section of his continually evolving work which Jack would fantasize or create what you Maywald, who gave Nico her first regular mod- The Four Dreams Of China at the farm/studio might call audio theater. He was often incor-eling work in Paris during the mid 50s. owned by sculptor George Segal. In keeping porating the presence of some of his friends with Young’s liking for long, long names, the who were drag queens that he enjoyed fanta- May 4–5/May 11–12 section performed is entitled The Second Dream sizing about, and he and they would swarm On one of these weekends, John Cale is Of The High-Tension Line Stepdown Transformer themselves with costume jewelry and certain interviewed by Aaron Copland for a Leonard From The Four Dreams Of China, and is inspired exotic items of clothing. And off we would Bernstein scholarship to study at Tanglewood by the hum of the electricity generator near go into the imaginary reaches of the mythic for the summer. Copland later writes to offer Young’s childhood home in Idaho. In addi-East,” he laughs. Cale free tuition and living expenses for eight tion to Young (on bowed mandola), the musi-

“Les Evening Gowns Damnées was a piece that weeks at the Berkshire Music Center; Cale will cians include MacLise and Marian Zazeela on Jack had written about his friend Francis/ later describe in his autobiography how the violin; Tony Conrad and Larry Poons on viola; Francine, who he describes fairly eloquently great American composer’s interest in him Jack Smith on mandola; Dorothy Moskowitz in the course of the story, and accurately was uncomfortably intimate. on lute; and Joseph Byrd on guitar. Each musi-for that matter. So I did a recording of his cian plays just one pitch. reading, and Angus and I were both there. May 16 Moskowitz has no specific recollections I played little tunes on the lute guitar that I of MacLise, but her subsequent account of

had, and Angus was I think bowing another the event gives a flavor of the kind of settings

instrument.” in which he and (soon) fellow future Velvet

The piece is probably among the first of Underground member John Cale will play

many avant-garde performances that will be during their stints in Young’s groups. “I don’t

taped in the next few years by future Velvet have clear memories of some of the players,

Underground members MacLise and John because we were introduced briefly, and

Cale. “We also had what we might almost call then asked to play with minimal rehearsal,”

jam sessions,” Conrad continues, “although she explains. “I remember La Monte: organ-

they didn’t owe too much to any established ized, genial, brilliant. Of all the people Joseph

jazz tradition. I don’t think any of that has Byrd introduced me to back in New York, he

been released. But it’s the kind of thing that I seemed to be the most inspired and commit-

think would probably be called free jazz today, ted to changing the musical landscape. He

or noise music. These sessions and activities Strip-Tease is released in Italy prior to opening had done a ‘dream house’ type event a few sometimes seemed to me to be pretty darn in France on May 29. Le Figaro gives Nico’s weeks before, which was really well attended. wonderful, and in fact really hot, and some-performance a tepid review: “One should cer-Several rooms were reserved in this old house times path-breaking. I was able to release tainly raise objections to the foreign accent of for sustained string lines to be played, liter-several volumes of that sort of sound [in the the principal actress, Miss Krista Nico [as she ally for hours. He was the man in charge, the CD series New York In The 1960s] that John is billed for this project only]. Her diction is visionary, the guru, and at the same time a Cale had done, [which are] mostly focused dreadfully labored, the accent a touch crude. trusting child in his acceptance of newbies on recordings made in the later 60s. But this But, nevertheless, there is the compensation and strangers like me. We’d never met before, whole thing of improvising all kinds of sounds of Miss Krista Nico’s glamorous physique, not yet he handed me a viola, maybe a violin, told and music began in ’62 and ’63.” only the beauty of her big eyes, but also the me to play a sustained tone and then pass the sculptural allure of her body.” instrument on to someone else. There were

The film makes little commercial impact others in the room(s) doing the same thing.

and is quickly consigned to obscurity. It will It was transforming, I swear, and I don’t really

eventually appear in the US – with an ‘R’ rat-know why.” ing – in October 1965, and in the UK the Of this particular performance, Moskowitz same year, but has yet to be released on VHS adds: “I remember being amused by the title

or DVD. A few brief scenes can however be of the piece. It was long, filled with overtones.

glimpsed in the documentary Nico/Icon. The We played on a blanket spread under a tree. I most intriguing of them has Nico recalling don’t think a written score was distributed, but

seeing bombs in the sky in her childhood as Young had something very definite in mind.

Köln burned on her birthday. This possible I think all the instruments were played with

autobiographical reference suggests she might bows, including mine, which was an unusual

have had some input, however slight, into the choice that Young made, and had the same

movie’s dialogue. character as the ‘dream house’ event.

There will be numerous film roles in “I remember Tony Conrad as a pain in

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the ass for most of it. He had some baggage another British premiere, John Cage’s ‘Con-and find a job after his Tanglewood course, and anger vis-à-vis Young and Marian and cert For Piano And Orchestra With Aria,’ with Cale will end up making the United States his since I was pretty much an outsider, I didn’t Michael Garrett on piano and Enid Hartle on home for the rest of the 60s. know what it was about. He may have fancied voice. Garrett meanwhile plays piano during At the other end Cale meets Aaron Cop-himself a composer like Young, but I saw no the first performance of Cale’s own ‘Piano land, who flies with him to Massachusetts, evidence of that. Larry Poons was already an Piece (unsequel music 212b).’ Cale’s friend where Cale will begin two months of study at emerging graphic artist on the scene, not a Cornelius Cardew is also represented – as solo-Tanglewood with the legendary Franco-Greek musician. I couldn’t figure out why he was ist on Young’s ‘Piano Piece For David Tudor composer Yannis Xenakis as his tutor. Xenakis asked to play an instrument, other than his No. 2’ and conductor of his own ‘Autumn ’60 is a pioneer of stochastic music, his compo-purported friendship with La Monte and For Orchestra’ – while several friends from sitions produced by mathematical elements Marian.” the Welsh Youth Orchestra also help out. involving probability, theories, and comput—

Although Moskowitz and Byrd had only a Unusually, a small ad for the festival appears ers. It’s a long way from the rock music Cale fleeting interaction with MacLise and the oth-in both the Sunday Observer newspaper and will be playing within a couple of years, but ers, they will meet up with The Velvet Under-also the Times, inviting the audience to “bring does allow him to absorb yet more uncon-ground – sans MacLise, who is no longer a with them any inaudible (not Public) sound ventional ideas. member – five years later. By then Moskowitz or combination of sounds to which they may While at Tanglewood, Cale comes up with and Byrd will have formed an experimental refer during the proceedings.” an idea for a piece to be performed on all rock-band of their own, The United States The performances of Cage’s compositions 88 of the college’s pianos at once. When Of America, with whom they appear with the are radical enough, featuring “prepared he is told it would be impossible to fit all of Velvets in Boston on March 22–23 1968. pianos” with nails and drawing pins put on the pianos in one space, he suggests putting

According to Conrad, “The session at Seg-the strings inside the instruments, and vio-them in 88 boats on the Tanglewood Lake. As al’s farm was part of the Yam Festival [‘May’ lins bowed on their bodies rather than their he later explains to Tim Mitchell, author of backward]. It was a kind of Fluxus-related hap-strings. Things get weirder, however, with Sedition And Alchemy: A Biography Of John Cale, pening type of event. La Monte was invited George Brecht’s ‘Two Pieces For String Quar-the idea would be to have a “group of pianos to contribute, and chose to drag us all along. tet,’ during which Cale and other musicians playing each note as a cluster spaced in hear-Part of the reason that it’s a little dim for me polish their instruments with dusters to yield ing distance from the other while the plugs is that we all went out to perform in the mid-rubs and screeches. Then, in a foreshadow-were pulled from the bottom of each boat, dle of a field, sat in this sea of grass, smoked ing of the zanier and more confrontational sending the upright pianos in their boats to opium and went way off into some very special concerts for which Cale would become noto-the bottom.” space.” rious at points in his solo career, he crashes Unsurprisingly, the idea never comes to

On a more serious note, he adds, “Those the keys of a grand piano with his elbows over fruition, but when Cale finally gets an oppor-events were important because of two gen-and over for about five minutes on ‘X For tunity to perform a piece of his own at Tangle-eral aspects that they conveyed to the art and Henry Flynt.’ Cale keeps pounding away on wood he shocks his audience by pulling an axe music scene. One was that they were anarchic his knees until several members of the audi-from a piano and pounding it into the middle and borderless. They tended to incorporate ence – either having had enough or otherwise of a table. The unexpected blow leads to the all kinds of extraneous elements – and exer-perhaps taking to heart the program’s invita-tearful departure of the widow of Russian-cise the transparency that John Cage had tion for listener participation – try to drag the born conductor Sergey Koussevitzky, who had implied in his chance music – by allowing all piano offstage. established the Berkshire Music Center and kinds of other things to be incorporated in “They formed a cortege with dustbin lids served as musical director of the Boston Sym-the scene. And they introduced a system of and shoulder-held corpse marching in time phony Orchestra for a quarter century. Cale frameworks for devising and presenting such to my crashing piano sounds,” Cale recalls is already becoming accustomed to shocking activities. These people’s compositions then in his autobiography. “The piano was pulled the classical musical establishment, however. sort of assumed the kind of form that could away from me as I knelt at the keys smashing Although his ‘performance’ results in an offer include elements of all different art forms, so my elbows in strict time. Cornelius hurried on of a $1.25-per-hour job – and, according to his that what might have been music also became stage and, kicking the pillow I was using for autobiography, “all the scores I could steal” – theater, or incorporated painting, dance. All my knees into position, helped me maintain he has other plans. these forms met under one roof in these hap-the tempo in spite of the interruption. Need-penings.” less to say the piece was neither understood September

nor appreciated by its audience, particularly Having already set his sights on New York

July 6 the faculty and its head, [Leslie] Orrey, who before leaving London, John Cale moves to

John Cale, Goldsmiths College, London, saw it, I think, as essentially subversive of the city after finishing his course at Tangle-UK the overall intentions of Goldsmiths. I did wood. He quickly asks John Cage – with whom On his final day at Goldsmiths, having com-not care what they thought at that point; my he corresponded while at Goldsmiths – for pleted his studies with the difficult Hindemith thoughts were already in New York.” help in finding work. He is soon offered a Viola Sonata as his final examination piece, job at the Orientalia bookshop by Nick Cer—

Cale takes part in “a little festival of new July 7 novitch, lighting designer for Cage’s chore-music”: a pair of concerts at 2:30 and 7pm. Armed with a green card entitling him to live ographer, Merce Cunningham, and invited He plays piano on the British premiere of La and work in the USA for as long as he wants, to participate in an upcoming musical event Monte Young’s ‘X For Henry Flynt,’ which is John Cale is driven by his parents to Heathrow with Cage. named after a New York musician and artist airport, where he boards a Pan Am jet to New In addition to contacting Cage, Cale also who will drift into The Velvet Underground’s York. Although he has a return ticket, with his calls another New York composer he’s anxious orbit in a few years time. Cale also conducts parents expecting him to return to Britain to meet: La Monte Young. Virtually nothing

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of Young’s work is known yet to the general As for the origin of the other name some-and Sarah Lawrence College. His old friend public, and little of it will ever see the light of times used retroactively for these groups, Con-Allen Hyman is no longer in the band, how-day on record. But it is with Young, and not rad explains, “In 1966, when I completed my ever, and has been replaced by a different the considerably more famous Cage, that Cale film The Flicker, Jonas Mekas asked me to write drummer. According to Transformer: The Lou ends up collaborating most seriously. something about it. I wrote a piece about the Reed Story, Reed has by now started to write

“I got La Monte’s number from John Cage, music too, and titled the piece ‘Inside The two of the classic songs that will later appear who I’d been in touch with at Goldsmiths,” Dream Syndicate,’ because we would some-on The Velvet Underground & Nico: ‘I’m Wait-Cale recalls in an interview for BBC Wales times call what we were doing ‘dream music.’ ing for the Man’ and ‘Heroin,’ with Richard (issued on DVD in 2006 as John Cale). “At I was writing this piece about our group but I Mishkin of The Eldorados helping to work that point when I got to New York, Cage had didn’t want to refer to it in any way that would out the bassline for ‘Heroin.’ already handed over the baton to La Monte as capture the group’s identity as a name. So I the leading figure in the avant-garde. And I’d called it the dream syndicate, because I felt AND … heard that he had a group that he was playing that we had a controlling interest in this whole Michael Leigh’s The Velvet Underground is pub-[with], and I took my viola down there and minimal music area of extended durations, lished by Macfadden Books. Posing as a study introduced myself.” tonality, and live performance. We were, in of sorts of deviant sexual behavior among

“There was no doubt about John’s musi-effect, The Dream Syndicate. That was kind ordinary-appearing Americans – principally cianship,” Young explains in the same docu-of an aggressive way of describing the group wife-and-husband-swapping, as well as some mentary. “The first thing that starts coming from a certain sense of both involvement and homosexuality and sadomasochism – it’s a through in the phone call is the empathy, the remove. Because I was not writing in the name rather squalid, trashy affair, full of repeti-sense that he really wanted to work with me, of the group, which was a collaborative group, tious incidents and anecdotes recounted with and that he was very interested in new music. I didn’t want to talk about the music or the all the passion of a police report. It’s also Then I find out he plays viola. He said, ‘Oh, group in terms that would suggest that I was prey to some high-minded moralizing, which I stopped playing viola.’ And I said, ‘Never defining it as a group.” smacks of hypocrisy when you consider that, mind, bring it along.’” As their music develops over the next year for all the condemnation of such behavior

Young promptly invites Cale to rehearse or two, the musicians begin to play regularly within the text itself, much of it has obviously with him, his wife and vocalist Marian Zazeela, as a quartet with Cale on amplified viola and been constructed specifically to titillate – and and violinist Tony Conrad in his loft at 275 Conrad on amplified violin, with Young and capitalize upon – the soft-pornography audi-Church Street, Lower Manhattan. By the end Zazeela contributing amplified voice. “The ence. The book makes enough of the rounds, of September Cale has become a member of concept of the group was to sustain notes for however, to fall into the hands of someone Young’s ever-changing group, some of whose two hours at a time,” Cale later explains. “La who leaves it in the streets of New York City, rehearsals have already been recorded. The Monte would hold the lowest notes, I would where it will be picked up and discovered a rehearsals are long and demanding, but as hold the next three on my viola, his wife couple of years later by some enterprising Young notes in the BBC documentary, “I think Marian would hold the next note, and Tony rock musicians looking for a name for their one of the things that John enjoyed, and later Conrad would hold the top note … It was so band … found was very important to him, in working different. The tapes of it are art objects.” To in the Theatre Of Eternal Music group was Cale and Conrad’s frustration, however, these September 9–10 this kind of discipline.” tapes – of which, apparently, there are quite a John Cale w/ John Cage and various

The group will later become known both few – will remain almost entirely unreleased, others, Pocket Theater, 100 Third as The Theatre Of Eternal Music and The locked up in Young’s possession. (When a Avenue, New York, NY Dream Syndicate. But as Tony Conrad recalls, tape of one of the group’s performances is One of the most celebrated performances “It didn’t have a name at that point. I think finally issued on CD in 2000, as described in of John Cage’s career – at least in terms of it was posted as concerts under La Monte’s the entry for April 25 1965, it will cause much the media coverage it generates – is the one name. He was the person who organized contention between Young and Conrad.) where he masterminds 840 consecutive ren-the activities; the group formed around his Cale continues to rehearse rigorously with ditions of Erik Satie’s ‘Vexations.’ Lasting an initiative. At that time, there were very few Young for the next 18 months until the pull astonishing 18 hours and 40 minutes – from ensembles of that type that called themselves of playing rock’n’roll with a new collabora-6pm on September 9 to 12:40pm the follow-by group names. Characteristically, a flyer tor, Lou Reed, becomes too strong for him to ing day – the 80-second piece is played by a would comprise some calligraphy of Marian’s, resist. The amplified drones he rehearses so dozen pianists who form a relay team of sorts. and the language would have the title [of the devoutly with these collaborators will become One of those pianists is John Cale, who piece being performed] in the center, and a huge influence on the music of The Vel-shares performing duties with Cage, MacRae then the names of the performers distributed vet Underground. Cale’s activities also start Cook, Christian Wolff, David Tudor, Philip around it, basically in an equitable way, pos-to bring him into contact with other figures Corner, Viola Farber, Robert Wood, David sibly reflecting the seating arrangement. who will play a major part in the formation of Del Tredici, and James Tenney. Also pressed

“It was La Monte’s idea at one point to call the group, most notably their first drummer, into duty for one 20-minute stint is Joshua it The Theater Of Eternal Music, and after we Angus MacLise. Rifkin, who will soon become known for his had sort of dissipated as a group, he retained classical versions of Beatles songs on the 1965

that name. The Theater Of Eternal Music sug- ALSO … album The Baroque Beatles Book before arrang-gests this kind of structured undertaking, of Lou Reed starts his senior year at Syracuse ing several of Judy Collins’s popular folk-rock there being a group and so forth, and that University. He continues to play in LA & The albums of the late 60s, as well as her 1968 hit sensibility only arose pretty late in the game. Eldorados around town and elsewhere in New ‘Both Sides Now.’ Another guest performer The key conceptual and musical develop-York State, including gigs at the Fayetteville is Howard Klein, one of seven New York Times ments occurred earlier.” Inn (about 20 miles away), Cornell University, reviewers who cover the event in a similar tag-

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team fashion (with one of them simply bylined the same after that performance as I was food and his shaving equipment. After it was ‘ANON’). In keeping with the Cageian spirit before. The world seemed to have changed. over, I drove back to the country and I slept of the event, admission is five dollars, but with I don’t know quite how to say it. A moment of for a long time, something like 12 hours. a five-cent refund per 20 minutes of attend-enlightenment came for each one of us, and When I got up, the world looked new, abso-ance. at different times. People would say, ‘Oh!’ as lutely new.”

“The effect of this going on and on was it would suddenly dawn on them what was Rather astonishingly, the New York Times quite extraordinary,” Cage recalls in Jean happening.” runs an extensive two-page article about the Stein’s Edie: An American Biography (co-edited According to Cage, “the audience varied. It event in its September 11 edition, with no by George Plimpton). “Ordinarily, one would started with four or five and ended with 75.” less than three pictures of a conservatively assume there was no need to have such an The New York Times however put the figure at dressed, jacket-and-tied, bespectacled John experience, since if you hear something said closer to 30, with “half of them newspaper Cale. In the first of these, he’s shown playing ten times, why should you hear it any more? reporters and photographers.” Cage himself the piano during the performance; in the sec-But the funny thing was that it was never the stayed for the duration. “I may have gone ond, he’s shown being relieved at the bench same twice. The musicians were always slightly down to Chinatown to get something to eat,” by Cage; and in the third, glasses and jacket different with their versions – their strengths he later tells Stein. “There was one person off, he’s shown reading a piece of music in a fluctuated. I was surprised that something was who stayed the whole time except when he photo captioned “Cale, seemingly hypnotized put into motion that changed me. I wasn’t went to the men’s room. He had brought his by the 80-second work of Erik Satie, tries to

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rest in theater basement in the morning.” for it to be complete?” “I have no idea,” the plate glass window, and is taken to hospital He is also briefly quoted in the article itself, poker-faced Welshman replies. Cale also gets for stitches. under the ‘8 To 10 P.M. Monday’ section by to play a bit of music on the episode, don-Richard F. Shepard, who writes: “In locker ning his glasses to run through Satie’s ‘Vexa- October 19 room, John Cale, fresh from keyboard, says tions’ for the cameras (albeit just once). “I M RECORDING JohN caLe aNd aNguS it’s a tricky business playing the piece. Not so noticed you’re still reading the music,” a sur- MacLiSe w/ La MoNTe youNg, MaRiaN much on the hands but ‘the head goes first,’ prised Cullen observes. “You didn’t memorize ZaZeeLa, aNd ToNy coNRad exact location he says.” it?” “No,” Cale replies in all seriousness. “I unknown, New York, NY.

Cale’s stint at the Satie marathon gives couldn’t.” ‘B-flat Dorian Blues (Fifth Day Of The Cale more publicity than anything else he Lest this be seen as an aberrant venture into Hammer),’ the earliest circulating record-does in the 60s – in much the same way as the avant-garde on the part of I’ve Got A Secret, ing to feature John Cale and Angus MacLise, did Nico’s appearance in La Dolce Vita, itself it should be noted that the show featured John is made today. Lasting just over ten minutes brief and largely unrelated to the rest of her Cage himself as a guest in January 1960 for a and featuring Young on sopranino sax, Cale career – even though he’s just at the begin-performance of his ‘Water Walk,’ which uses on viola, MacLise on hand drums, Tony Conning of a career that will lead toward much a water pitcher, goose call, iron pipe, bottle of rad on bowed guitar, and Marian Zazeela on more significant, original achievements with wine, electric mixer, whistle, sprinkling can, vocals, it has relatively little to do with the a far greater, longer-lasting impact. And while mechanical fish, quail call, rubber duck, tape sound of The Velvet Underground. But it there is no record of their meeting during the recorder, seltzer siphon, bathtub, ice cubes, a does give an indication of the kinds of music two-day event, someone who will later play a vase of roses, two cymbals, five radios, and a Cale and MacLise were immersing themselves huge role in Cale’s career is later reported to grand piano. Cale meanwhile is not the only in at the time, and how well Cale fits into the be in the audience. rock musician with ties to a famous band to ensemble after only a month or so of serious “I hadn’t realized Andy [Warhol] was appear on I’ve Got A Secret, as ex-Beatles drum-rehearsals. Young plays with the speedy snake-there,” Cage admits in Edie: An American mer Pete Best will appear on the March 30 charming abandon of free jazzmen such as his Biography. “But even if he wasn’t, it doesn’t 1964 episode. former college classmate Eric Dolphy, com-surprise me that his work followed the same plemented by a steady drone and similarly lines. Of course, artists are encouraged by September 29 freeform rhythms. other things that happen, but mostly by what M RECORDING JohN caLe aNd aNguS While the piece will never be officially is either in the air or already inside them. MacLiSe w/ La MoNTe youNg aNd MaR- released, it later appears on an unauthorized, Andy has fought by repetition to show us that iaN ZaZeeLa exact location unknown, New untitled double-LP set of Young recordings there is no repetition really, that everything York, NY. (probably plucked from a German radio we look at is worthy of our attention. That’s According to La Monte Young’s essay ‘Notes broadcast), while also circulating on unoffi-been the major direction for the 20th century, On The Theatre Of Eternal Music and “The cial cassettes. It shows Cale at his least rock-it seems to me.” Tortoise, His Dreams And Journeys,”’ today oriented and least accessible, and might prove marks the date of the first of his many unre- tough going to even the most committed of September 16 leased recordings with John Cale. The musi-VU fans. It is important, however, to acknowl-I TVCBS Studios, New York, NY. CBS I’ve cians continue to rehearse regularly through edge this piece and others like it as illustrative Got A Secret to the end of the year and are often taped, of the experimental sensibilities Cale would Yes, it’s true – one of the few times a mem-in various combinations, at Young’s Church bring to the Velvets, and also of his roots in ber of The Velvet Underground is seen on Street loft. Young and Marian Zazeela feature both contemporary classical composition and national television in the 60s occurs when on almost all of the tapes, with one or more the hardcore avant-garde. John Cale appears on the live game show I’ve of Cale, MacLise, and Tony Conrad often Got A Secret. Although it will be largely forgot-alongside them. November 3 ten about in years to come, the program is The first meeting between MacLise and Lou Reed sees Bob Dylan in concert at Syra-popular in its day. It involves celebrity pan-Cale probably takes place soon after Cale cuse University’s Regent Theatre. Released in elists trying to guess the ‘secret’ of various begins rehearsing with Young’s group, since May, The Freewheelin’ Bob Dylan has begun to guests. Cale’s secret? That he was one of the MacLise has been working regularly with establish Dylan as the most influential topical pianists who had played in the John Cage-Young since 1961. He does not feature in all songwriter in folk music. According to band-overseen Erik Satie marathon – of which, as of the line-ups with which Cale will rehearse mate Richard Mishkin, Reed has become a big it had happened just a week ago and received so diligently during the next couple of years, admirer of Dylan, even going so far as to get a major coverage in the New York Times, the pan-but is certainly part of some of them, provid-harmonica and work out an arrangement of elists of the New York-based show would likely ing the first point of contact between these ‘Baby Let Me Follow You Down,’ one of the have been aware. two future members of The Velvet Under-traditional songs from Dylan’s first LP, to play A sober, largely unsmiling Cale in jacket ground. with The Eldorados. and tie is on camera for most of the ten- The only time Dylan’s influence on The minute sequence. Accompanying him is the October Velvet Underground will become explicit off-Broadway actor Karl Schenzer, whose own LA & The Eldorados, Sarah Lawrence is on ‘Prominent Men,’ an early Reed-Cale ‘secret’ is that he’s the only listener to have College, Bronxville, NY composition. Highly derivative of Dylan’s sat through the entire 18-hour performance. One of the few specific and colorful stories early protest songs (right down to the bleat-Although Cale’s responses are largely limited about Reed’s college gigs with The Eldora-ing harmonica), it is rehearsed by the group to “yes” and “no,” he raises a few chuckles dos concerns this weekend show at Sarah in their formative days but will not be released when host Bill Cullen asks him, “What would Lawrence. Deciding that he doesn’t want until a July 1965 demo is included on the 1995 move a man to say you must play it 840 times to play, Reed smashes his hand through a boxed set Peel Slowly And See. Something of

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Dylan’s songwriting is nonetheless echoed in that emerge after MacLise’s death have clearly is says in the liner notes to The Cloud Doctrine, the personal, uncompromising approach to been sourced from the soundtrack, rather however, no voices or flutes can be heard. lyric-writing that Reed has begun to develop, than the original tapes, so the sound quality As peripheral as this session might be to the and one can’t help but wonder whether seeing is fairly poor. The best way to hear the sound-Velvet Underground story, it has significance a successful performer with a rough, uncon-track is while viewing the film itself, which for another reason: John Cale will soon move ventional voice gives Reed the courage to is available in almost-complete form on the into the same apartment at 56 Ludlow Street, assert his own idiosyncratic vocal persona. bootleg DVD The Velvet Underground Vol. 3 and and will eventually be joined by roommate as a bonus disc included with the first 100 Lou Reed as they begin to formulate plans November 9–10 copies of Counter Culture Chronicles. for a rock group in early 1965.

M RECORDING aNguS MacLiSe w/ ToNy First screened in early January 1964 as part coNRad exact location unknown, New York, of the Experimental Film Festival in Knokke, November 22 NY. Belgium, Chumlum is inspired in part by Rice’s In some ways, Lou Reed is an anomaly on the Very few recordings by The Velvet Under-work as an assistant to fellow avant-garde film-early 60s campus scene: a nonconformist, artis-ground’s first drummer will be issued during maker Jack Smith – another member of the tic rebel, experimenting with drugs and mak-his lifetime. Of the material released after MacLise/Cale/Conrad circle. Rice creates a ing other edgy lifestyle choices several years his death, the earliest is ‘Chumlum,’ a four-dreamlike effect by superimposing rotating, before the explosion of youth counterculture and-a-half-minute instrumental recorded on pulsing images over shots of skimpily dressed would make such behavior commonplace. In November 9–10 for the soundtrack of Ron and extravagantly costumed bodies writhing other ways however his mindset is similar to Rice’s experimental film of the same name. around and flashes of rural and beachside that of many other students at liberal colleges: MacLise plays a cimbalom – a hammered dul-scenery. Smith features prominently in the he’s a keen admirer of Bob Dylan, and today cimer more commonly used in some Eastern film, as do several of the actors from his Nor- finds himself shocked – devastated, even – by European and Middle Eastern music – and mal Love, while the atmosphere is made all the assassination of John F. Kennedy in Dal-drums; the recording was made, according the more exotic by MacLise’s otherworldly las. It will take some time for the experience to the liner notes of the CD compilation The soundtrack. (It might sound monotonous to make it into a song, but today’s events will Cloud Doctrine, with “the collaboration of on record, but the music works well with the eventually inspire ‘The Day John Kennedy Tony Conrad.” The result is an eerie, haunt-cutting-edge visuals.) Died’ from The Blue Mask. ing sound with a slightly Asiatic flavor, or a Also appearing in Chumlum are two new- “That is literally, exactly what happened,” more sinister slant on the tones and rhythms comers to the New York avant-garde art scene, he later explains in a promo-only interview LP of Caribbean steel drums. The drumbeat Gerard Malanga and Barbara Rubin, both that accompanies the 1982 album’s release. is reminiscent of Indian music and works of whom will come into The Velvet Under- “It was just a terrible time. It had – at least as as a counterpoint to the irregular strum of ground’s orbit later in the 60s. Rice inci-far as I’m concerned – a terrible effect that the cimbalom to create a tense, unsettling dentally has also worked with Taylor Mead, lasted a long time. And I’m still aware of it, drama. one of the most notable actors to appear in so I wrote about it.

“This had to do with a great instrument avant-garde films of the 60s. Mead himself has “I’m one of those people who really that I had recently bought, which I realized appeared in films by Jonas Mekas and Andy believed in John Kennedy. And I don’t care was a percussion instrument,” Conrad recalls. Warhol, both of whom will also become associ-if he bought the election, I don’t care about “I realized that with this instrument and that ated with the Velvets later on. Rice however any of that stuff. I don’t care about it. Or he percussion player, something really amazing will die of pneumonia in Mexico in late 1964, got us into Vietnam … I think he would have would happen that would be atmospheric in before the group’s formation. gotten us out. The Bay Of Pigs, I think he the context of Ron Rice’s film. I went and got would have straightened it out. It’s just a ter-the instrument, I got Angus, and went to Ron’s November 14 rible, terrible thing. door in the middle of the night, knocked on M RECORDING aNguS MacLiSe w/ ToNy “Some people say this is misplaced ideal-the door, woke him up, got him to the door, coNRad aNd PieRo heLicZeR 56 Ludlow ism. Well, maybe. I still don’t think so. But walked inside, stepped two feet inside the Street, New York, NY. nonetheless, that’s the way it was for me the door, put the cimbalom down, handed Angus The second of the posthumously released day John F. Kennedy died. I’m not into poli-the sticks, and said, ‘Play!’ That was the extent MacLise recordings is the 26-minute ‘The tics, and I don’t have any real feelings about of it. I knew it would happen, and it happened First Subtle Cabinet,’ recorded today at Tony politics one way or another, you know, except just like that! Ron was up the rest of the night, Conrad Studio – actually his apartment on the I felt bad here, and I wrote a song about it.” they recorded four takes.” Lower East Side. MacLise again plays cimba-In 1997, the entire 22-minute soundtrack lom – not on his own this time but with the December 19 would be included on the 1997 Counter Cul-accompaniment of Conrad and Heliczer, who Nico, The Blue Angel, New York, NY ture Chronicles LP Angus MacLise. No further between them handle drum, voice, guitar, Nico makes her first public appearance as a details are given about the recording, but it mandola, slide, and flute. musical performer at the Blue Angel on 152 seems logical to assume that it was made at ‘The First Subtle Cabinet’ is a much more East 55th Street in midtown Manhattan. She the same time as the edited version – which expansive, improvised piece than ‘Chumlum,’ is later reported to have been so nervous that is in itself probably enough to get a sense of recorded a few days earlier around the same she faints after her audition, only to wake up the composition’s flavor. The longer version haunting tone of the cimbalom – particularly to find that she has the job. This sounds some-continues with much the same mood and in terms of the clattering, tumbling drum, what dubious, however, considering that by instrumentation, although a yowling, word-which never settles into a regular pattern. The now she has almost a decade of experience less vocal-chant can be heard faintly at one addition of Conrad and Heliczer’s instrumen-as a top model – a profession that demands point. tal parts gives the performance a denser and a coolness under pressure in a wide range of Unfortunately, the versions of ‘Chumlum’ more dissonant, disturbing feel. Despite what situations.

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An invitation card reprinted in Uptight: The bowed guitar (Conrad), guitar or viola (Cale), day, and also how he just kept shooting until Velvet Underground Story indicates that Decem-tom-toms (MacLise), and spoken poetry of the actors got bored.” In the spring 1966 issue ber 19 is the opening night, with “the Blue sorts (Smith). Even if Cale’s chronology is a of Film Culture, Warhol calls Smith “the only Angel Lounge featuring the intimate songs bit off, it’s almost certain that such sessions person I would ever copy … I just think that of Nico” during cocktail hour from 5–8pm would be underway by or soon after the end he makes the best movies.” and “all drinks 85 cents; no minimum, no of the year. Smith acts in several of Warhol’s mid-60s cover.” Later reports will suggest that Nico Jack Smith is another of the colorful char-films – as do several other actors, including starts singing in New York clubs on the advice acters helping to shape Cale’s artistic and Montez, who have previously appeared in of Bob Dylan, but this seems unlikely as they musical vision, but most Velvet Underground Smith’s films – while the two men also col-won’t meet until the following year, and the fans will have no more than a vague (if not laborate on the unfinished 1964 film Batman invitation clearly states that December 19 is a nonexistent) knowledge of his contributions. Dracula. According to some of the interview-Thursday – as it is in 1963, not 1964. His most famous and notorious film remains ees in the documentary Jack Smith And The Nico’s Blue Angel engagement is likely his black-and-white, not-quite-feature-length Destruction Of Atlantis, he was also an influence brief and not particularly successful. She is Flaming Creatures from 1962. It’s a surrealistic on another filmmaker with an early link to the expected to sing like a European chanteuse piece, with exotic androgynous sexual images Velvets, Federico Fellini. in the jazz-pop style of a Marlene Dietrich, and transvestism. It is banned for being Smith’s films are funded in part by the backed by piano, bass, and drums. She has ‘obscene’ before being screened in the Senate writer and art collector Isabel Eberstadt, already recorded ‘Strip-Tease’ with Serge in July 1968 by Southern conservative senator daughter of poet Ogden Nash and mother Gainsbourg, so the style might not be com-Strom Thurmond at a ‘Fortas Film Festival’ of acclaimed novelist Fernanda Eberstadt. He pletely alien to her, but she is not enamored as a kind of protest against the liberal Abe generously uses one of her checks to pay for with the crowds of unruly, drunken men who Fortas’s nomination for Chief Justice of the a new tape recorder for Tony Conrad. In late shout at her and offer her drinks. Nico herself Supreme Court. 1963, Cale helps the two men lug the 108-will later claim in The Life & Lies Of An Icon Smith’s next film, the unfinished Normal pound machine from the Ferrograph Com-that she terminated the engagement herself, Love (1963–64), is something of a B-movie pany’s New York distribution center onto the but the book’s author, Richard Witts, suggests pastiche starring drag queen Mario Montez, subway and up to Conrad’s apartment. that she was let go after showing up late, for-another of the offbeat characters living at the While the recording equipment in Con-getting some of her lyrics, and complaining 56 Ludlow Street building. It also features rad’s apartment might seem primitive by about the audience. Angus MacLise (as the “green mummy”), a 21st-century standards, it is in fact fairly Nico is however pleased when one audience pre-fame Tiny Tim, and beat-poet Diana di sophisticated for a young, starving, and defi-member compares her to Greta Garbo, who Prima, while the opening titles credit MacLise, antly uncommercial artist of the time. Over-is currently living as a recluse in New York. Conrad, and Robert Adler for a musical dubbing is not yet a common practice among Among the jazz-pop standards she performs is soundtrack that is never actually assembled. low-budget home tapers, but Conrad and his ‘My Funny Valentine,’ a song that is obviously Smith is also connected to several other cohorts do so using a two-track Revere tape close to her heart, and one that she will end artists who will soon play their part in Cale recorder. Conrad also constructs a mixer of up recording 20 years later for her final studio and The Velvet Underground’s future. Angus sorts, enabling him to add and combine up LP, Camera Obscura. Nico returns to her trans-MacLise’s friend and publishing collaborator, to seven parts to an original signal, but the atlantic modeling career after her disappoint-Piero Heliczer, organizes a benefit screening funkiness of the setup results in considerable ing debut, but will be back in New York within for Flaming Creatures, having already published degeneration of sound quality as more layers a few years to pursue a singing career under a limited edition of The Beautiful Book, Smith’s are piled on top of each other. much more promising circumstances. 1962 volume of black-and-white photographs A friend of Conrad’s has built a reverb unit of costumed actors in poses resembling vin- with a fiberglass box, phonograph tone arm, December 24 tage film stills. The Beautiful Book’s jacket is amateur disc-cutting head, and metal mesh; M RECORDING JohN caLe aNd aNguS the work of Marian Zazeela, who modeled for he gives it to Tony, adding another weapon MacLiSe w/ La MoNTe youNg, MaRiaN Smith’s photos often between late 1961 and of sorts to their recording arsenal. They also ZaZeeLa, aNd ToNy coNRad exact location June 1962. try to devise tuned reverb chambers with a unknown, New York, NY. Conrad, Heliczer, Zazeela, and La Monte bed spring, and by raising and lowering water John Cale and Angus MacLise today record Young all appear in Flaming Creatures – which levels in a metal bucket. another unreleased tape with La Monte in fact was originally conceived as a vehicle for In his autobiography, Cale recalls work-Young, Marian Zazeela, and Tony Conrad, Zazeela – while a minute-long piece by Young, ing on soundtracks to Smith’s Flaming Crea-entitled ‘24 XII 63 NYC Third Day Of Yule Zazeela, MacLise, and Billy Linich appears on tures and Normal Love with this motley gang. Early Tuesday Morning Blues.’ the soundtrack. On February 27 1963, Smith, According to Conrad, however, this is inac— Conrad, and Henry Flynt picket the Museum curate. Flaming Creatures, he says, is already Also in 1963 … Of Modern Art, the Lincoln Center, and the complete (and has even been screened) by By the end of 1963, some of John Cale’s musi-Metropolitan Museum with signs bearing the time Cale arrives in New York, while about cal activities with his rapidly expanding circle inscriptions such as ‘Destroy Art!,’ ‘Demolish Normal Love he adds: “I recorded a lot of stuff of young New York avant-gardists are starting Concert Halls!,’ ‘No More Art!,’ and ‘Demol-that could have gone into that, but never did, to get captured on tape. In his autobiogra-ish Serious Culture!’ because my whole relationship with Jack fell phy, he recalls making experimental recordAn even more crucial admirer of Smith’s apart very quickly at one point. I gave him ings with Angus MacLise, Tony Conrad, and films is Andy Warhol, who writes in POPism: all the tapes of all the stuff, and then he just underground filmmaker Jack Smith at Con- The Warhol Sixties: “I picked something up never did anything with it, and I never did rad’s Ludlow Street apartment this year. The from him for my own movies – the way he either. He just played records [as the musical instruments on these performances include used anyone who happened to be around that soundtrack to] Normal Love. John might say

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that he recorded material [for the film] but two as its drones take on a much more var- 1964 as far as what the relationship was to Normal ied, pulsating, ‘breathing’ quality, almost at Love, it’s very, very tentative.” times approximating the sound of a jet pass— Whatever the case, Smith definitely makes a ing overhead.

lasting impression on Cale. In 1997, nearly ten The dates on which these two pieces are January years after Smith’s death from AIDS in 1989, recorded remains unknown; when they Nico learns via Willy Maywald that her mother, Cale will perform at the Flaming Creature: Jack later appear on an unofficial cassette taken now living in Ibiza and suffering from Parkin-Smith: His Amazing Life And Times retrospective from radio broadcasts on New York’s WKCR son’s disease, needs to be hospitalized. Nico’s at the Institute For Contemporary Art/PS1 as part of a 24-hour retrospective, they are son Ari has been living in Ibiza with his grand-Museum in Long Island City, New York. only assigned a year. The radio announcer mother, but clearly can’t be taken care of there lists the personnel on the 15-minute ‘Fire’ any longer. After some bureaucratic wheeling M RECORDING JohN caLe w/ ToNy coN- as Young on sopranino sax; Cale on ampli-and dealing, Alain Delon’s mother, Edith Bou-Rad aNd ack MiTh J S exact location unknown, fied viola; MacLise on hand drum; Tony logne, takes Ari from Ibiza to Bourg-la-Reine New York, NY. Conrad on bowed guitar; Marian Zazeela on in the Parisian suburbs and raises the boy as The earliest recording to surface from bowed gong and voice; and Terry Jennings on his grandmother for the next couple of years. Cale’s collaborations with Conrad and Smith – soprano sax. (While similar to the soprano Although Nico is bored of her fashion career, and indeed perhaps the earliest available Cale sax, the sopranino has a higher register, and she continues to work in Europe and North recording – is ‘Cold Starry Nights,’ which first is tuned to E-flat. Jennings, meanwhile, is America as a model throughout 1964. appears on the 1998 Smith CD Les Evening another member of Young’s musical circle, Gowns Damnées. Although it is dated only having played with him in several groups in ALSO … as hailing from the early 60s in Cale’s 2004 the years since the two men met in 1953.) The At some point around the beginning of 1964, boxed set New York In The 1960s, it could not personnel is likely similar – if not identical – John Cale moves from the loft on Lispenard have been recorded before Cale arrived in on ‘The Overday.’ Street that he has been sharing with Terry New York in September 1963. Cale plays a Tony Conrad concedes that the recordings Jennings to Tony Conrad’s three-room apart-bowed, Indian instrument with three strings from this period that have since made it into ment at 56 Ludlow Street. Cale and Conrad called a sarinda on the track; Conrad offers unofficial circulation are representative of the continue to play throughout the year with subtle but skin-crawling strokes of bowed cim-group’s sound in late 1963 and early 1964, but La Monte Young’s group. With little money balom; and Smith provides some rather goofy adds that they are “of uneven quality. The mix coming in from his musical pursuits, Cale ruminations about flying on a bed through balance is exceptionally unreliable. Often La continues to work in the Orientalia Book-starry nights and feeling sorry for all the “cats” Monte’s horn playing dominates to a degree shop – and, he later confesses, deals drugs walking the city street on such a cold winter that I wouldn’t have chosen. If I were the engi-on Young’s behalf, leading to a frightening evening. neer, I would have mixed it a little differently, one-night stint in the Manhattan House Of As is the case with most of the non-VU but not because his playing isn’t good. I think Detention. (He is released without any lasting recordings Cale makes in the 60s, ‘Cold Starry it’s very outstanding and excellent, and all consequences the following day.) Nights’ is a long way from the work he will go the stuff was fabulous. So, ‘representative’? While Cale and Conrad are in the group, on to produce with Lou Reed and company. In a certain way, but it sounded better than they undertake some live concerts in New York But it is still possible to hear some of the ele-that. If you were there, it sounded better. And at venues including the Pocket Theater, where ments – on this track and elsewhere – that will from where I was sitting, it sounded incredible,” Cale performed as part of the John Cage-led make their presence known again in The Vel-he laughs. ‘Vexations’ marathon in September 1963. vet Underground’s music. The most Velvets- “I think that we went into this with a lot of There are also a few out-of-town appearances, like element of ‘Cold Starry Nights’ itself is hope and good ideas, and also good will and including one at the Philadelphia College Of Cale’s sarinda, which has a similar effect to good sounds, and good dope and having a Art (see October 9 1964) and a gig referred the drones he will add to the group’s early good time. There was a lot of positivity about to in Tim Mitchell’s Sedition And Alchemy as “a work. Some of his playing on ‘Cold Starry undertaking all of this, and I loved doing it festival on Long Island.” Cale himself refers Nights’ is rather like the viola he plays on and working with these great people. As time in his autobiography to a concert at Rutgers the demo version of ‘Here She Comes Now’ went on, however, and things got more and University in New Jersey (with Young still on cut in early 1967 and later included on Peel more focused over the course of a couple saxophone) that led to rioting and booing. Slowly And See. of years, it was just obvious to all of us that It is probably around the same time that there was nothing more interesting going on Cale and Conrad hit upon a new way of M RECORDING JohN caLe aNd aNguS anywhere than what we were doing at that amplifying their instruments that will forever MacLiSe w/ La MoNTe youNg, MaRiaN moment.” change Cale’s approach to music-making. ZaZeeLa, ToNy coNRad, aNd TeRRy JeN- After experimenting with an electric pick-up NiNgS exact location unknown, New York, ALSO … on his guitar, Conrad puts one on his violin, NY. Some time in late 1963, John Cale makes a with Cale doing the same to his viola. Cale Two other recordings probably made brief contribution to Fluxus Preview Review, makes a further adjustment to his viola when toward the end of 1963 are the lengthy La which prints the following lines from his ‘Out-he files off the bridge and uses guitar strings Monte Young compositions ‘The Overday’ door Pieces For Robin Page, Summer 62’: to get “a drone that sounded like a jet engine,” and ‘The Fire Is A Mirror.’ Both will eventu- “2. Make love to a piano without arms … as he puts it in his autobiography. Conrad also ally make it into unofficial circulation; both 8. Follow the wind and listen to it.” puts metal strings on his violin. are also reminiscent of Young’s ‘B-flat Dorian The resulting sound isn’t exactly rock’n’roll, Blues (Fifth Day Of The Hammer).’ ‘The Fire but it does offer a powerful roar not possible Is A Mirror’ is the more interesting of the with purely acoustic instruments. Amplified

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viola will of course become a prominent fea-Conrad bought the contact pickup used to by Young’s Mela Foundation. It also appears ture on the first two Velvet Underground increase the volume of his violin at the elec-on the same untitled double-LP bootleg that albums. Cale is able to simulate the sound tronics retailer Lafayette Radio. “The idea of contains ‘B-flat Dorian Blues (Fifth Day Of of Young’s sopranino sax by playing with the amplifying the violin was kind of obvious,” The Hammer).’ harmonics high on his strings. Young has trou-he says. “The awareness of the pickup and ble tuning his sax to the amplified violin and the idea for using the pickup comes from February 18 viola, so eventually switches to vocals. John Cage. I had performed in [Cage’s] World traveler Angus MacLise leaves New York Decades later, Conrad and Cale still feel ‘Atlas Eclipticalis’ in Boston, and Cage’s use for a lengthy trip to the East. He will return that their contributions to this change in of Slinkeys and so forth used the pickups and to New York and continues to drum with La the group’s sound have never been properly these contact mikes. They were cheap and Monte Young’s group from time to time, but acknowledged by Young. “When I started to effective, and not very good. They had a lot not as regularly as before. play violin with this group, everybody was of resonances and they were shrill, but they “Angus is a very inspired drummer,” Young acoustic, of course,” Conrad explains. “The were very interesting.” recalls in an interview with Gerard Malanga whole idea of being amplified was a little for the ninth issue of Little Caesar magazine goofy. But as I said, there were problems in AND … in 1979. “I always enjoyed working with him the mix. One reason for amplifying the vio-At some point in early 1964, La Monte Young’s but he often didn’t make the gig or came at lin, which I’d proposed, was that the violin group records some as yet unreleased tapes the halfway point or something like that … was kind of soft compared to the saxophone. (given the name Pre-Tortoise Dream Music by whenever structure comes into the picture he Let alone the fact that Marian’s voice drone Young and Zazeela) in the hope that Harry doesn’t want to participate. He’ll say, ‘Okay, became incredibly strong as she developed Kraut, who runs the music program Cale I’ll do it,’ but he won’t.” it. There were times when her voice drone attended at Tanglewood in 1963, might be According to the liner notes to the Cloud actually became the dominant feature of the able to help them gain wider exposure. On a Doctrine compilation, MacLise also collabo-entire group. I don’t think there’s any record-trip to New York to see the Boston Symphony, rates on some “music for dance” around this ings of it that are released that suitably fea-Kraut watches Cale (viola), Conrad (bowed time with Yoko Ono, a Fluxus-affiliated artist ture those weeks and months when Marian’s tuned metal discs), and Young (sopranino based in New York with whom Young works voice drone was that powerful. In order to sax) perform a three-and-a-half-hour piece briefly when he organizes concerts in her compete, the violin certainly needed a little on the same chord in Young’s loft. He is both loft. MacLise also produces incidental music more oomph. And of course, we didn’t have impressed and exasperated, but is unable to for plays and films by John Vaccaro and his rock amps laying around. [You needed] to help the group turn their music into a more Theatre Of The Ridiculous during 1963–66, play through a hi-fi if you were gonna play commercially rewarding venture. but no recordings of these collaborations will amplified, which is the way we did it. ever surface.

“The other part of it was that I had been January 12 largely responsible for introducing the idea M RECORDING JohN caLe aNd aNguS March for harmonic relationships and rational fre- MacLiSe w/ La MoNTe youNg, MaRiaN John Cale’s green card might entitle him to quency relationships into the practices of the ZaZeeLa, aNd ToNy coNRad exact location live and work in the USA indefinitely, but it group. My whole awareness of the relevance unknown, New York, NY. also means that he is subject to the American of harmonic relationships came out of the Today marks the recording of another one military draft. He fails his physical exam for experience of listening very carefully to the of the few circulating performances to feature the Marines sometime this spring because of violin when I would play double-stops – that Young, Cale, and MacLise: a 12-minute piece a bout of hepatitis, however, thus saving both is, two notes at a time – and hear the beats, with the unwieldy title ‘“12 I 64 NYC” The his American residency and his future with interactions, and difference tones that were First Twelve Sunday Morning Blues.’ Young is The Velvet Underground from interruption produced by the non-linear qualities of the still on sopranino sax at this point, with Cale by military service in Vietnam. ear and the instrument. You only hear those on viola, MacLise on hand drums, Tony Con-things adequately when the music is loud, rad on bowed guitar, and Marian Zazeela on April 2–3 which kind of overdrives your ear. In fact, voice. As pre-VU recordings go, this is one of M RECORDING JohN caLe aNd aNguS I’m kind of deaf in one ear! the more impressive – and, relatively speak- MacLiSe w/ La MoNTe youNg, MaRiaN

“But the difference tones in particular are ing, one of the more accessible to listeners ZaZeeLa, aNd ToNy coNRad exact location not really audible unless the sound is pretty less inclined toward the avant-garde. It is cer-unknown, New York, NY. strong. And of course, nobody could hear any tainly one of the group’s most textured and La Monte Young and his group spend two of this. You’d hear it sometimes if you hear dynamic recordings, with Young’s sax-playing days recording ‘Pre-Tortoise Dream Music’ at a couple of trumpets playing together, but suggesting that he might have carved out an a private performance for Harry Kraut. The you couldn’t really hear it in the context of impressive career as a free-jazz musician had tape, featuring Young on sopranino saxo-the violin and saxophone. Let alone a bowed he chosen that path. Cale, Zazeela, and Con-phone, Terry Jennings on soprano sax, Marian guitar, or something basically as modest as rad create a thick, mesmerizing, Asiatic drone Zazeela on voice drone, John Cale on viola, that in gain. So by amplifying the instrument, as a backdrop, while MacLise’s percussion is and Tony Conrad on violin, is never released. especially with these contact pickups that were typically unpredictable. The title phrase ‘The The basis of the piece is formed – with octave cheesy and quite non-linear in their response First Twelve’ comes from MacLise’s calendar/ displacements – by the ratios used in another so that they somewhat distorted the sound, it poem, Year. Young composition, ‘Sat–29 February 64–Early became really possible to make out the dif-Still unheard even among some Young AM–Fifth Twelve.’ (Those interested in the ference tones, and the other inner sonorities devotees, the track is given a low-profile precise origins and structure of the piece may and timbral events that occurred within the release in 1992 on a compilation cassette by wish to read Young’s detailed essay ‘Notes On sound envelope.” MacLise, Various Works, which is distributed The Theatre Of Eternal Music And “The Tor-

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toise, His Dreams And Journeys,”’ available It With Mine,’ a song that shows him to be June online at melafoundation.org/theatre.pdf.) moving toward more yearning, attractive Lou Reed’s eventful college years come

melodies than before. It also demonstrates to end when he graduates from Syracuse

, Late May an ambiguous romanticism that suggests an University with a BA in English. Among his

Nico meets Bob Dylan, who has arrived in artistic growth as he moves from topical pro-graduating classmates are Peter Guber, who Paris to discus the translation of his songs test songs into more reflective, poetic terri-will later become an extremely successful film into French with Hughes Aufray, whose 1965 tory. The song is not included on Another Side producer and a CEO at Sony Pictures, and LP Aufray Chante Dylan will mark one of the Of Bob Dylan, however, or indeed any of his Betsey Johnson, who will eventually become earliest instances of an artist performing an albums of the 60s. (A 1965 version is eventu-an internationally famous fashion designer entire album of Dylan covers (especially a ally included on the 1985 boxed set Biograph, – but not before designing clothes for The non-English-speaking singer). while another attempt from a year later fea-Velvet Underground and, in 1968, marrying

Dylan and Nico are introduced by the actor tures on The Bootleg Series Volume 1–3.) John Cale. Ben Carruthers, who is most famous for his While Dylan seems not to attach much Reed later claims in an essay included role as the moody younger brother in John importance to this new composition, it will with No One Waved Goodbye: A Casualty Report Cassavettes’s pioneering late-50s film Shadows. feature prominently in Nico’s attempts to On Rock And Roll in 1971 that he had been Carruthers has also appeared in The Dirty launch a musical career of her own over the asked by the Tactical Police Force Of Syra-Dozen and the avant-garde film Guns Of The next few years. She will claim that Dylan wrote cuse to leave town “well before my graduation Trees, the director of which, Jonas Mekas, will it “about me and my little baby” in Nico: The because of various clandestine operations I later crop up in the Velvet Underground story. Life & Lies Of An Icon, and will tell Jim Con-was alleged to have been involved in.” Shelley Living in London in the mid 60s, Carruthers don in the third issue of What Goes On that Albin later tells Victor Bockris that the police will also try his hand at becoming a record-Dylan “sent me the acetate [of his version] were suspicious of Reed’s possible involve-ing artist, setting the poem included on the because he had promised me a song for my ment with drugs and homosexuality, but back of Another Side Of Bob Dylan to music and singing.” The first person to record the song notes that he stayed in Syracuse for a couple calling the result ‘Jack O’ Diamonds.’ The however will be Judy Collins, who releases a of weeks after graduation to help her through single, recorded with The Deep, is produced non-LP single of it in 1965, later noting that a serious illness. Their romantic relationship by Shel Talmy, another American expatriate Dylan told her “that he wrote the song for me. has long since finished, however, and once currently riding high with his productions of Then he told Joanie Baez that he wrote it for Albin returns to Chicago, Reed goes back to The Kinks and The Who. ‘Jack O’ Diamonds’ her.” (The Biograph liner notes confirm that his parents’ house in Long Island. is a pretty decent rock tune – and one of the Dylan’s January 14 1965 version was taped for After graduating, Reed is offered a job first rock covers of a Bob Dylan creation – but Collins, without clarifying the original inspira-by his tax-accountant father, who hopes his sinks without a trace upon its release in June tion for the song.) son will eventually take over the family busi-1965. (This doesn’t stop the British folk-rock As far as Collins is concerned, “It’s not a very ness. Reed unsurprisingly declines the offer Fairport Convention finding the single a few good song … certainly not a Dylan song that and spends the summer playing in a local years later, however, and including a cover of lives up to its name. It doesn’t really go any-rock’n’roll band instead. Having finished it on their 1968 debut LP.) where, the lyric’s kind of flat.” Nico clearly feels his studies he, like Cale a few months earlier,

Back in May 1964, Dylan is not quite an otherwise, whether because of her personal becomes eligible for the military draft. But he international superstar yet but is already association with the song or a genuine affec-too has coincidentally recently suffered from regarded as the hottest and most important tion for it. She will make repeated attempts to hepatitis, and if that isn’t enough to discour-songwriter in folk music in the USA, where his record it over the next few years, both as a solo age the authorities, he deliberately acts in albums The Freewheelin’ Bob Dylan and The Times artist and also with The Velvet Underground. such a way in front of the draft board to be They Are A-Changin’ charted at Number 22 and The Velvets will make a brief attempt, as evi-classified as mentally unfit for service (except Number 20 respectively. Peter Paul & Mary denced by its inclusion on a tape of their show in the event of a war with China). have since turned two of his songs, ‘Blowin’ at the FilmMakers’ Cinematheque in New York “I said I wanted a gun and would shoot any-In The Wind’ and ‘Don’t Think Twice, It’s on February 6 1966, but a Nico-sung version one or anything in front of me,” he recalls in All Right,’ into Top Ten hits. Freewheelin’ will won’t appear on vinyl until it is included on her Between Thought And Expression: Selected Lyrics soon enter the British charts, too, and leading solo debut, Chelsea Girl, a year later. Of Lou Reed. “I was chewing on 750-milligram British groups The Beatles and The Animals Nico’s fling with Dylan lasts no more than green Placidyls at the time and competing have already picked up on Dylan’s music. Just a couple of weeks. By June 9 he’s back in New with a drag queen and a junkie to get out. It a few days before meeting Nico, Dylan played York, recording Another Side Of Bob Dylan in a was the one thing my shock treatments were a sold-out show at London’s Royal Festival single day. Their paths will cross again within good for.” (It is not known how Sterling Mor-Hall in between TV, radio, and other media in a year, but in the meantime Dylan seems – rison too managed to escape the draft, but in appearances. however inadvertently – to have encouraged a 1966 interview with Nat Finkelstein Reed

Nico invites Dylan – who says he has seen the model and actress to pursue a musical says that the guitarist is “busy looking for a her in La Dolce Vita – to her apartment, where career after getting annoyed at her attempts psychiatrist to get out of the army.”) he ends up staying for about a week as they to sing along with him. begin a brief affair. Nico finds him politically “I thought he was being chauvinistic and a ALSO … naive yet charming. She later recalls accom-little annoyed that I could sing properly – at At some point this summer, La Monte Young panying him to Vernilya, a small village near least in tune,” Nico later claims in The Life & switches from saxophone to voice in his group Athens, Greece, where he writes much of the Lies Of An Icon. “So he made me more deter-with John Cale, Tony Conrad, and Marian material for his fourth album, Another Side Of mined to sing to other people.” A good year Zazeela. The group’s material is becoming Bob Dylan. and a half will pass, however, before she does increasingly shaped by ‘The Tortoise, His

While in Greece Dylan writes ‘I’ll Keep so on a regular basis. Dreams And Journeys,’ emphasizing sus-

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taining intervals, triads, and chords for long ent smart-aleck quality. They often give the us literally locked in a room writing songs, periods of time, as detailed in Young’s essay impression that he’s so amused – and faintly then we’d go down into the studio for an hour ‘Notes On The Theatre Of Eternal Music And disgusted – by the whole exercise of produc-or two and cut three or four albums really “The Tortoise, His Dreams And Journeys.”’ ing dumb records for gullible suckers that quickly. Which came in handy later because I Young has also begun to tune his piano to the he can’t quite bring himself to take it seri-knew my way around a studio – not really well Just Intonation system and, on June 8 1964, ously. And yet Pickwick also serves a valuable enough but I could work really fast.” records his composition ‘The Well-Tuned education in many respects. Reed might have It’s hard to tell exactly how many records Piano.’ The performance will eventually had some brief studio experience with Bob Reed plays and sings on during his stint surface on an unauthorized LP; while Cale Shad in 1958 and 1962, but now he’s writing with Pickwick, since many of the company’s doesn’t appear on it, the tape is the first cir-songs day in, day out, and sometimes play-records are assembled as quickly as possible culating recording of the piece that will evening and singing them in the Pickwick studio for a limited shelf-life and contain nothing in tually become not just Young’s most famous (described by Tony Conrad in UpTight: The the way of musician credits. It’s unlikely too composition, but one of the most famous Velvet Underground Story as “a little hole-in- that precise details will ever be established, works of 20th century avant-garde music. the-wall room with a couple of Ampex tape but at least four tracks exist with Reed on

recorders in it”). lead vocals: ‘Cycle Annie,’ credited to The

September Pickwick’s resources are threadbare, but Beachnuts; ‘You’re Driving Me Insane,’ by

Lou Reed lands a job as a songwriter at Pick-they give Reed essential experience in both The Roughnecks; and ‘The Ostrich’/‘Sneaky wick International Records in Long Island the workings of the recording studio and the Pete’ by The Primitives. Even at this early stage City. He is recommended to the company’s discipline of writing material for actual com-in Reed’s career, the vocal style is unmistak-songwriter-producer Terry Philips (born Phil mercial, vinyl product. As cheesy as much of able. Teitelbaum in Brooklyn) by Philips’s cousin, that Pickwick product is, Reed can’t help but These four are just a handful of the numer-Leslie Silverman, who went to Syracuse with let some of his originality slip through into ous obscure releases to bear the Philips-Reed-Reed and is the girlfriend of Don Schupak, his singing and songwriting for the company, Vance-Sims songwriting credit. Some are so manager of Reed’s college band LA & The occasionally hinting at elements of The Velvet obscure, in fact, that it will take decades for Eldorados. Underground’s sound. them to be discovered. In an April 1986 radio

For the next six months or so Reed com-It is often overlooked that Reed’s collabora-interview with KZEW-FM’s George Gimarc, mutes from his parents’ home in Freeport to tors at Pickwick aren’t lowly hacks but in fact Reed will hint at how the credits are not churn out tunes for $25 per week with Philips have close ties to a number of notable artists always a clear indicator of who did what: “It and two other songwriters, Jerry Vance (born and producers. The most significant of his col-didn’t matter who wrote the song. Four peo-Jerry Pellegrino) and Jimmie Sims (born Jim leagues, Terry Philips, already has a number ple got credit for it.” According to Philips, Smith). He will continue to work for the of fairly impressive credits on his resume. By however, “Jerry Vance and Jimmie Sims were label well into 1965, even after moving to the 1960 he was working for Jerry Leiber and Mike and are talented guys. Not on the level of Lou Lower East Side and starting to get The Velvet Stoller’s Trio Music publishing company. Two or myself. But whatever we did where their Underground together. years later he brought Jay & The Americans to names appear, we contributed. [Vance and

Reed’s stint at Pickwick is the phase of his Leiber & Stoller, who produced the group’s Sims] were more pop-oriented, not into the long and storied career that most puzzles his smash hit ‘Only In America’ (which the duo bag that I was or Lou was.” later biographers. Less than a year before co-wrote with Barry Mann and Cynthia Weil). Philips is keen to refute suggestions that recording tentative versions of ‘Heroin,’ He also recommended a young Ellie Green-Reed was exploited or underappreciated at ‘I’m Waiting For The Man,’ and ‘Venus In wich for a job at Trio, and in 1960–61 wrote Pickwick. “The extent of what he became with Furs’ with John Cale and Sterling Morrison, some songs with Phil Spector for Gene Pit-things like ‘Heroin’ and ‘Walk On The Wild here he is working as Brill Building-style ney (‘Dream For Sale’) and fading Atlantic Side’ were really indicated in the short stories tunesmith for a company that specializes in Records star Ruth Brown. he showed me,” he explains more than 40 budget albums sold for a dollar. Among the Philips clearly has something to teach Reed, years later. “That’s the reason I asked him to records that Pickwick puts out are albums of then, and Reed is suitably impressed by his come in and work for me as a writer. I didn’t British Invasion-style music designed to fool connections to these giants of the pop-song- sign him to do ‘Cycle Annie’ … I signed him listeners into thinking they’re buying Beatles writing world. By September 1964, Spector, to do what basically The Primitives started to records, and collections of surf and hot-rod Leiber & Stoller, Mann & Weill, and Green-do. And that was to do music kind of com-songs by studio-only groups ground out as wich (in collaboration with her husband, Jeff ing off the wall. The talent was obvious from quickly as possible to capitalize on whatever Barry) are all at the very top of the pop world, day one. is in fashion at the time. Delmore Schwartz’s writing and producing hits for acts such as “I used to go out and meet with his par-admonition to never sell out might still be The Righteous Brothers, The Shangri-Las, ents in Freeport,” Philips adds, “because they ringing in his ears, but here Reed looks to The Dixie Cups, and The Drifters. wanted to speak with me, because they were have opted for the cheapest sellout imagi-Philips and Reed meanwhile find them-wondering what would become of him. I used nable. selves working for a budget company that’s to tell them ‘he has real talent.’ I recognized

“In many ways, this is the craziest part of the not even in the Brill Building – or even in the vision he had. I encouraged him to really entire crazy Velvet Underground story,” write Manhattan – but in a Podunk facility in Long explore the insight I saw in some of his stories. M.C. Kostek and Phil Milstein in their critical Island City. The setup at Pickwick is similar While he could be obnoxious at times, and a discography of the group for the What Goes On to the Brill Building in some ways, however. pain in the neck, he was a guy who really had fanzine. “No work Lou has done is so trivial, Songwriters are expected not just to grind out a lot of value.” so pre-fabricated, so tossed off.” tunes on a virtually daily basis but also to play, Philips was less enamored with Reed’s gui—

It’s true that even the best of the records sing, and produce the records themselves. In tar-playing. “I thought that he could play okay Reed writes at Pickwick have an irrever-1977, Reed tells Sounds, “There were four of at best, but it didn’t matter, ’cause he had an

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WHITE LIGHT/WHITE HEAT n 1958-64

instinct about the music. He made good deci-today. Running to almost nine minutes, it is at the time. I think there may have been one sions, musically, to stay within chord changes, described in the liner notes to the 1997 Jack other person in the audience!” and within progressions, which enhanced his Smith compilation album of the same name From now until December, the group’s perwork.” as “a moment of affected rapture.” (The piece formances feature music tuned to the pitch Philips always envisioned Reed’s gifts also features on Cale’s 2004 boxed set New of the motor on the aquarium belonging to blooming not on the Pickwick production line York In The 1960s.) Young’s pet turtle. The three concerts are but as part of a more serious, artistic enter-The recording appears to make use of the given the cumbersome title this weekend of prise. “Pickwick Records was a budget label, musicians’ unusual reverb and overdubbing ‘The Tortoise Droning Selected Pitches From and a very, very successful label,” he says. “This equipment, as Smith’s disembodied, quizzi-The Holy Numbers For The Two Black Tigers, was not some little donkey company. It started cal, and impressionistic spoken prose swims The Green Tiger, And The Hermit.’ The Two the concept of budget records, and they had through layers of tape-manipulated effects. Black Tigers are represented by Young and a ton of money. They wanted me to start a Unusual drones merge with mounds of vari-his wife, Marian Zazeela; The Green Tiger record company with them that was gonna speed echo offset by occasional rattling beats by Tony Conrad; and The Hermit by Cale. be a legit record company.” and thumps, laughter, coughing, outer-space As ‘The Tortoise, His Dreams And Journeys,’

Philips’s assertion about Pickwick’s wealth oscillations, and what sounds at times like a the piece will continue to evolve into the 21st is confirmed by a July 1966 article in Bill- harmonica. century, long after Cale and Conrad end their board magazine which puts the company’s ‘Silent Shadows’ might have been more collaborations with Young. most recent annual gross sales at seven-and- effective without Smith’s somewhat distracta-half million dollars. But according to Bob ing musings. The overall effect is a little self- November Ragona, general manager at the time of what indulgent, suggesting the work of excited M RECORDING The PRiMiTiveS Pickwick he describes as Pickwick’s “frontline product,” youngsters testing the limits of their newly dis-Studios, 8–16 43rd Avenue, Long Island City, the company is wary of plowing too much of covered toys. This kind of effects-laden explo-NY. Producer Terry Philips. that money back into new product. “Why ration anticipates some of the techniques of Only two months after signing on at Pick-should they put out a record and spend 50 psychedelic rock, but is something that The wick, Lou Reed gets his first shot at making to 150,000 thousand dollars, when they could Velvet Underground will largely avoid. The a record of his own – or at least as the leader put out a budget album that sells for 99 cents, piece is testament, however, to Cale’s early of a studio-only group – when he cuts ‘The pick it up for a couple of thousand bucks, and appetite for working outside of the norm and Ostrich’ and ‘Sneaky Pete’ as the lead singer make 40 or 50 thousand dollars?” investigating the possibilities of what can be in The Primitives. It’s not know exactly when Like Philips, Ragona quickly comes to done on tape, as opposed to what can be done he records the two songs, but November seems appreciate Reed’s talent. “Lou was always one in performance. likely, since both are registered on November of a kind,” he says. “From the day I met him, 16. He definitely writes ‘The Ostrich’ at the you just knew Lou was a star. He just had a October 9 start of the month, around the time he reads charisma about him.” John Cale w/ La Monte Young, Marian about how “the craze for ostrich [feathers] was It might be tempting with hindsight to see Zazeela, and Tony Conrad, Philadelphia the big fashion story” at the April In Paris Ball this strange interlude as the one time Reed College Of Art, Philadelphia, PA in a November 2 column by Eugenia Shepp-sold his soul to the conventional rock’n’roll This performance, titled ‘Prelude To The Tor-ard in the New York Herald Tribune. (In 1972, industry for a paycheck. But at the same toise,’ is the first show by Young’s group to use Reed will claim in an interview with Melody time as knocking out made-to-order surf and amplified string drones, according to Keith Maker that he didn’t read the story until a day British Invasion copies, he’s also working on Potter’s Four Musical Minimalists: La Monte after writing the song.) more serious, personal, and ambitious mate- Young, Terry Riley, Steve Reich, Philip Glass. On one level, ‘The Ostrich’ might be seen rial that’s wholly different than his Pickwick as a ridiculous, cynical knock-off. The idea Records output. October 30–November 1 of making a dance record urging listeners to “The material I was doing, people wouldn’t John Cale w/ La Monte Young, Marian get down on their faces and step on their own go near me with it at the time,” he later recalls, Zazeela, and Tony Conrad, Pocket heads is certainly pretty ludicrous. The song as quoted in Transformer: The Lou Reed Story. “I Theater, 100 Third Avenue, New York, could be viewed as a deliberate satire of the mean, we wrote ‘Johnny Can’t Surf No More’ NY vapid subject-matter of early rock’n’roll, like [as recorded by Jeannie Larimore] and ‘Let John Cale might not perform very often something Frank Zappa might have written The Wedding Bells Ring’ and ‘Hot Rod Song.’ before joining The Velvet Underground, in his early days. On another level, however, I really liked doing it, it was really fun, but I but he makes quite a few appearances at the it’s rather subversive. The clanging, siren-like wasn’t doing the stuff I wanted to do.” As he Pocket Theater, where he previously appeared guitar line that kicks off the track is almost confirms to Gimarc in the KZEM-FM interas one of the performers at John Cage’s ‘Vexa-avant-garde, and what follows is like a grungy view, however, “In the meantime I was writing tions’ marathon in 1963. One of these con-garage take on Phil Spector’s Wall Of Sound, all the stuff that came out on the [first] Velvet certs is attended by Jeff Perkins, who will later right down to the circular riff that replicates Underground album.” befriend Angus MacLise and oversee the light the hook in The Crystals’ ‘Then He Kissed shows at a couple of Velvets concerts in Los Me’ almost note-for-note.

September 5 Angeles in 1968. He recalls Young “singing This, surely, is the first record on which the M RECORDING JohN caLe w/ ToNy coN- and dragging a coin over a gong … it was Lou Reed we now know and love emerges. Rad aNd ack MiTh J S 56 Ludlow Street, New a very kind of trance-like situation. I think His vocals are halfway between hipster poetry York, NY. the gong was made and given to La Monte by and streetwise rock’n’roll, and infinitely more The first commercially available John Cale [sculptor] Robert Morris. They were dressed assured and sardonic than on his earlier, Bob recording that can be dated with certainty is in hooded garments. It was very weird stuff. Shad-produced efforts. When he yelps – as ‘Silent Shadows On Cinemaroc Island,’ taped I liked it, because I was I guess ready for that he does periodically, encouraged by silly, fal-

33

34 The Primitives pose in the trunk of Terry Philips’s car. From left: Tony Conrad, Walter De Maria, Lou Reed, and John Cale.

WHITE LIGHT/WHITE HEAT n 1958-64

setto backing vocals – it sounds more like a rectly to the first meeting between Lou Reed covery of a tape of Reed, Cale, Tony Conrad, drunken party spiraling out of control than and John Cale. Walter De Maria, and guest Jimmie Sims a recording session at a professional studio. rehearsing as The Primitives on December 3

Sometimes the pummeling rhythms acceler- November 16 1964, as documented in Branden W. Joseph’s ate to the point where a conventional beat Lou Reed’s industriousness since joining Beyond The Dream Syndicate: Tony Conrad And is almost entirely lost – something Angus Pickwick is evidenced today when four songs The Arts After Cage. The musicians must have MacLise would certainly have been at home he has co-written with Terry Philips, Jerry known each other for at least a few days by with – and Reed flashes his unrivaled knack Vance, and Jimmie Sims are registered and then, especially as they play their first live for nonsense improvised lyrics over the instru-published by Barmour Music. The songs in show earlier the same evening. mental break and fade. Ambient white noise question are ‘The Ostrich,’ ‘Oh No, Don’t Do It’s likely then that the first meeting cuts across the rest of the racket, making the It,’ ‘What About Me?,’ and ‘The Wild Ones.’ between Cale and Reed takes place somewhere record sound like it was made in a wind tun-Another song registered today, ‘I’ve Got A between the recording of ‘The Ostrich’ and nel. All in all, the idea that such a 45 could Tiger In My Tank,’ is credited to these four the December 3 concert, with late November gain favor among radio DJs seems preposter-men plus Robert Motta. Each of these songs being the most likely guess. Most subsequent ous – although no less preposterous than the will be recorded by one or more acts during reports suggest that Terry Philips starts to look record itself. the next few years. for a band to play live as The Primitives after a

“We had, I guess you would call it, a one- television show producer hears the single and

track Ampex,” Terry Philips laughs. “We November 20–22 asks the group to perform it. But as the single basically were in an office. Pickwick had a John Cale w/ La Monte Young, Marian is not released until December, it seems more warehouse, and made a very big office for me Zazeela, and Tony Conrad, Pocket likely that Philips already has live promotion that was not just an office. You could rehearse Theater, 100 Third Avenue, New York, in mind for the 45. Reed is the obvious choice in there; you could get 25 people in if you NY to front The Primitives, but Philips needs wanted to. Truthfully, because of the floors Cale is involved in another series of concerts other musicians to play with him – musicians, and the make-up of this one-track Ampex, we with Young’s group, this time featuring ‘The perhaps, who are closer in sensibility to Reed could actually get a sound. One night we were Tortoise Droning Selected Pitches From The than the other Pickwick staffers. sitting around with the guys and turned on the Holy Numbers For The Two Black Tigers, The Despite – or perhaps to some degree tape, and they started to do [‘The Ostrich’], Green Tiger, And The Hermit.’ because of – their demanding rehearsals with and I was into it. I told them, ‘C’mon, let’s just La Monte Young, John Cale and Tony Condo this, let’s record it and let’s see where it , Late November rad have begun to listen to more and more goes.’ And when we were through, I thought No event is more crucial to the birth of The rock’n’roll down at 56 Ludlow Street. As well that it had something. It wasn’t Sunny Murray, Velvet Underground than the first meeting in as the British Invasion tunes blasting out of Sun Ra, Pharoah Sanders, Larry Young avant-late November 1964 between Lou Reed and Murray The K’s show on New York’s WINS, garde off the wall. It seemed to have kind of a John Cale. Neither would have been able to they also play singles by Hank Williams and format to me. I wanted to take a chance and make the leap from his respective perch – the 1958 Everly Brothers classic ‘All I Have release that. The idea was to do the kind of Reed’s trashy rock’n’roll, Cale’s deep avant-To Do Is Dream.’ music that Lou was evolving into.” gardism – to the group’s groundbreaking, “John had really not been soaked in pop

The B-side, ‘Sneaky Pete,’ is perhaps the experimental, and literary rock without the music until he came and lived over at my least impressive of the four Pickwick record-other. Each sees something in the other, and place,” Conrad notes. “We used to hang ings known to feature Reed on lead vocals. helps bring out qualities that ignite the spark out and listen to my pop record collection. But it’s no less chaotic than its A-side, with around which the group’s sound and vision I enjoyed in some ways excusing myself for more jungle-like whoops and declamatory are built. As with many intense collaborations, this fetish of pop music, pointing out some vocals. If the track was cut cheaply, it cer-however, the spark is not lit immediately. It of the aspects that I thought were interest-tainly sounds as though all concerned had a takes some time for the pair to feel each other ing in relation to the kind of music that we blast making it. It might be barely more than out and begin to venture into territory that played together. For example, the Wall Of a rudimentary riff, but the riff itself is catchy was, until now, alien to both. Sound qualities of Spector’s productions was and truly primitive (pun intended), a whiny, Depending on where (and by whom) the interesting, because the kind of sound that tinny clamor that makes you wonder if the tale is told, there are still several different we were producing in the ‘dream music’ was guitar in question was rescued from a Lower variations on the idiosyncratic series of coinci-also in its way a wall of sound. There were East Side trashcan. dences that led these two individually minded also the bright harmonies that were in the

Tony Conrad will soon be recruited to play musicians from different backgrounds to foreground in some of the pop music, just in the live incarnation of The Primitives. He meet in the first place. One thing is clear: bright, simple, post-Appalachian harmonies. isn’t present for the recording of the single, for all the scorn poured upon him by those So there were links.” but later describes it on more than one occa-who dismiss him as a pop hack, it might never Also living at 56 Ludlow Street is David sion as having been recorded and mixed on have happened at all if not for Terry Philips Gelber – brother of playwright Jack Gelber, one wild night under the influence of various of Pickwick Records. As determined as they whose 1959 play The Connection is a ground-mood-altering substances. are to forge new directions, Reed and Cale breaking depiction of drug addiction – who

As silly as ‘The Ostrich’ is, its ultimate role come from very different worlds. The catalyst is subleasing an apartment from filmmaker in the Velvet Underground story has signifi-that brings them together is The Primitives’ Piero Heliczer. “Gelber hung out with some cance. The song must clearly still be in Reed’s Pickwick single, ‘The Ostrich.’ young ladies from Brooklyn and Queens,” mind when he credits himself with both lead Most accounts of The Velvet Underground’s Conrad later recalls in an interview with What and “ostrich guitar” on The Velvet Underground genesis put these events in January 1965. But Goes On. “He said, ‘hey, you gotta go to these & Nico. More crucially, the record leads indi-this will be called into question by the dis-people’s party because they say they’re gonna

35

1958-64 n WHITE LIGHT/WHITE HEAT

turn you into a rock’n’roll star.’ This girl liked jazz and avant-garde music than rock’n’roll. obvious that this single is more Lou Reed’s John and me because we had long hair and None of these men look like the usual visi-baby than anyone else’s, particularly since he she thought that we looked sort of like Beatles tors to arrive at Pickwick’s offices. “When I takes lead vocals on both sides. or something. So we thought this was hysteri-brought ’em in, there wasn’t one person who The exact date of the single’s release is cal – these women were very twerpy and the didn’t stop in their tracks,” Philips recalls. unknown, but “12/64” is scratched into its scene was unbelievable. “When John came in, it was easy for me to matrix number, suggesting it to have been the

“So we actually went to their party, up on see this was a gifted guy. That’s why I wanted last month of 1964. (Those lucky enough to the East Side somewhere. At the party there him to be with Lou because, frankly, those locate a rare and expensive original 45 should were these hyper-sleazy types from Brooklyn three guys were better players than Lou was. note that there are two different pressings, and Long Island City, people from Pickwick He could keep the rhythm on all his stuff, one much louder than the other, the result of Records, who approached us and asked us if and basically, that was it. Lou’s ability was as one run having been pressed with the grooves we wanted to promote a record. Very limited a thinker and a guy who had vision.” going further out to the deadwax.) information, but we thought yeah, we were It is here that Reed, Cale, and the other Halfway between primeval garage-rock and secretly rock’n’roll types anyway … we would two musicians who will form the live incarna-the lunatic asylum, ‘The Ostrich’ makes some like to do it.” tion of The Primitives meet for the first time. brief regional noise before petering out. The

One of these Pickwick guys is Terry Philips, Cale and the others find the Pickwick setup Primitives won’t ever issue another single, but who spots Cale and Conrad and asks if they and its polyester-suited executives to be almost this one won’t remain in Reed’s closet for long. are musicians. They reply in the affirmative – as laughably sleazy as the seven-year contract It is included on the first ever Velvets bootleg, which is the truth, although they’re certainly they are offered with Philips’s Lee Haridan Evil Mothers/Rare Velvets in 1974, and on various not rock’n’roll musicians. Philips also asks Productions, and which they decline to sign. other subsequent unauthorized releases. them whether they have guitars, to which they What they are impressed by, however, is the say no, although they do claim to have a drum-news that ‘The Ostrich’ won’t take long to ALSO … mer. Nevertheless, Philips asks them to come to learn as all of the guitar strings are tuned to The British poetry magazine Horde prints a Pickwick’s ragtag studio the next day. the same note. prose poem by Angus MacLise. Another of

Some later accounts suggest that Philips is “The song was very easy as they explained the magazine’s contributors, Pete Brown, will drawn to Cale and Conrad because they fit the it to us because all of the strings are tuned later become famous for writing the lyrics for long-haired British Invasion mold. But Philips to one note, which blew our minds,” Con-some of Cream’s best songs, as well as fronting himself says that he “wanted to put together a rad explains in his What Goes On interview. his own group, Pete Brown & His Battered group that did this kind of avant-garde music. “We couldn’t believe that they were doing Ornaments. I wanted to do edgy music. I thought John was this crap, just in a sort of strange ethnically a talented avant-garde musician who could Brooklyn style, tuning their instruments to December 3 bring another element to the Reed I was inter-one note, which is what we were doing too The Primitives, Riverside Plaza Hotel, ested in. Creatively I was in tune with guys [with La Monte Young]. It was very bizarre. New York, NY like John and Tony and Walter [De Maria]. I In fact we were tuning to two notes and they According to Branden W. Joseph’s Beyond The wasn’t that much older than Lou, and I was were tuning to only one.” (Decades later, Dream Syndicate: Tony Conrad And The Arts After kind of a nutso myself, in a different way.” Reed reveals to Guitar World that he actually Cage, The Primitives’ first concert takes place

The following day, Cale and Conrad go to picked up this odd tuning from fellow Pick-this evening at the Riverside Plaza Hotel. Oth-meet Philips, probably out of amused curi-wick songwriter Jerry Vance.) ers probably follow in December, but none osity as much as anything else. Philips wants As intrigued by Reed and ‘The Ostrich’ as have been documented. a drummer for the group, so the pair bring they are nonplussed by Pickwick, Cale, Con-along their 29-year-old sculptor friend Walter rad, and De Maria decide to play along for M RECORDING The PRiMiTiveS Bond De Maria. De Maria actually is a drummer, the moment and go out on the road as The Street, New York, NY. and yet another musician to have played with Primitives. For the next few weeks or so, they After the Riverside Plaza Hotel show, The La Monte Young, first in a trio with Young and get to play at being rock’n’roll stars on the Primitives return to Walter De Maria’s East Terry Riley in 1960 and then in another group lowest level of the business, joining a ‘tour’ as Village loft to tape a rehearsal. Jimmie Sims that also featured Simone Forti-Morris on crazy as the record they’re promoting. is probably there alongside De Maria, Reed, voice, Joe Kotzin on flute, and Terry Jennings Cale, and Conrad. The tape won’t ever be

on alto sax. He is however more interested in December released, but is described in great detail in

Although Pickwick’s main income comes from Branden W. Joseph’s book. It includes sev-

quickie exploitation LPs, the company is also eral takes of ‘Won’t You Smile,’ an altered

THE PRIMITIVES trying to make some slightly more serious version of which becomes a 1965 single by

‘The Ostrich’ inroads into the rock’n’roll market with singles The All Night Workers (credited to Reed/

designed for actual radio airplay and possible Cale/Philips/Vance). Reed sings some lyrics

chart action. “The people who were my part- at one point about pimping and hooking that

A ‘The Ostrich’ (LOU REED/JIMMIE SIMS/ ners kept pushing me to do poppy records,” would never be passed for release in 1965; in

JERRY VANCE/TERRY PHILIPS) says Terry Philips. “It was like a quid pro quo. If another, he adds a hokey spoken interlude.

B ‘Sneaky Pete’ (LOU REED/JIMMIE SIMS/ I did those, then they would finance the more The makeshift group also has a couple of

JERRY VANCE/TERRY PHILIPS) edgy rock things that I wanted to do.” goes at ‘The Ostrich’ and a few of the other,

To that end, ‘The Ostrich’/‘Sneaky Pete’ is less substantial tunes Reed has worked on at

US RELEASE: December 1964 (Pick-issued on the Pickwick City imprint in Decem-Pickwick. He sings ‘Johnny Won’t Surf No

wick City PC-9001) ber. But although the credits for the two songs More’ (later recorded by Jeannie Larimore)

read “Reed/Sims/Vance/Philips,” it seems on his own and then pairs up with Sims for two

36

WHITE LIGHT/WHITE HEAT n 1958-64

ballads, the melodramatic ‘Teardrops In The Heliczer’s Soap Opera. The non-narrative, Whether Reed plays on the recording is Sand’ (later recorded by The Hollywoods) black-and-white film is so shadowy, however, unclear, but if he does he’s probably responsi-and ‘Sad Lonely Orphan Boy’ (unreleased, that it’s hard to identify any of them. Heliczer ble for the Rolling Stones-lite strokes of guitar but apparently attempted by The Beachnuts). himself appears in Andy Warhol’s 1964 film heard throughout. According to Joseph’s book, Reed also breaks Couch, in which he lies on a couch and talks into “a spontaneous version of what seems to to Warhol’s assistant, Gerard Malanga. be Jimmy Reed’s ‘Shame, Shame, Shame,’”

but the tape fades out shortly thereafter.

As historically interesting as this tape might ALSO …

be, it’s unlikely ever to be released, due both At some point during 1964, Nico appears in to the primitive recording conditions and res-Spanish television commercials for Fernando ervations on the part of the participants. Con-A. De Terry brandy. Brief excerpts from the firming the tape’s existence, Conrad says, “It’s ads – one of which shows her pouring brandy not very long, and it’s not very good. It’s sort while wearing a tuxedo of sorts, while another of patchy, but it’s nice to be able to hear it.” has brief dialogue that seems to have been overdubbed by another actress – are included

in Nico/Icon. Although hardly among her nota-

December 12–13 ble artistic achievements, these commercials John Cale w/ La Monte Young, Marian do show Nico to be starting to approximate Zazeela, and Tony Conrad, Pocket the long-haired, ‘swinging 60s’ look with Theater, 100 Third Avenue, New York, which she’ll be associated throughout her NY stint in The Velvet Underground. Cale makes what appear to be his last two 1964 Another commercial glimpsed briefly in appearances with La Monte Young, perform- Nico/Icon shows her on a beach with a large ing the latest iteration of a piece now called white stallion. She is wearing the same white ‘The Tortoise Recalling The Drone Of The pantsuit she will later wear for some of her Holy Numbers As They Were Revealed In The performances with The Velvet Underground. Dreams Of The Whirlwind And The Obsidian In his autobiography, John Cale recalls being Gong And Illuminated By The Sawmill, The surprised when the same commercial appears Green Tooth Ocelot, And The High-Tension on the television in the cafe where he’s sitting Line Stepdown Transformer.’ with fiancée Betsey Johnson in the Canary Islands on December 26 1967. (If it was filmed

in 1964, the commercial must then have run

December 19 on Spanish television for quite some time, but Tony Conrad records the 32-minute ‘Four it’s possible that it is shot later.) Violins (1964),’ overdubbing the various parts by bouncing back and forth between the two

tracks of his stereo reel-to-reel recorder. No AND …

future Velvet Underground members are One of Pickwick’s principal marketing strate-involved, but the recording is notable as one gies is to take obscure recordings by estab-of the few commercially released approxi-lished stars and surround them with hastily mations of how the music Cale, Conrad, La thrown-together songs by no-names to pad Monte Young, and friends sounded during out the material to album length. The earliest 1963–65. The overlaid violins create a pow-such example to feature a Lou Reed co-write erful, variegated drone that is both hypnotic is probably The Four Seasons/Johnny Rivers/ and disturbing. The recording is finally issued Neil Sedaka/The J Brothers, with Pickwick’s lack in 1997 as one disc of the Conrad box set Early of finesse apparently extending to their LP Minimalism Volume One. titles, too. The Four Seasons, Johnny Rivers, and Neil Sedaka have all enjoyed great success in the mid 60s, but not with any of the

December 30 songs included here. The J Brothers by con— A solitary Lou Reed/Terry Philips/Jerry trast mean nothing to anybody, and in fact Vance/Jimmie Sims composition, ‘Help Me,’ are probably just another studio-only group is registered and published by Barbour Music. assembled at Pickwick. There are no known officially released record-Of the four J Brothers tracks included here, ings of the song. only one bears Reed’s name. ‘Ya Running, But I’ll Getcha’ is meager mush even by the

low standards of many of the Pickwick songs

Also in 1964 … Reed worked on. It pitches a basic, boogy-C FILMING Soap Opera ing riff against an artlessly throaty singer and Angus MacLise, La Monte Young, Marian some distracted-sounding backing vocalists Zazeela, and Jack Smith all appear in Piero and annoyingly repetitious, pouting lyrics.

37

After touring as The Primitives in early 1965, Lou Reed and

John Cale set about forming the core axis upon which The

Velvet Underground’s sound is built. Cale continues to perform

avant-garde music with La Monte Young and Reed carries on

churning out cheapo rock’n’roll discs at Pickwick Records, but

their new group begins to gain momentum with the addition of

1965 guitarist Sterling Morrison and drummer Angus MacLise. They record demos, venture into multimedia performance, and use their real-life experiences

on the Lower East Side to craft songs unlike any ever written

before. By December they have a new drummer, Maureen

Tucker. Their management is about to be taken over by Andy

Warhol and Paul Morrissey, which will launch the group’s

sputtering career into an entirely different stratosphere.

Waiting in the wings is Nico, who records her first solo single

in London this summer before moving to New York.

JANUARY 1965 n WHITE LIGHT/WHITE HEAT

January that he did, which were pretty startling.” friend of Jerry Vance and Jimmie Sims act-In keeping with their frivolous attitude to ing as the group’s driver. (If the man is from the entire affair, the musicians sometimes Pickwick, it’s understandable why Philips felt swap instruments on a whim. “On the way to that outside musicians would be needed to , January–February gigs they would pass out the guitars like, ‘Hey, credibly simulate a mid-60s rock band.) Although The Primitives played their first maybe I’ll play bass this time,’” Conrad later Another somewhat similar photo, repro-show on December 3 1964, they probably reveals to What Goes On. None of this stops duced for the first time in this book, shows the don’t start to ‘tour’ extensively until Janu-The Primitives provoking a few screams and four Primitives sitting on the trunk of Philips’s ary. As noted elsewhere, part of the impetus getting asked for a few autographs. Although Chevy Impala outside his Upper East Side for taking the group out on the road might they’re announced to the kids as a band from abode. Curiously the photo, by Bob Ragona, is have come from Pickwick being asked if The New York City, a few of these fans – goaded by dated November 1964, raising some questions Primitives would be available to perform on Cale and Conrad’s long hair and, if ever he as to whether the group’s first concerts took a television dance show. (Exactly which show spoke, Cale’s Welsh accent – might even be place even earlier than is usually thought. this is will probably never be determined, under the mistaken impression that they’re (December 3 remains the first confirmed date but it’s almost certainly a local one.) Since seeing a real British Invasion group. on which The Primitives played.) ‘The Ostrich’ was only released in December, Attempts to trace the route of this primi-According to Ragona, ‘The Ostrich’ picks it seems reasonable to assume that it takes tively promoted tour have not yet yielded up airplay on Jay Sands’s show on WAEB a little while for the television programmers any definitive dates or locations. According in Allentown, about an hour’s drive from to hear the song and get in touch with Pick-to Transformer: The Lou Reed Story, one of Philadelphia, and from other deejays in the wick. the first performances is at a Lehigh Valley Allentown/Reading region, such as Harvey Thus motivated, the newly assembled Primi-high school, after which the emcee declares: Holiday. As much fun as The Primitives are tives take to the road in a station wagon to “These guys have really got something. I hope having playing rock stars, however, it soon promote ‘The Ostrich.’ What follows is not a it’s not catching!” Tony Conrad remembers becomes apparent that ‘The Ostrich’ is not conventional stop-to-stop tour. Most if not all playing at a high school in New Jersey; in going to get any bigger. Cale and Conrad, of the shows take place on weekends in nearby Reading, Pennsylvania; doing several radio meanwhile, are fast growing tired of Pick-towns, particularly in the Lehigh Valley area interviews, including one at Reading’s WRAW; wick’s efforts to tie them down to lousy con-of Pennsylvania, about an hour from Phila-and sharing a stage with Shirley Ellis around tracts. delphia, where Pickwick is keen to break the the time of her Number 3 novelty hit ‘The Reminiscing about The Primitives more record. In his autobiography, John Cale recalls Name Game.’ than four decades later, Terry Philips has a spending only “a couple of weekends playing “A lot of schools wouldn’t let us play slightly different view of events. “Pickwick’s the TV show and a few other East Coast gigs”; because of what the guys looked like,” says Joe Abend had promised me that they would Tony Conrad mentions playing “half a dozen Bob Ragona. “We would come in with long promote the record,” he recalls. “And we times” in UpTight: The Velvet Underground Story. hair; they just weren’t ready for it yet.” Ragona started to get some response. This record Pickwick promotions man Bob Ragona sug-remembers Cale almost getting the group didn’t kind of just disappear. There was a lot gests that there was a more extensive touring into trouble at a gig at Catholic high school: of very hip musician guys who were working program, lasting a few months and taking in when the school priest looks at him and says, for other companies, guys who were A&R shows in Pennsylvania, New Jersey, and Con- “There’s no way these guys are going up in men for big companies. People picking it up necticut. front of these kids,” Cale replies, “What are and saying, ‘Hey man, this is very, very differ— What’s certain is that the ‘tour’ is a pretty you, fuckin’ bloody crazy?” ent. It’s nuts!’ And what happened was, they slapdash affair, even by the standards of fly-by- The Primitives probably make at least one stopped promoting it. They disappointed night rock bands. For one thing, three of the television appearance as well, but Cale’s claim both myself and Lou, and they didn’t back four musicians have never played rock’n’roll in his autobiography of an appearance on the play of Pickwick City. Pickwick City could live before; Cale and Conrad don’t even know American Bandstand is unlikely, as the show have been a very cool little label.” how to play their guitars. The shows take place moved from Philadelphia to Los Angeles in The group has likely petered out by the end not in the kind of clubs Lou Reed played in February 1964. A similar claim is made in the of February, with Conrad and De Maria all while at Syracuse but in high schools and May 25 1974 issue of Melody Maker, which men-but ending their associations with rock’n’roll. supermarkets. The entire set consists of ‘The tions Reed and Cale miming along to ‘The While briefly entertaining the idea of making Ostrich’ and its flipside, ‘Sneaky Pete’ – nei-Ostrich’ on “the Dick Clark show.” It’s more a mock-documentary about The Primitives’ ther of which the group has even rehearsed likely however that the television spot is on a ‘career,’ Conrad returns to rehearsing with before their first two shows. local or regional program. Cale, La Monte Young, and Marian Zazeela.

“I don’t think we had more than one or two In UpTight, Conrad mentions the appear-De Maria makes sculpture and instillation art rehearsals,” Conrad recalls. “But we did get ance of a photograph of the band in Vogue, his focus. His most famous work will be 1977’s together with Lou over at Walter’s loft and ran but no such picture can be found in any of The Lightning Field, 400 stainless steel poles through a few things and hung out. What was the magazine’s 1965 issues. One picture that planted in a remote area of New Mexico in cool about that was just getting exposed to does survive of the tour shows The Primitives a grid measuring one mile by one kilometer. Lou. John and Walter and I hung out in differ-standing in front of a car: Conrad and Cale Some of his other late-70s pieces, including ent combinations in various ways for various have hair down to their shoulders, with Cale The Broken Kilometer and The New York Earth purposes over quite some period of time. But also sporting a beatnik moustache and beard; Room (250 cubic yards of earth) remain on Lou blew in with this whole initiative, and so Reed and De Maria look more clean-cut but continuous exhibit throughout much of the we didn’t know who the hell this guy was, and still slightly bohemian. Standing in the middle year in downtown New York. it was way out to find out. It was great to find is a man in a tie with a swept-back 50s quiff, De Maria doesn’t entirely abandon the out where his head was and the kind of things whom Terry Philips thinks is probably just a drums. Tapes have recently been unearthed 40 , An arrow denotes an estimated date.

WHITE LIGHT/WHITE HEAT n FEBRUARY 1965

of his playing in The Insurrections, a group that “basically, Lou was disappointed, and February

fronted by another multimedia artist who I was disappointed, with what was happen-

drifts through into the VU orbit in the mid ing there. The bottom line of it was, I was a

60s, Henry Flynt. “I knew that we were really Although The Primitives are already on their good guy and released him. I didn’t have to, good and they went on to make this great last legs, Lou Reed are John Cale keep in I could have held on to his contract.” (Philips album,” De Maria later notes of his time with touch, with Reed beginning to visit Cale at 56 notes that he will do the same thing again a Reed and Cale in The Primitives in an Octo-Ludlow Street. Cale is increasingly impressed little later after signing another future star, ber 4 1972 interview with Paul Cummings not just by Reed’s songwriting but also by his David Clayton-Thomas, later of Blood Sweat for the Smithsonian Institution’s Archives guitar playing, his uncanny ability to impro- & Tears.) As Bob Ragona recalls, “The superi-Of American Art. “But then I said, do I want vise lyrics, and his general natural knack for ors at Pickwick didn’t recognize Lou’s talents. to go to rehearsal every day and every night, living and breathing rock’n’roll. Reed in turn That’s why he left. Everybody else knew.” you know, take all these drugs? Do I really just has grown increasingly frustrated by his posi-Philips will approach Reed again in the keep playing these rhythms, is that going to tion at Pickwick and the company’s unwilling-early 70s with a view to signing Lou to his be enough? That was really a painful decision. ness to release his controversially explosive Perception Records as a solo artist. Percep-I said, no, put it down. I’m not going to buy songs. What he needs now, he realizes, is to tion might not be as big as the label to which another set of drums; I’m not going to haul get his own band together – and Cale is the Reed is already signed by then (RCA), but these drums to another place and I just can’t man with whom to do it. is nonetheless enjoying success with King keep playing these songs. I can’t do it. I don’t The two men have other things in common, Harvest’s hit ‘Dancing In The Moonlight’ as want to go out on tour.” too, including drugs. The subject is of course well as records by the Dutch rockers Golden De Maria does however manage to get dealt with explicitly in ‘I’m Waiting For The Earring and jazz acts Dizzy Gillespie, James something of his work onto record within a Man’ and ‘Heroin’ – a substance with which Moody, and Astrud Gilberto. But Reed opts to few years. “I made one tape in ’64 of drums Cale, who has already tried an assortment of stay with RCA, where his solo career will soon and crickets, which unfortunately I haven’t drugs during his time with La Monte Young, take off, halting any chance of a professional played, and then I made one last piece in 1968 begins to experiment after meeting Reed. reunion with Philips. with the ocean and drums,” he says. “Later “I was interested in subject matter that Before closing the book on Reed’s Pick-these tapes fell into the hands of some record-hadn’t been covered in pop and rock,” Reed wick days, one thing that should be noted ing engineer who put out an album called recalls in the Lou Reed: Rock And Roll Heart is Philips’s eagerness to correct notions of Environments with the sound of the ocean on documentary. “I had dreams of writing certain Reed’s creativity being left unrecognized at one side and the sound of birds on the other. kinds of things. But I was influenced by Bur-Pickwick. “The idea appears in one of the But I basically stopped [playing] in ’68.” (The roughs and Ginsberg, Raymond Chandler and books that I was just a businessman who took album De Maria refers to here is probably the Hubert Selby. I thought, that’s what I want advantage of this brilliant talent, and that’s highly successful 1971 Atlantic LP Environments to do – except with a drum and guitar.” As really not the story,” he says. “He’s not some-1: Psychologically Ultimate Seashore.) Cale will later explain in the 1998 BBC Wales body that the typical A&R person or agent Fortunately, for Cale and Reed this is not documentary John Cale, Reed was “very con-or manager would have said, ‘Hey man, this the end of the rock’n’roll line but the start cerned [about] being paid $25 a week to write is a guy I can make money with.’ And yet I of a partnership that leads them to thinking songs in the style of anybody they decided did.” As far as claims that Pickwick wasn’t about forming a far more serious group than were fine at the time … [while] the songs sympathetic to Reed’s budding avant-garde The Primitives. Cale is initially unimpressed he really wanted to record would never get interests are concerned, Philips points out by the ‘folk’ songs Reed plays to him (and recorded. And in a very heroic mode I said, that “Lou Reed didn’t introduce me to the which he can’t find a market for at Pickwick), ‘Hell with them. Let’s go do it anyway.’” world of [the] avant-garde. I’ve recorded among them ‘Heroin’ and ‘I’m Waiting For Cale and Reed soon start playing together, people like Sunny Murray, the Ayler brothers, The Man.’ Cale later goes so far as to declare improvising and working around Reed’s Pharoah Sanders. Larry Young, one of the top that the songs “seemed sorry for themselves” songs. When Tony Conrad moves out of 56 jazz organists in the world, [whose] stuff was in an interview quoted in Nigel Trevena’s Ludlow Street, Reed becomes Cale’s room-off the wall. I was even partners at one point 1973 book Lou Reed & The Velvets. But Reed mate, further intensifying the friendship and with [renowned writer and playwright] LeRoi is persistent, and once Cale reads the lyrics creative collaboration between the two men. Jones in a jazz label.” he realizes that these aren’t just folk homilies Reed and Cale are now living the true Lower While Reed was at Pickwick, Philips says, “I but works with a genuine literary quality. The East Side bohemian lifestyle, burning crates helped encourage him on his writing to do Primitives might be finished, but the pair’s in their fireplace or wrapping themselves things that were more like ‘Heroin’ [than] personal and professional relationship has in carpet to keep warm; eating nondescript ‘Cycle Annie’ and some of the other things. only just begun. stews and oatmeal in bulk to keep going in the We were working toward a goal. I thought he absence of money for anything better. could be what he became.” Tony Conrad also

Wednesday 13 For the time being, however, Cale carries gives Pickwick some credit for recognizing Three more Barmour Music compositions by on rehearsing and performing with La Monte Reed’s incipient talents. “They certainly loved Lou Reed, Terry Philips, Jerry Vance, and Jim-Young, Tony Conrad, Angus MacLise, and rock,” he says. “That whole Pickwick label was mie Sims are registered today: ‘Baby, You’re Marian Zazeela, while Reed continues to work rabidly capitalist and exploitationist, but yet the One,’ ‘Bad Guy,’ and ‘Say Goodbye as a staff songwriter for Pickwick. Numerous behind it all, there was a kind of pathetic little Over the Phone.’ None appear to have been other obscure, cheapo rock’n’roll records will scene going on which did find Lou, and did recorded for any official release. bear his name, with some of them even featur-record ‘The Ostrich’ with Lou.”

ing his uncredited lead vocals. In the October 26 1972 issue of Rolling

It’s uncertain exactly when Reed’s associa- Stone, however, Reed complains to British

tion with Pickwick ends, but Philips confirms rock photographer and journalist Mick Rock

41

FEBRUARY 1965 n WHITE LIGHT/WHITE HEAT

about Pickwick’s lack of adventure. “I’d say, Morrison rehearsing in her apartment in 1966

‘Why don’t we record these?’” he recalls. entitled Sunday Morning. As Stevenson recalls, “And they’d say, ‘No, we can’t record stuff like the VU classic ‘All Tomorrow’s Parties’ was

that.’” A year earlier, John Cale cites ‘Heroin’ originally conceived by Reed for possible use

as one of several Lou Reed songs Pickwick on the soundtrack to Deux Voix, but the song refused to record in a January 23 1971 interis not used in any form in the film. view with Record Mirror. Describing the film to Jonas Mekas of the It’s possible however that both parties Village Voice shortly before its July 12 1966 pre-are right to some extent. According to Bob miere at the FilmMakers’ Cinematheque, Ste-Ragona, the main roadblock in terms of get- venson says: “There are two characters, Him ting songs such as ‘Heroin’ recorded was not and Her. I see Her as fantasy. He is reality,

Terry Philips but Ira Moss, the company’s but sort of a fantasy sort of reality.” Lobel is

vice president. “He was the main obstacle,” also interviewed for the same article. When

Ragona says. “He was the number two man in Mekas suggests to her that “you are and you

the company. He didn’t understand it.” aren’t yourself in the film,” Lobel replies, “We

all have 1,000 faces. The only problem is that

people can’t find the face at the time that they

March want it most.” Lobel evidently makes the acquaintance of future Velvet Underground manager Andy

Warhol at some point as well. Several cryp—

Nico is photographed in Trafalgar Square tic postcards sent by her to the artist during

for an advert for London Fog raincoats. The 1969–70 are included in the archives of the

image will soon catch the eye of Andy Warhol, and Broadway. When they get there they find Andy Warhol Museum. who puts a copy in his scrapbook. Nico has that there is no such club, but they do meet a The chronology of The Falling Spikes’ recently made London her main base of woman who briefly joins their group … performances with Lobel – if they were even operations after noting its rise as a center billed as such – remains elusive, but their of fashion, music, and society in the wake of The Falling Spikes, Cafe Wha?, New placement in the sequence of events in Cale’s Beatlemania and the British Invasion. But York, NY autobiography suggests that they took place although she’s looking for an opening into According to What’s Welsh For Zen, it’s on the before Sterling Morrison joins the group in the music scene, she still has to support her-corner of 75th and Broadway that Cale and the spring. If that’s the case then March is self with modeling jobs. She appears in adver-Reed meet a young woman named Elektrah the most likely month, but the comings and tisements for magazines such as Town and is Lobel. As well as beginning a brief affair with goings are so fluid that they might well have photographed by David Bailey, although these her, Cale asks Lobel to join the fledgling Fall-taken place later on – perhaps even after Reed shots (as Bailey himself recalls in Nico: The Life ing Spikes, apparently on guitar. He recalls and Cale have started to play with Morrison & Lies Of An Icon) are not used. playing several gigs with her, including a cou-and Angus MacLise. The membership of the ple at the Cafe Wha? in Greenwich Village. band that will eventually become The Velvet

ALSO … The venue is quite well known on the New Underground is far from set in stone at this For a while Lou Reed and John Cale’s ‘band’ York coffeehouse circuit: Bob Dylan played at point. Reed and Cale seem willing to play with consists only of the two of them. But they have a hootenanny there on his first night in New various combinations of people – and perhaps already come up with their first band name, York in January 1961, while Jimi Hendrix will more than one line-up simultaneously – as The Falling Spikes, inspired perhaps by their be discovered there during the summer of they figure out what might work best. common use of heroin. The name won’t stick 1966 by Chas Chandler of The Animals. Shortly after the Elektrah Lobel fiasco, for long, but becomes well known enough Lobel’s stint in The Falling Spikes comes to Reed invites another eccentric woman, known that several VU bootlegs will later be billed an end at a show when she plays her guitar so only as Daryl, to join the band. She too is men-mischievously as Falling Spikes recordings. hard that her fingers start to bleed, although tioned in Cale’s autobiography, although he Reed and Cale have also apparently been she carries on, oblivious to the pain. This is writes not about her musical abilities but the doing some semi-professional busking during apparently not the first such incident, as she fact that she becomes engaged in simultane-this hazy period. In addition to rehearsing at had also caused her knuckles to bleed while ous affairs with both Reed and Cale. In the Ludlow Street, they take their music to the playing a vehement rhythm on the sarinda end Daryl doesn’t join the band, but it’s still streets of New York, with Lou on acoustic during a version of a new Reed song, ‘Wrap interesting to note that, unlike many of their guitar and John on viola and recorder. They Your Troubles In Dreams.’ Cale and Reed rock contemporaries, Reed and Cale have even ‘audition’ at a club in Harlem, but are elect to carry on without her, deciding that no reservations about considering women as told to leave after waiting a few hours. Else-she’s too unstable even for a group so uncon-potential band-members – or at least women where in Harlem, they play outdoors on the ventional as The Falling Spikes. they’re having sex with. Within a year, of corner of 125th and Broadway, near Columbia Lobel does still have one small part left to course, there will be not one but two women University. According to Cale’s autobiography, play in the Velvet Underground story, how-in The Velvet Underground. this appearance earns them more money than ever. In 1966 she will play the lead role in they would ever make later on while perform- Deux Voix, an independent film directed by Tuesday 2 ing as The Velvet Underground, but the show Rosalind Stevenson, who went to Syracuse M RECORDING JohN caLe aNd aNguS ends when a policeman tells them to move with Reed and who will also go on to make a MacLiSe exact location unknown, New York, along to a spot outside a jazz club at 75th short silent film of Reed, Cale, and Sterling NY.

42 A flyer for Rosalind Stevenson’s film Deux Voix, featuring a rare picture of Elektrah Lobel.

WHITE LIGHT/WHITE HEAT n APRIL 1965

John Cale (guitar) and Angus MacLise One such concert is this one at the East The precise details of this momentous (cimbalom) record ‘Hot Scoria,’ a nine-End Theatre. The program notes attempt meeting vary depending on whose account minute instrumental that won’t be released to explain some of concepts the group are you hear. Reed will later claim that he hadn’t until it appears on Cale’s Dream Interpretation: exploring at the time, including the differ-seen Morrison for three years, and that Mor-Inside The Dream Syndicate Volume II in 2002. ences between ‘dream music’ and European rison wasn’t wearing any shoes; Morrison (It is also included on Cale’s New York In The and Eastern music; eternal drones to be culti-himself will later claim never to have gone 1960s boxed set.) The liner notes give the vated by ‘dream houses’; and which elements shoeless in Manhattan, and that only a year date of recording as either March 2 1964 of the ever-present Tortoise are to be found in had passed since he last saw Reed. Morrison or March 2 1965. MacLise almost certainly the work. Perhaps inadvertently, the notes also also suggests that John Cale is present too, wasn’t in the USA in March 1964, as he had reflect just how inaccessible Young’s music is and that the meeting takes place in January, just left for a long trip abroad in February, to a mass audience – another factor perhaps but Cale’s autobiography puts the first meet-which suggests that the piece must then have in Cale’s decision to pursue alternative musi-ing between the two in April. been recorded in 1965 – as does the fact that cal endeavors. It’s unlikely that the subway meeting would the same liner notes also claim that MacLise have taken place in January, when Reed and

was “still a Velvet” when ‘Hot Scoria’ was , Early March Cale were only just getting to know each other recorded. (The group wasn’t called The Vel-According to The Life & Lies of An Icon, it is as part of the temporary Primitives line-up. vet Underground yet, of course, but it’s pos-around now that Nico meets The Rolling Reed and Cale have probably been playing sible – just – that MacLise might have started Stones at a party to celebrate their recent tour together for at least a few weeks before Mor-to play with them.) of Australia and the release of their second rison steps into the picture. But whatever the

The existence of ‘Hot Scoria’ illustrates British LP, The Rolling Stones No. 2. She also details, it’s accepted that Reed and Morrison that, while Cale has started to make a big meets the group’s manager and producer, quickly re-establish their friendship, with Mor-leap toward rock’n’roll with Reed, he cer-Andrew Loog Oldham, while guitarist Brian rison soon playing guitar alongside Reed and tainly hasn’t abandoned his dalliances with Jones invites her to catch up with the band Cale as their embryonic group takes shape. the avant-garde. Here Cale’s clanging gui-again on tour. The two men will prove instru-Cale and Reed’s neighbor, Angus MacLise, tar-chords clash and mesh with MacLise’s mental in paving the way for the release of her has also started to join in their 56 Ludlow more exotic cimbalom in a piece of music first official single in a few months’ time. (The Street rehearsals on drums, but not as regu-completely devoid of conventional pop/rock Rolling Stones returned from their Australian larly as the other three, as he’s not one to be melody. Cale starts hitting the guitar with tour on February 13, and set off on their Brit-confined to any particular timetable. MacLise emphatic stop-start strokes just over halfway ish tour on Marsh 5. So if the party is indeed plays the same sort of Indian and Middle East-through the piece as if he’s pounding a stake in March, it must have been on one of the ern-influenced drums he has also been using into the ground. He then bursts into a hail-first four days of the month.) in La Monte Young’s group. This unconven-storm of strums as if he’s determined to play tional setup certainly sets the nascent Velvet

the instrument as fast as possible and with Sunday 7 Underground apart from other groups, but as much force as the strings can take until John Cale w/ La Monte Young, Marian might also make MacLise an unsuitable long-they break. The tempo then slows abruptly Zazeela, and Tony Conrad, Geldzahler term choice once the others begin to evolve in to a crawl, speeds back up to pneumatic drill residence, 79th Street, New York, NY a more pronounced rock direction. force, and then finally cuts off. Cale and his cohorts are invited to perform He does however fit in with these early

Assuming the (second) date listed in at a birthday party for Henry Geldzahler at experiments because, as Cale tells The Wire Dream Interpretation is correct, it indicates that his home on 79th Street. Geldzahler is the magazine in 2000, “it was very easygoing and it MacLise is back in New York City after a year curator of 20th-century art at the New York was all improvisation. Nothing was ever struc-outside the USA. He moves back into the leg-Metropolitan Museum Of Art; the group per-tured, that’s the point … Angus was sort of endary 56 Ludlow Street building, where he form on his loft bed after the host removes just a poet who carried a set of tablas around takes the apartment next to Cale’s. It’s only the mattress. Among the audience members and would start playing on anything, and it a matter of time now until he runs into Lou are Andy Warhol and the recently widowed was kind of this pleasant dribbling of rhythm.” Reed. First Lady, Jackie Kennedy. Geldzahler is not MacLise also supplies the necessary voltage

just a friend of Warhol: he is also the subject for the other members’ electric guitars, run-

Thursday 4 of a 99-minute Warhol film, Henry Geldzahler, ning extension cords across the hall from his

John Cale w/ La Monte Young, Marian which consists entirely of footage of Geld-apartment to Reed and Cale’s, while accord-Zazeela, and Tony Conrad, East End zahler sitting on a couch in the Factory on ing to wife-to-be Hetty and future collaborator Theatre, New York, NY July 26 1964. Terry Riley, his experience as a poet will prove If a Hollywood movie is ever made about The influential on the particular aesthetic of the

Velvet Underground, it will no doubt include material the group has begun to develop.

a scene in which John Cale dramatically hands “Angus was a brilliant drummer, a bril- April

in his notice to La Monte Young, abandon- liant percussionist,” says Tony Conrad. “He

ing the insularity of the avant-garde for Lou had chops, but the way he employed this

Reed’s world of sex, drugs, and rock’n’roll. knowledge and experience was to produce a

In fact the transition is much more gradual Lou Reed comes by chance across his old kind of drumming that resisted the tension and considered. Cale keeps his feet in both friend Sterling Morrison on the New York to the beat at every point where he possibly camps for a while, continuing to rehearse with subway’s D train at around the 7th Avenue could, while still making coherent percussion. Young, Tony Conrad, and Marian Zazeela stop. Morrison is on his way to a class at City His playing is some of the most remarkable until September and perform live with them College Of New York, where he’s still studying percussion playing that I know. It’s not like until the end of the year. English Literature. three against five, or any kind of crap like

43

APRIL 1965 n WHITE LIGHT/WHITE HEAT

that. It’s not even like some kind of hyper will later sometimes even be relegated to the organized by Heliczer during the summer. jazz drumming. It’s in his own category. If band’s drummer, Maureen Tucker). These might be primitive compared to the Angus played with a beat, I’d eat my hat! He “I think he was probably one of the most following year’s Exploding Plastic Inevitable devised a modality of percussionist perform-underrated guitar-players in music over the concerts, but do at least give the group use-ance that’s so idiosyncratic that I don’t think years,” says Doug Yule, who joins the Velvets ful experience of working in a multimedia anybody has been able to follow him there. in October 1968 on bass and organ, replac-environment. And part of that came out of the way that his ing the departing John Cale. “His idol was Although Morrison’s Little Caesar article spirit wandered while he played, but also in Mickey Baker, and if you listen to Sterling’s places the FilmMakers’ Cinematheque con-his writing and imagination. playing, you hear Mickey Baker in there. He cert in the “early spring,” it might well have

“Angus was somebody whose intellect hov-sort of picks out a part for each song, and taken place a little later. Cale and Morrison ered over words, sounds, and images in a way amplifies it and expands it to become, really, probably don’t meet until April, so things that had enough distance that he saw things an essential part of the tune. I mean, I can’t must be moving pretty fast for them already to differently from other people. [He] always hear ‘I’m Waiting for the Man’ without hear-be performing with Reed and MacLise. Then had a kind of laconic smile that told you about ing Sterling’s guitar part.” again, things seem to be moving fast for all that. It was the great thing about him, that he At this point, however, Cale and Reed concerned, what with all the excitement of always had some kind of inner distance about appear to be much more committed to devel-playing a brand new form of rock’n’roll. things. Sometimes he moved quite far away, oping the group’s sound than either Morri-Whatever the timeline, it’s clear that these and he was inattentive to ideas of protecting son, who is still attending City College, or ‘happenings’ have a big effect on Morrison. himself in terms of how far away he would MacLise, who is not reliable enough to show “For me the path ahead became suddenly move, so that he was not vigilant enough to up at any specific time. Reed of course is still clear,” he writes. “I could work on music dif-protect himself from getting absorbed in working at Pickwick, but he and Cale seem ferent from ordinary rock’n’roll since Piero drugs. But he had a proclivity for stimulant much more willing and able to make time had given Lou, John, Angus, and me a context drugs, because they pushed that whole quality to play than the others. So it’s possible that to perform it in.” of his mind.” their previously noted busking adventures and It’s also possible that these happenings see

Hetty MacLise, whom Angus goes on to experiments with Elektrah Lobel overlap with The Falling Spikes appear alongside another marry later in the 60s, is keen to point out their first attempts at working with Morrison Lower East Side band on its way to legend both his versatility and his willingness to blend and MacLise. status, albeit on a smaller scale: The Fugs. In his literary and musical sides in the work he the February 9 1969 issue of the Yale Uni-

produced. “Angus was a percussionist, he wasn’t FilmMakers’ Cinematheque, versity magazine The New Journal, bassist John just a drummer,” she says. “He could do the New York, NY Anderson writes: “We used to play at benefits score of [The Rite Of Spring] by Stravinsky, On what Sterling Morrison will later describe with a group called The Falling Spikes, and and that is a tympanic score, believe me! And in Little Caesar magazine as an early spring day, together we’d be called The Transcendental when you read his poetry, you will hear his he and John Cale run into Angus MacLise Simulematic Orchestra; we’d play the back-drumming.” at the corner of Essex and Delancey on the ground music for underground movies and

Sterling Morrison brings considerably less Lower East Side. MacLise and filmmaker light shows on dancing people, which was in the way of recording and performing expe-Piero Heliczer, who has hovered at the edge all starting at that time. The Falling Spikes rience to the project than his band-mates, and of the pre-Velvet Underground story since eventually became the musicians for Andy won’t ever establish himself as a singer or a the late 50s, are in the process of organizing Warhol’s group, The Velvet Underground.” songwriter. He tends not to be considered as a multimedia happening called Launching It’s probably around the same time that colorful or uniquely creative a figure as Cale, The Dream Weapon. The event is set to take The Falling Spikes change their name to The Reed, or Nico in most histories of The Velvet place at the FilmMakers’ Cinematheque, run Warlocks. On the other side of the country, Underground. But his contributions to the by Jonas Mekas, one of the most esteemed near San Francisco, another motley bunch of group – with whom he will remain for the avant-garde directors and critics of the era. arty types are using the same name for their next half-dozen years, longer than any of the Morrison, Cale, and MacLise’s new group are band for a while in 1965. These Warlocks will others – are inestimable. He might not be as enlisted to provide the live soundtrack. also end up changing their name before mor-idiosyncratic or distinctive an instrumentalist, “In the center of the stage there was a phing into another of the 60s’ most legendary arranger, or overall musical conceptualist, but movie screen, and between the screen and the groups, The Grateful Dead. he’s every bit the others’ intellectual equal. audience a number of veils were spread out He also brings a no-nonsense attitude and dry in different places,” Morrison writes. “These Saturday 17 wit to proceedings that help keep tensions veils were lit variously by lights and slide pro-Nico is in Paris on a modeling assignment, among his more flamboyant band-mates in jections, as Piero’s films shone through them one of a string of jobs arranged by her old check. These qualities will help group the onto the screen. Dancers swirled around, and friend Willy Maywald. With the help of the band’s more extravagant behavior and fanci-poetry and song occasionally rose up while French actress Zouzou, she visits Brian Jones ful artistic notions in a more workable real-from behind the screen a strange music was backstage at the famed Olympia Theatre, ity. And his assertive, fluent guitar-work, while being generated by Lou, John, Angus and where The Rolling Stones are performing. more conventional that Reed’s, has a pure me; I think that Piero was back there some-Like Zouzou, Nico will engage in a brief and rock’n’roll grit that acts as a necessary coun-times too playing his saxophone. The whole apparently tempestuous affair with Jones, terpoint to Reed and Cale’s more cerebral, event took place in an atmosphere of dense and one that, whether by accident or design, improvisational playing. Morrison also depu-smoke from all the incense that was burning. I pulls her closer into the orbit of the Stones’ tizes on bass on some occasions when Cale is thought that it was impressive and pretty.” manager, Andrew Oldham, who is looking for playing viola, handling the role well despite a The band – probably still without a name artists to sign to the new record label he’s lack of enthusiasm for the instrument (which – goes on to play at several similar events starting. (Those wishing to get an idea of the

44

WHITE LIGHT/WHITE HEAT n APRIL 1965

atmosphere surrounding the Stones gig Nico Zazeela on vocals, this is the only recording the performance eventually saw release. “It’s attended might be interested in the French of Young’s group featuring all five musicians the only release that foregrounds the intense radio broadcast of the following night’s show to have been made commercially available. sustained duration textures that were pro-at the Olympia, which has long been available The tape is of fairly low fidelity, but will at duced by the use of the two-stringed instru-as a bootleg.) least give curious listeners a chance to finally ments, which were especially strong in that

hear the group after decades in which their regard, and the drone voices, which were still

Sunday 25 mystique was propagated almost exclusively a little less stable than the strings, as they’re

John Cale and Angus MacLise w/ La by legend. inclined to be,” he says today. “But by and Monte Young, Marian Zazeela, and Tony Most fans of The Velvet Underground large, some of what I felt to be the most Conrad, 275 Church Street, New York, NY are likely to be slightly (if not mightily) dis-startling and revolutionary qualities of the Cale and MacLise play with Tony Conrad, La appointed by the recording, and not just group’s music had to do with what happened Monte Young, and Marian Zazeela during a because of the poor sound quality. The album when the pitches became very, very focused dinner party at Young’s loft, with Museum presents a piece of ‘The Tortoise, His Dreams … and the pitch performance became very Of Modern Art curator Henry Geldzahler And Journeys,’ a layered and sometimes grat-accurate. The sounds were sustained carefully, in attendance. It’s not his birthday this time, ing drone with nothing resembling song, lyr-long enough that it’s possible to enter into the but it is the birthday of MacLise’s girlfriend, ics, or conventional melody. The vocals are context of this textured sound, as a listener, Frances Araby Stillman, with whom MacLise the most distinctive element of the drone, and find your way to different perceptual lev-spent the previous year traveling through the and alongside the viola and violin produce els of involvement, gateways into the quali-Middle East and India. a searing sustain that is likely to prove wearities of the music. This is the only release that

The dinner party turns out to be one of the some for those lacking an appreciation for the really even suggests the kind of qualities that group’s most notable performances, if only heavy-duty avant-garde. MacLise can barely we were working with in that regard.” because a 31-minute excerpt of it will later be heard, and indeed isn’t present at all for The reason it takes so long for any of these be issued by Table Of The Elements as Inside the last 20 minutes or so. Some of the earlier, tapes to be heard is that Young, who retains The Dream Syndicate Volume I: Day Of Niagara unauthorized recordings of the group from possession of them, will not consent to their (1965). With Cale on viola, Conrad on vio-1963–64 might actually be more accessible. release unless he is credited as the music’s sole lin, MacLise on percussion, and Young and Even so, Tony Conrad for one is happy that composer. As Conrad writes in the liner notes

John Cale’s pre-VU group. From left: Tony Conrad, La Monte Young, Marian Zazeela, and John Cale. 45

APRIL 1965 n WHITE LIGHT/WHITE HEAT

to his 1997 boxed set Early Minimalism Vol- Young himself is unmoved. “The early stuff May ume One, “Young finally agreed that we might with Tony Conrad and John Cale is just one begin having some copies of the tapes – but phase of my life,” he is quoted as saying in his prior condition was that each of us sign an the same article. “I have hundreds of hours agreement that he, La Monte Young, was ‘the of music recorded that’s as very important to , Early May composer’ of ‘the pieces’… By 1987, I real-me, but, to Tony and John, that’s the most According to Willy Maywald’s autobiography, ized that La Monte Young wanted me to die important thing they ever did. I’m going to he and Nico meet a group of Americans in without hearing my music.” An article in Creem release the most important things first, and the Castel nightclub in Paris in 1965, one of magazine published in November of the same if those two make a legal contest of it, I prob-whom is Andy Warhol. The meeting prob-year quotes Young as saying that the release of ably won’t ever bother with the stuff they’re ably takes place between April 30 and May tapes featuring John Cale remains a “definite on. Let them burn in hell.” 8, when Warhol is in Paris for an exhibition possibility.” Young devotes an extraordinary It’s unlikely that much money is at stake of his Flower paintings at a gallery run by his ten pages to his reasons for viewing himself in this dispute. Even if hours of material fea-agent’s wife, Ileana Sonnabend. as the composer of the music in question in turing Cale, Conrad, and MacLise existed, it By now Warhol is one of the foremost fig-his essay ‘Notes On The Theatre Of Eternal would have very limited commercial appeal. ures in contemporary art, and has also started Music and “The Tortoise, His Dreams And The real loss is to listeners and scholars with to make his mark on the cinema with under-Journeys.”’ a sincere interest in the genesis of both The ground films. With him in Paris are assistant

The decision will be taken out of Young’s Velvet Underground and of minimalism. But Gerard Malanga (who is photographed with hands with the 2000 release of the April 25 as of this writing, it seems improbable that Warhol at a Parisian hotel on May 8), Factory 1965 performance by the Table Of The Ele-the feuding parties will reach a resolution habitué and Warhol actress Edie Sedgwick, ments label. A recording of the performance in the near future, or that the close friend-and her friend Chuck Wein, who will go on to eventually makes its way to the label by way ships once forged between Young and Cale, direct the chaotic Rainbow Bridge in 1970. of experimental guitarist and composer Jim and between Young and Conrad, will ever be Also joining the foursome’s table at the O’Rourke, who has been given it by Young’s repaired. Back in 1965, however, none of this Castel is an American acquaintance of Nico’s, first tape archivist, Arnold Dreyblatt, who can be foreseen, and both Cale and Conrad Denis Deegan, whose presence gives her an made a copy of it in the 70s. The subsequent will continue to play with Young and Zazeela excuse to go over and introduce herself. CD release credits the piece simply to Cale, through to the end of the year. Malanga invites Nico to visit the Factory the Conrad, MacLise, Young, and Zazeela. “Maybe next time she’s in New York, repeating the

I wasn’t careful enough [in] passing it on to , Late April invitation later in May when he and Deegan Jim O’Rourke,” Dreyblatt, a noted minimalist Kate Heliczer, the actress wife of filmmaker run into Nico again in London. in his own right, tells Signal To Noise magazine Piero, flies to Britain, bringing with her some in 2006. “But I may have wanted the younger early tapes of Reed, Cale, and company. “I left Saturday 8 generation to have it passed on.” New York with Barbara Rubin, and John and Nico visits Bob Dylan in London at the Savoy

The release of the Table Of The Ele-the band made a reel-to-reel recording in the Hotel, where he is staying as his British tour ments CD immediately sets off arguments hope that we might have luck in London in nears its end. Although she does not appear both within the experimental music scene finding someone interested in offering them in the documentary D.A. Pennebaker is cur-in general and between Young and Conrad a record deal,” she recalls. “We knew no one rently making about Dylan, Dont Look Back, in particular. On July 10 2000 Young issues in the music scene when we left New York, but she can be seen in the out-takes included a statement – available to read online at Barbara, who knew Bob Dylan, arranged for with the Deluxe Edition DVD issued in 2007. melafoundation.org/statemen.htm – declar-us to travel on the same plane as him.” Dylan She can be seen talking to Dylan’s manager, ing the disc to be “unauthorized.” He goes is likely on his way to Britain for a short tour Albert Grossman, around 50 minutes into the on to criticize the sound quality, notes the that begins on April 30, so the tape must have second disc. absence of about 90 seconds of the original been made earlier in the spring. It’s difficult to know exactly what Grossman performance, and laments the fact that Angus After chatting with Dylan on the plane, Heli-and Nico are discussing, but he seems to be MacLise’s “extraordinarily intricate rhythms” czer is invited a few nights later to see him at telling her about another singer or actress are “barely audible.” In his essay ‘Notes On the Savoy, where John and Cynthia Lennon are who, “last time I saw her, she had a little yellow The Theatre … ,’ he adds that the CD runs also present. “From that meeting Barbara was bow in her hair.” Nico wonders if such a look at a slightly different speed to the original making inroads into the London scene, but would suit her, to which Grossman replies that recording, thereby losing an effect that he I’m not sure whether anyone heard the Velvets she needs to “find your own thing.” The pair intended the piece to have. tape. It was not very professionally recorded then debate whether or not somebody who

Young’s obstinacy continues to rub Conrad and indeed sounded somewhat rough.” “wears a hair ribbon looks like a fool,” before raw. Having told The Wire in 1995 that there Although the tape will not remain in her Grossman concludes that Nico is “just talking was “no composer, but group consensus,” and possession, Heliczer (now known as Kate about style.” “That’s about all,” Nico chuckles, that Young “has always secreted the material Archard) recalls playing it to her British friend bringing what we see of this enigmatic con-that best shows the contributions of anyone John Hopkins, adding that “anyone who was versation to a close. other than himself,” he goes so far in the 2006 visiting his flat would no doubt have heard “Albert was terrific at giving people fatherly Signal To Noise article as to compare his lack of and also been rather excited by the sound.” advice,” Pennebaker notes on the accompa-access to the tapes to the loss of a limb. “It’s A similar tape will indeed capture the atten-nying commentary track. “He gave me quite still a part of my body in the way I have knowl-tion of the manager of a new band by the a bit, and Dylan, who may not have always edge of its movements and why it was there,” name of Pink Floyd in 1966, but by then the listened. But he was really more of a father he says of the music. “But I can’t move it and Velvets’ affairs are being handled by someone in many ways than a manager. And what I I can’t get it out and show it to anybody.” else instead … always really appreciated was, unlike most of

46 Nico in London, 1965.

47

MAY 1965 n WHITE LIGHT/WHITE HEAT

the managers that I knew, like the manager Vance or Jimmie Sims, according to Ragona. impressed by the first take, telling Reed, with for The Beatles and various other people, The song also features a bluesy harmonica obvious conviction, “Good performance!” he actually liked to hang out with the peo-solo that recalls the early Rolling Stones, while Reed says he’s blown some words, however, ple he represented.” In POPism: The Warhol at one point, in a reminder of Reed’s lack of and wonders if he can do it again. The second 60s, Warhol describes how Nico had said that studio experience, producer Terry Philips can take is similar but boasts a more forceful vocal Grossman had offered to manage her if she be heard reminding him to “be conscious of and ends with a cold stop after the line in came to the USA. Warhol of course will end the mic. Don’t move away from it.” which Reed thanks God that he just doesn’t up taking the role instead, alongside his own “It’s got a really cute lyric,” Ragona chuck-care. For all their simplicity, both takes are manager, Paul Morrissey. les, “and it’s so Lou Reed. But it’s Lou Reed momentous, and mark perhaps the first time

On the same DVD commentary track, from the very early days, before he rebelled. that the Lou Reed with which the world will Dylan’s road manager, Bob Neuwirth, notes He was kind of in the rebellious stage, but he soon become familiar is caught on tape. intriguingly that Dylan gave Nico a song, was still a meek, young, aspiring singer-song- Less impressive than these two renditions of ‘Can You Please Crawl Out Your Window.’ writer – just so far out there that nobody could ‘Heroin’ – but also interesting in terms of the He’s probably thinking of ‘I’ll Keep It With really understand the talent that he had.” future direction of The Velvet Underground – Mine,’ however, as the other song doesn’t More satisfying is the moody soul-pop bal-are two takes of an untitled, repetitious piano seem particularly suited to Nico in either the lad ‘Why Don’t You Smile Now,’ credited to piece by John Cale, the second much longer tough, bluesy rock version Dylan cut with The Reed/Cale/Philips/Vance and recorded later than the first. The droning, circular style is Hawks or the yearning, mid-tempo arrange-in 1965 by The All Night Workers. It’s not a reminiscent of Cale’s collaborations with ment included by mistake on an early pressing brand-new song – The Primitives taped a ver-La Monte Young (and indeed his later work of his ‘Positively 4th Street’ single. sion at Walter De Maria’s loft on December with Terry Riley), so it’s absolutely inconceiv—

3. But this version is far more striking than able that they could be of any possible use

Tuesday 11 the relatively tame, blue-eyed soul of The All to Pickwick. Philips is presumably just being

Night Workers’ recording of the song. The kind enough to Cale to grant him some lefto-

intro features a grand, reverberant, Spector- ver studio time to work on something of his

esque blend of guitar and harmonica, while own. But Cale will soon put this kind of piano

Reed’s vocals are much gutsier (if still a little playing to use, not least on the classic Velvet

tentative) than those heard on the released Underground & Nico track ‘All Tomorrow’s Par-version. In another nod to Spector, the guitar ties.’ (If you took away everything but Cale’s

at one point recalls The Righteous Brothers’ incessant piano, it would sound very much

‘You’ve Lost That Lovin’ Feelin’,’ while the like this recording.) harmonica solo is reminiscent this time of Four decades later, this landmark tape has

another early influence, Bob Dylan. (Reed still not been heard by the public. But its exist-

probably plays guitar and harmonica at the ence confirms that Reed is still at Pickwick in

same time on both this song and ‘Buzz Buzz May 1965, and indicates that his collaboration

Buzz.’) with John Cale has become serious enough

Neither of these songs is in the order of to merit this early approximation of a profes—

M RECORDING Lou Reed aNd JohN caLe the material that will soon feature on the first sional recording. Ragona meanwhile reiter-Pickwick Studios, 8–16 43rd Avenue, Long Velvet Underground album, but Reed is cerates that he and Philips “wanted Lou more Island City, NY. Producer Terry Philips. tainly getting closer to the group’s raw, per-than anything, ’cause we understood – we saw

According to Bob Ragona, Lou Reed today sonal sound on ‘Why Don’t You Smile Now.’ what Lou was.” records a three-song demo for Pickwick on The tape’s real revelation comes after this pair Hanging onto Reed would prove to be a tall two-track tape that also includes a solo piano of songs in the form of two complete takes order. “Lou was also totally uncontrollable in piece by John Cale. The tape includes two of ‘Heroin,’ with Reed backed only by folksy those days,” Ragona says. “So when you take a versions of Reed’s ‘Heroin’ – probably the guitar and clumsy, rudimentary bass (possibly super-conservative so-called record company first existing recordings of this landmark played by Cale, who might just about have with all these little old grey-haired ladies composition. started learning the instrument). working, and when Lou would come trotting

The first song on the tape is a lightweight, This version is in even more of a talking-through there with his girlfriends with their throwaway composition believed to be called blues style than the renditions Reed will tits hanging out … it was fine to do it after ‘Buzz Buzz Buzz’ (a Lou Reed original, not record with Cale and Morrison at 56 Lud-hours. [But] to get to the studio and where a cover of the 1957 hit by The Hollywood low Street in a couple of months – you can our offices were, you had to walk through the Flames). Vaguely reminiscent of Chuck Ber-almost hear him playing it on his own in a front office, then through the warehouse; we ry’s ‘Memphis,’ it features a twangy, out-of- Greenwich Village folk club. But what’s most were behind the warehouse. So all of these tune guitar and a banal lyric in which Reed amazing is that the composition is obviously people were subject to him, and Lou didn’t calls his baby on a telephone that just goes complete, with the lyric virtually identical keep his mouth shut.”

“buzz buzz buzz” all night long. There’s an to the version the Velvets would record for admonition to “jump dead” toward the end, their debut album about a year later, and the Wednesday 12 but it’s all a long way from the darkness of rhythm accelerating dramatically at the same M RECORDING Nico exact details unknown, ‘All Tomorrow’s Parties.’ Only one take is points in the song. London, UK complete, with another couple of attempts A graphic depiction of a heroin user’s After some pestering from Nico, Bob Dylan breaking down. There aren’t any drums on very personal relationship with the drug, the records a one-take piano demo of ‘I’ll Keep the recording, but another singer harmonizes song is unlike anything Reed or anyone else It With Mine’ at an unspecified London stu-with Reed on the chorus – probably Jerry has ever recorded. Terry Philips is clearly dio. The record is “not bad, not good, but

48 A tape box containing Lou Reed demos, dated May 11 1965.

WHITE LIGHT/WHITE HEAT n JUNE 1965

rushed” according to Richard Witts, author of , Late May Nico: The Life & Lies Of An Icon. It is promptly Continuing her almost desperate mission to pressed onto an acetate demo. Nico is no record Bob Dylan material, Nico writes a let-doubt keen to lay claim to this unreleased ter to him at the Savoy hotel that will later Dylan song as soon as she can, but its com-surface when it is auctioned at Christie’s on poser has more important things on his mind. April 30 2002. “Please, please, you promised Before recording the demo, he sings her a to write me songs & I want to sing your songs,” version of the song he plans to record as his she writes. “They are the only ones that make next single, ‘Like A Rolling Stone.’ Already sense for me & my life depends on them.” irritated by having had to wait around with She then informs Dylan of some “wonderful other Dylan girlfriends for hours, Nico tells news”: “I wish that you would be still in Lon-him that this new song is not as good as ‘I’ll don next Friday to see me sing your song on Keep It With Mine.’ The acetate he then gives Ready Steady Go! They like me to sing ‘Tambou-her is probably the same one Nico will later rine Man’ & I will sing it for you especially.” recall being “sent” by Dylan in the third issue Nico’s urge for Dylan to “Get well!!!” sug-of What Goes On. gests that the letter is written around the end

Witt’s book suggests that Dylan made the of May, when he is recuperating at the Savoy recording shortly after being released from after briefly being hospitalized with a viral St Mary’s Hospital with a viral complaint on complaint. He returns to the USA on June 2, May 29. This would mean that it has to occur which suggests that Nico expects to appear between May 29 and June 2, when Dylan flies on either the June 4 or June 11 edition of the back to the USA with his future wife, Sara UK’s premier pop-music television program. Lownds. But no such studio session has been No such appearance has been documented, documented by Dylan researchers – and however, and while it isn’t unknown for Ready Dylan’s career has been researched with more Steady Go! to feature performers who have yet fanaticism than almost anyone else’s. to release a record (as has already been the

Dylan does however undertake a London case with Donovan), it is highly unusual. studio session on May 12 at Levy’s Record-Nico does make it onto the program a few ing Studio, using John Mayall’s Bluesreak-months later, but performs a song by a differ-group plays to accompany screenings of work ers (featuring Eric Clapton on guitar) as ent North American singer-songwriter (see by old friends Jack Smith and Ron Rice, as his backing band. Nothing will be released entry for August 13). She doesn’t record ‘Mr. well as films by Stan Brakhage, one of the from the session, which is produced by Tom Tambourine Man,’ either, but even if she had most established avant-garde filmmakers in Wilson, who in a year’s time will find himself it’s unlikely that her version would have been the USA, and Andy Warhol. working with The Velvet Underground, but able to compete with the one recorded by Heliczer sometimes plays along with the an aborted attempt at ‘If You Gotta Go, Go The Byrds, which tops the charts in Britain quartet on sax, and also tapes the music the Now’ makes it onto the bootleg circuit. It and America and kicks off the transatlantic group performs to play at screenings of other seems more likely that, if Dylan indeed cut folk-rock boom. films, including The New Jerusalem. Although a hurried version of ‘I’ll Keep It With Mine’ the tapes are not circulated, the band knows

for Nico, it would have been on May 12, as what Piero is doing. In a 1976 interview with

is claimed by top Dylan expert Clinton Hey-Lenny Kaye in the New Musical Express, Reed June lin in Bob Dylan: Behind The Shades Revisited. claims to have “always encouraged bringing

Heylin also notes that a Dylan demo of the tape recorders to our jobs.” In his Little Cae-song was indeed registered with his publish- sar essay on Heliczer, Morrison notes, “A lot ing company, Witmark Music, at the time, During the summer, Lou Reed, John Cale, of people in England heard us for the first while another of Heylin’s books, Bob Dylan: A Sterling Morrison, and Angus MacLise con-time because Piero played the tape at his film Life In Stolen Moments: Day By Day: 1941–1995, tinue to play as an anonymous group at showings; I know because a number of them suggests that folk singers Nadia Cattouse and screenings for underground films. No dates came up to me afterward and said so. We were Sydney Carter, Manfred Mann vocalist Paul are recorded but, as noted elsewhere, Mor-very grateful.” Jones, Albert Grossman, and Grossman’s wife rison will later recall the first of them as It’s possible that there are still unreleased Sally all attend the session. accompanying Piero Heliczer’s films. Other tapes of The Velvet Underground floating

Nico will later claim to have been offered films are apparently shown at the event too, around from this period. Lou Reed seems to a deal with Andrew Oldham’s Immediate including one by Kenneth Anger, director of think so, while Tony Conrad will later recall label while snorting speed in the toilets of one of the period’s most acclaimed under-piles of early VU tapes made by MacLise, many a Los Angeles hotel around the same time ground features, 1963’s Scorpio Rising. It’s of them bearing much more of a freeform – the same hotel that the Stones are staying fairly unlikely that the group would have influence than the group’s officially released at while recording their classic ‘(I Can’t Get provided a live backing to this film, however, work. But when a recording from this period No) Satisfaction.’ But given that the Stones as it has already been widely acclaimed for finally is unearthed, however, it won’t even recorded the song at RCA Studios in Holly-the groundbreaking use of rock’n’roll on its include MacLise as one of the musicians. (See wood on May 11–12, she would have to be soundtrack. Morrison will also mention Christ- entry for July 1965.) doing some implausible jet-setting to get mas On Earth by Barbara Rubin, soon to play “There was a time around the early 70s, there, having definitely been in London with a key if largely overlooked role in furthering possibly late 60s, [when] John was moving, Dylan on May 8. the group’s career. It’s also reported that the and didn’t have any space for his stuff,” says

A copy of the book that gave The Velvet Underground their name, autographed by John Cale. 49

JUNE 1965 n WHITE LIGHT/WHITE HEAT

Conrad. “So he gave me a huge box of reel-to- says that the group started using it during ALSO … reel tapes that he really didn’t have any way to the summer of 1965. Curiously, however, he use or play. He was sort of concerned that they also writes in a letter to Piero Heliczer’s wife might vanish, as things do when you move. Kate that the group is currently called The But he knew that I was a pack rat, and so he Velvet Hermaphrodite Jug Band, suggesting suggested I hold on to them. Which I did; I that the group has not yet settled on a per-had this box of tapes that I moved around manent moniker. with me for some time.” And what did the book’s author, Michael

The tapes would remain with Conrad for Leigh, think of his accidental gift of a name about 15 years, until a time when, as Con-to this legendary band? We’ll probably never rad puts it, “This whole bit with The Velvet know, although the group did by a remarkable Underground had turned into a kind of a coincidence come across one of his offspring fetish thing. There were people out there a few years later. At a club in Philadelphia, as who were collecting VU paraphernalia and Reed tells it in his November 1968 interview issuing bootlegs. Bootlegs were the big prob-with Open City, the group discovered that “the lem at that point. So when I reminded John daughter of the guy who wrote the book was that he had laid on me all these tapes of early taking tickets … we said, ‘How fantastic!’ and VU sessions and concerts and all this stuff, we sent down and said, ‘Would you autograph he said, ‘Whoa! Get that back to me right this book?’ and she said, ‘How dare you?! He’s away!’ Presumably he wanted to make sure dead of cancer …’” Around the same time, a photo of Nico by Pete that the temptation didn’t lead to the point Sahula is used on the jacket of Casey Ander—

where these things would somehow filter out Wednesday 23 son’s Atco Records LP, Blues Is A Woman Gone. into bootleg city. Because that makes prob- C FILMING The Sandpiper The album must have been issued around the lems for him, for his company. He wanted In her ongoing bid to become the Zelig middle of the year, as the next catalog number to kind of make sure that he had control of of the mid 60s, Nico makes an uncredited assigned to an Atco LP belongs to Sonny & the recordings. So I just sent ’em all back appearance as a dancer in the Big Sur party Cher’s Look At Us, released in August. When to him.” scene of Vincente Minnelli’s film, released the picture was taken is unclear, but it’s prob—

today in the USA. The film was shot in both ably from a later date than the one used on

ALSO … Big Sur and Paris during the latter part of Bill Evans’s Moon Beams, as Nico looks much

It’s probably around now that the first pic-1964, and stars Elizabeth Taylor, Richard closer here to how she will in The Velvet tures of the band are taken by their next-Burton, Eva Marie Saint, and Charles Bron-Underground. door neighbor, Reed’s childhood friend son.

Donald Greenhaus – and that Tony Conrad If it is Nico in the beach scene, as several

finds a copy of Michael Leigh’s book The Vel- reference sources claim, she might be the July vet Underground lying in a Bowery street. He blonde in pants and a sleeveless top seen leaves it behind when he moves out of 56 for just a couple of seconds. The glimpse Ludlow Street, only for the band to quickly the viewer gets of her is so distant, dark, and seize upon it as a great name for their group. fleeting, however, that it’s impossible to say for M RECORDING 56 Ludlow Street, New York, (Conrad has since reclaimed his copy of the sure. She might also be the blonde smoking, NY. book, which for a time was on display at the chatting, and wearing a pink sweater behind For about ten years, Lou Reed, John Cale, Experience Music Project in Seattle, although Bronson in an earlier sequence at Big Sur’s and Sterling Morrison have been assimilating in a variation on the story, Angus MacLise’s famous Nepenthe restaurant, during which a wide range of influences from rock’n’roll, wife, Hetty, says that her husband once told Bronson taunts an unmarried minister (Bur-blues, rhythm & blues, jazz, contemporary her that he found it while browsing in a book-ton) about his affair with a bohemian artist composition, and the avant-garde. It’s not store on 45th Street.) (Taylor). until now, however, that they record some—

It’s sometimes assumed that the kinky boots Percussionist Bob Amacker is present dur-thing that’s truly recognizable as The Vel-and whips on the cover are part of the appeal, ing the shooting of the beach party scene. vet Underground. There might have been particularly since the musicians are already “They told everybody, ‘This is the big beach flashes of it in Reed’s unconventional Pick-working on songs with both intimations and party, wild, crazy, psychedelic scene!’” he wick recordings, and in the drones of Cale’s blatant depictions of sadomasochism and later recalls in Ugly Things magazine. “So work with Tony Conrad, Angus MacLise, La kinky sex. At least one of the guys actually they hired just about everybody I knew in Monte Young, and Marian Zazeela. But apart reads the book, with Lou Reed calling it Big Sur to come and be part of this scene. from Reed’s ‘Heroin’ demos, these are just “the funniest dirty book I’ve ever read” in an It’s hysterically funny if you know the peo-tiny pieces of a much bigger jigsaw puzzle. interview with Open City. Sterling Morrison ple, ’coz they’re all just acting like wilder Now, on a demo tape that the trio make with a will later emphasize, however, that it’s the than hell; everybody is just crazy and wild reel-to-reel Wollensak recorder (inherited by Underground in the title that the group is and flipped out. They’re on the beach, and Cale from Tony Conrad), the basic elements most interested in, having already started to there’s drumming and all kinds of shit hap-of the VU sound fall into place. work within the underground film and art pening. And it’s true this was going on. I’d Four of the six songs demoed now will be scenes. say this party was a little bit overdone because re-recorded as highlights of The Velvet Under-

Exactly when the group first starts to of the filming, but it wasn’t that unusual for ground & Nico; another will feature on Nico’s appear in public as The Velvet Underground them to have parties like this on the beach solo debut. Even without drums (or Nico), is unclear. In his autobiography, John Cale and do stuff like this.” and with Cale not yet playing the bass, the

50

WHITE LIGHT/WHITE HEAT n JULY 1965

essence of both their core repertoire and Next up is perhaps the least typical song this stage it’s a bona fide hillbilly romp, com-revolutionary innovation is clear to see. in the entire Velvet Underground catalog, pletely with rudimentary slide-guitar, baying

If there’s one thing that stands out above ‘Prominent Men.’ Never recorded for stu-vocals, and close harmonies in the chorus. All all others as a breakthrough – compared both dio release, it’s an out-and-out aping of Bob of those Hank Williams records Tony Conrad to Reed and Cale’s previous recordings and Dylan’s early protest songs right down to played to John Cale after their ‘dream music’ to rock music as a whole – it’s the enormous the bleating harmonica and exaggerated rehearsals must have made an impact after leap forward in Reed’s songwriting. With hillbilly elocution. (In a 1996 interview with all, even if the Velvets won’t reveal this mock-‘Heroin,’ ‘I’m Waiting For The Man,’ ‘Venus Q magazine, Reed will claim never to have country face on record until 1970’s ‘Lone-In Furs,’ and ‘All Tomorrow’s Parties,’ he played the harmonica on these or any other some Cowboy Bill,’ by which time Cale will addresses drugs, deviant sex, and the danger-recordings.) The only Velvets song written be long gone. ous exhilaration of Lower East Side street-life in blatant imitation of another act’s style, it’s Another odd difference in these embryonic with fearless honesty and almost journalistic none too impressive, either, with slightly out-versions of ‘I’m Waiting For The Man’ is that detail. These are subjects that have previ-of-tune guitars, harmonized vocals, and nasty some of lines are spoken/mumbled by Cale, ously been considered taboo in rock’n’roll, swipes against caricatured ‘prominent men’ almost as a counterpoint to Reed’s lonesome and while one other Lower East Side band of privilege. Cale’s viola does at least make an wailing. While the first take breaks down (The Fugs) is also developing songs about sex entrance in the second verse, unveiling one fairly quickly, the second is almost complete. and drugs, Reed is doing so with a literary of the group’s early sonic trademarks with an It shows that the Dylan influence has yet to seriousness and melodic musicality. As Reed instrument used by no contemporary bands, be ironed out of the nascent Velvet Under-himself will point out on numerous occasions, and few others since. ground sound, with an intrusive, needle-in-these themes are already common in novels, ‘Prominent Men’ is the only one of the the-red harmonica solo appearing during plays, and films, but have yet to be explored in six songs on the demo to bear a Reed-Cale the instrumental break. What follows how-depth in pop songs – or at least with the skill songwriting credit. “There are a lot of songs ever could only be the Velvets as Cale takes and intellectuality Reed brings to the task. I should have co-authorship on, and the same over with manic, distorted runs on the viola

Reed has been working on songs like ‘Her-holds true for John Cale,” Sterling Morrison that would surely make any record executive oin’ and ‘I’m Waiting For The Man’ since his will tell Mary Harron in an April 1981 issue of listening fear for the safety of his reel-to-reel days at Syracuse University, but until now he the New Musical Express. “The publishing com-equipment. has lacked a commercial outlet for his ideas pany was called Three Prong because there Cale’s viola solo is even scratchier and and other musicians with whom to bring his were three of us involved. I’m the last person stranger on the third take, serving notice that songs to life. In Cale, Morrison, and MacLise, to deny Lou’s immense contribution, and he’s the Velvets aren’t just would-be folkies. The he’s found musicians who are not just on the the best songwriter of the three of us. But he eventual decision to revamp the arrangement same artistic wavelength but also immersed wanted all the credit, he wanted it more than is a wise one, however. What sounds here like in the same lifestyle. MacLise however does we did, and he got it, to keep the peace.” an absurd, satirical tale of an out-of-depth not feature on these first tangible fruits of ‘Prominent Men’ is followed on the 1995 Appalachian yokel suddenly finding himself the group’s laborious rehearsals: never one CD by four takes (two of them aborted) of scoring hard drugs in Harlem will become to be held to a schedule, he’s not present for ‘Heroin.’ The song is much closer to its final something far darker and more realistic, even the taping. incarnation than ‘Venus In Furs,’ right down if it retains this version’s dry wit.

For all its value as the first genuine Vel-to the halting rhythm of the guitars and Cale’s That ‘Wrap Your Trouble In Dreams’ is part vet Underground recording, the six-song, graceful viola. The only major differences to of the early Velvet Underground repertoire 80-minute tape – finally made commercially the version heard on The Velvet Underground & will not become widely known until the release available as the first disc of the Peel Slowly And Nico are the lack of drums and (perhaps more of Peel Slowly And See. The version featured See boxed set in 1995 – shows a group still problematically) the strained Dylanisms in on Nico’s Chelsea Girl in 1967 has a baroque some way from perfecting their richly tex-Reed’s vocal. There are also numerous minor folk-pop arrangement, with violin and flute tured sound. The great surprise here is that variations in the lyrics, with Reed wishing he to the fore, but the Velvets’ demo – heard the stripped-down Velvet Underground sound was born a hundred rather than a thousand here as a 16-minute sequence of complete and almost like a folk group, and not just because years ago, and blood squirting rather than incomplete takes – is still far folksier than one of the lack of drums. This is never more appar-shooting up the neck. A few extraneous lines might expect. The song once again features ent than on the three full versions of ‘Venus will also be cut from this version, including a Cale, not Reed, on vocals, suggesting that the In Furs’ that open the 1995 CD, Reed’s tale mention of animals making noise alongside band-members’ roles aren’t yet as well-defined of ominous sadomasochism sounding here the politicians who remain in the later ver-as they will be by the time of The Velvet Under-like a lilting, gothic folk lament. In part that’s sion. The changes are subtle but measurably ground & Nico. (Shortly after recording these because Cale – not Reed – handles the vocals improve the song in its final incarnation. demos, Lou Reed will be persuaded by Cale in his tremulous Welsh burr. But there’s none The lyrics to ‘I’m Waiting For The Man’ – and Morrison to be the group’s lead singer, of his menacing viola, either, just delicately heard here in three takes, only one of them despite his initial insistence that Cale should picked guitars by Reed and Morrison. As complete – are almost identical to the Velvet take the role.) strange as it might seem, the overall effect is Underground & Nico version except for one ‘Wrap Your Trouble In Dreams’ begins with not dissimilar to English folk standards such as important exception: Reed really does sing Morrison tapping out a soft, death-march ‘Scarborough Fair.’ And yet the song, inspired “the man” not “my man.” The phrase must rhythm with his knuckles on a sarinda – a tiny by Leopold Sacher-Masoch’s book of the same change at some point between now and April legacy of Cale’s days with La Monte Young – name, is complete – the lyrics are virtually the 1966, but the title remains as it is. But while before an acoustic guitar strummed in a simi-same as those heard on The Velvet Underground the lyrics are virtually the same, the arrange-larly funeral fashion joins in. The lyrics are & Nico, although the “master” of one line will ment is very different. The song might eventu-virtually the same as the Chelsea Girl version, eventually become a “mistress.” ally become a droll, blues-rock stomp, but at with the very notable exception of an impres-

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sive additional verse about finding happiness just one of a number of early practice sessions possible however that the tape draws on other in death and loveliness in pain; the order of recorded by Cale, who only rediscovered this performances recorded by Cale at 56 Ludlow the verses is also slightly different. particular tape shortly before the assembly of Street. Long before the release of Peel Slowly

As with the demo of ‘Venus In Furs,’ the the boxed set. Morrison is quoted in the same And See in 1995, Sterling Morrison recalled the mood is reminiscent of a traditional Brit-liner notes as claiming that the tape was “pri-existence of a tape featuring ‘Venus In Furs,’ ish folk-song or a seafaring ballad – the last marily something to play for ourselves. And ‘Heroin,’ ‘Wrap Your Troubles In Dreams,’ thing one might expect of The Velvet Under-then we thought we might as well play it for and ‘The Black Angel’s Death Song,’ the last ground. Yet few if any British folksingers sang other people too, in case somebody might get of which does not feature on the boxed set. about excrement filtering through the brain, interested.” Cale also recalls demoing ‘The Black Angel’s spine-bending hatred, or golden whips slash-If this is a proper demo designed to solicit Death Song’ at Ludlow Street, as well as an ing across a lover’s side. Although it is prob-interest from record labels, the group might as yet unheard song called ‘Never Get Emo-ably too gentle to have fitted comfortably perhaps have taken more care in giving it tionally Involved With A Man, Woman, Beast, on a Velvets album, ‘Wrap Your Troubles In a fuller, more electric sound, and to have Or Child.’ Dreams’ remains a neglected highlight of included MacLise in the proceedings. Then It’s not clear how often Cale returns to the Reed’s early canon, with a lovely lilting, fore-again, his absence suggests perhaps that he’s UK, but it’s unlikely to be often, given that boding melody. Relatively speaking, it might not taking the group as seriously as Reed, he and Reed are having to resort to giving actually be among the more commercial tunes Cale, and Morrison, and/or that the other blood and posing for tabloids to raise cash. on the tape. three aren’t convinced that he will remain “We saw an ad in the Village Voice saying ‘$5

Of the numerous versions included on Peel with them permanently should the band for a pint’ and another which would be for Slowly And See, only the ones announced as become more serious. National Enquirer, where we were paid $15 ‘take two’ and ‘take 11’ are complete. The It’s not clear either whether this is the same apiece with the signing of a release that stated other brief, botched versions offer some tape that John Cale will take with him to Brit-we would not sue if our pictures were used insight into the group’s dynamics at this point ain (as noted below) in what appears to be the to depict murderers, thieves, rapists, etc.,” in time. Because of their heavy, gloomy songs group’s first serious attempt to stir up record Cale recalls in Tim Mitchell’s biography. “I and fearsome black-clad, sunglasses-wearing company interest. In the August 19 1995 edi-was a gay junkie in a story, and Lou was a image, it’s often assumed that the Velvets must tion of Billboard, Cale gives the impression the serial murderer who got caught because he have been pretty gloomy characters as well. tape used on the boxed set is not the one from tape-recorded the screams of his victims.” (As But these recordings make clear that these the period that he remembers most strongly. unlikely as this might sound, this is not just three guys are good friends with a shared He also intimates that there are other unre-embellishment decades after the fact. In the sense of humor. “Too fast!” Reed grumbles leased tapes in the same basement in which fall of 1966, Lou Reed explains to Nat Finkel-after one false start. Something unintelligible he found this one. “There’s still stuff down stein – in a taped conversation later quoted is mumbled in response before Reed shoots there that I just haven’t had the heart to … in UpTight: The Velvet Underground Story – that back, “Well that doesn’t prove it’s right! What rummage around in,” he tells Chris Morris. “I he and Cale “posed for these nickel or fifteen-the fuck’s wrong with you?” Uproarious laugh-knew, kind of, which boxes had what in them. cent tabloids they have every week … my pic-ter follows throughout the next few aborted I picked one and took it [to PolyGram]. I was ture came out and it said I was a sex maniac takes, with good-natured profanities continu-wrong. What I was given back on a DAT was killer that had killed 14 children and tape ing to fly back and forth. not what I thought was on that tape at all.” recorded it and played it in a barn in Kansas

The final track on the demos CD is ‘All The origins of the tape are muddled further at midnight. And when John’s picture came Tomorrow’s Parties.’ On The Velvet Under- by the claim by Polygram’s Bill Levenson in out in the paper, it said he had killed his lover ground & Nico, the song will become a thun-the same issue of Billboard that the 94-minute because his lover was going to marry his sister, dering, majestic portrait of a self-pitying demo tape had arrived unannounced in his and he didn’t want his sister to marry a fag.” party-girl, but the various attempts included office after the rest of the boxed set had None of those photographs will ever come to here reveal it to have started out as something already been remastered. “We decided to edit light, but it’s possible that they’re shot in such of a country-folk hoedown, frosted with Cale’s it down to 79 minutes to fit it on one CD – a way that it would be impossible to identify vocal harmonies on the chorus and an almost basically, the editing was taking a lot of space Reed or Cale.) merry, galloping tempo. Reed’s lead vocal is, out – and go with it as the first disc,” he says. What is known about Cale’s return to the once again, a little bit too Dylan-esque. The Whatever the reasons behind the tape’s UK is that he goes to London to hawk the whole affair could hardly be any further from recording in 1965 or its release three dec-Velvets demo as best he can – not the easiest the eventual studio arrangement, and seems ades later, it remains a key document in the job in the world, considering the relatively shockingly ill-suited to the mood of the song evolution of the group, showing both how far primitive circumstances under which the – at least after four decades of listening to the the musicians have come on since the start of songs were recorded, and the fact that the Wagnerian grandeur of the Nico-sung version. the year, and how great a distance they still group doesn’t have a manager yet. He is able It’s still fascinating to hear, however, for that have to travel. to get a copy to Marianne Faithfull, and hopes very reason – as is the case with the whole that she in turn will pass it on to Mick Jagger,

of the demo tape, which illustrates just how ALSO … with whom she shares a manager/producer much The Velvet Underground will evolve Later in the summer, John Cale travels to the in Andrew Loog Oldham – the man recently between 1965 and 1966. UK, bringing with him a reel of Velvet Under-tasked with producing Nico’s debut single.

Years later, there remains some uncertainty ground demos. It’s unclear whether these But Faithfull closes her door before Cale can as to the purpose of the tape, and whether stem from the same recordings later included get inside. (Another variation of this story sees it was ever intended as a proper ‘demo’ or on Peel Slowly And See, but if they do then the Faithfull receive the tape from Barbara Rubin, something more informal. According to David group will certainly have edited them down who got it from Kate Heliczer.) Fricke’s liner notes for Peel Slowly And See, it is and selected the best version of each song. It’s Cale also recalls giving the demo to his old

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WHITE LIGHT/WHITE HEAT n AUGUST 1965

English tutor at Goldsmiths College, who has unavailable at the time in America. These claims that Mick Jagger discovered Nico. some potentially helpful friends. But although include records by The Kinks, The Who, and “Apparently, Mick came running into Cale cites some interest from Miles Copeland The Small Faces. The distorted electric-guitar Andrew Oldham’s office one day, dragging in his autobiography, it’s not clear how Cope-riffs and feedback on some of them help con-Nico behind him and shouting that he had land – who will go on to manage The Police firm to the Velvets that there might be a mar-discovered the next Joan Baez,” Criscione and become the head of IRS Records – could ket for their own experimental efforts, and writes. “He then proceeded to make Nico have helped much at the time, since he is still indeed that other bands are thinking along sing, thoroughly convinced that she was a student at Birmingham Southern College in similar – if not quite as radical – lines. One wonderful. However, Oldham came to the Alabama in 1965, and will not enter the music of the singles Cale brings back with him is conclusion that she was ‘bloody awful’ and business until the late 60s. “If this happened, definitely The Small Faces’ debut, ‘Whatcha everyone else agreed, which completely shot I do not remember it,” Copeland says today, Gonna Do About It,’ released on August 6 Mick down. After hearing her sing I must but he will go on to work with Cale twice 1965 in the UK and later name-checked by say my opinion stands somewhere between during the late 70s: first when Cale produces Cale in the Peel Slowly And See liner notes. One Mick’s and Andrew’s but considerably closer Squeeze, and then when Copeland puts out imagines that another might have been ‘Any-to Andrew’s.” This is almost certainly untrue, Cale’s Animal Justice EP on his Illegal Records way, Anyhow, Anywhere’ by The Who, which however, since Brian Jones – not Jagger – is label. features an extended, feedback-laden guitar the Rolling Stone responsible for asking Old-The basic idea was “to see whether anyone solo by Pete Townshend that’s so wild that ham to record Nico. And if Oldham truly to would let us record over there,” as Sterling Decca Records initially rejected it, assuming thinks that she is “bloody awful,” it’s unlikely Morrison is later quoted as saying in the liner that the sound is a defect in the master. that he would go to the trouble of producing, notes to the bootleg album The Velvet Under- The existence of these records makes the releasing, and promoting her debut 45. ground (And So On). “[The tape] was copied Velvets all the more eager to get a deal of and passed around a lot in England.” Mick their own, fearing that other bands are beat- Friday 13 Farren, lead singer in late-60s British psych-ing them to the punch with similar ideas. I TV Rediffusion Television Studios (Studio edelic group The Deviants, confirms that Sterling Morrison will later claim that the July 1), Wembley, London. Ready Steady Go! at least a few copies of these early VU tapes 1965 Ludlow Street tapes prompt an offer to Nico previews her single ‘I’m Not Sayin’’ a were circulating in London at the time. As come to the UK, but nothing ever comes of it. week before its release on the UK’s top pop Farren tells it, The Deviants procured their Despite a few tempting spurts of interest from program of the mid 60s. This is the second copy from the US-born record producer Joe across the Atlantic, The Velvet Underground of three appearances by members of The Boyd, soon to become famous as manager and won’t make it to the UK until after Lou Reed Velvet Underground on national television producer of Fairport Convention, Nick Drake, leaves the group in 1970. broadcasts in Britain or America during the and others. (Boyd, the author of an acclaimed 60s; ironically, all three will occur before the memoir of the period, White Bicycles, has no group has signed a record deal.

memory of hearing The Velvet Underground Nico will later claim to have also sung August

prior to the release of their debut album.) Dylan’s ‘Mr. Tambourine Man’ and ‘It Ain’t “They were pre-first album,” Farren says of Me Babe’ on Ready Steady Go! – and to have the tapes, which he adds were promptly stolen made two other appearances on the show – from The Deviants by persons unknown. “We M RECORDING JohN caLe exact location but this is probably just wishful thinking. Also performed a song called ‘Prominent Men’ unknown, New York, NY. appearing on today’s show are The Animals, for a while that we took off those tapes. I was John Cale might be soaking up the spirit who perform their hit ‘We’ve Gotta Get Out almost beginning to think I’d dreamed them. of rock’n’roll with his new chums Lou Reed Of This Place’; British-based Californian Everybody denied all knowledge of them. And and Sterling Morrison, but his compositional transplants The Walker Brothers, singing the suddenly they resurfaced [on Peel Slowly And sense still draws him toward the avant-garde, chart-topping ‘Make It Easy On Yourself’; and See]: three or four versions of ‘Venus In Furs,’ as indicated by the 11-minute instrumental Sonny & Cher. (Sadly, the tape containing this the very strange acoustic version of ‘Waiting ‘Summer Heat.’ He plays a distorted electric episode is one of many erased to make space For The Man,’ ‘Prominent Men,’ ‘All Tomor-guitar on the piece, but sticks resolutely to for new programming during the late 60s.) row’s Parties.’” one briskly strummed chord – and not a ter-That would make The Deviants not just ribly pleasing or melodic one at that. Almost Sunday 15 perhaps the only band to cover ‘Prominent suffocating in its rigorous repetition, ‘Sum- M RECORDING JohN caLe w/ La MoNTe Men,’ but also probably the first group ever mer Heat’ will eventually find release on the youNg, MaRiaN ZaZeeLa, aNd ToNy coN-to cover a Velvet Underground song. In his 2000 Cale compilation Sun Blindness Music. Rad 275 Church Street, New York, NY. autobiography, Give The Anarchist A Cigarette, Cale today attends another recording ses— Farren adds that the VU material “helped Tuesday 10 sion with La Monte Young, providing voice open us up to wider potentials with songs At a London press conference, Andrew Loog and five-string viola alongside Tony Conrad’s about sadomasochism, copping heroin, and Oldham announces the launch of his Imme-violin and Young and Marian Zazeela’s voices. terminal narcissism, and artistically we robbed diate Records imprint, with Nico’s debut sin-The title of the piece is unwieldy even by them blind. We had their classic ‘I’m Waiting gle scheduled to be one of the label’s first Young’s standards: ‘Day Of The Antler 15 VIII For The Man’ down well before their famous releases. A photographer of her at the press 65 The Obsidian Ocelot, The Sawmill And ‘banana’ debut album came out and every conference, flanked by Oldham and Imme-The Blue Sawtooth High-Tension Line Step-half-arsed, pre-punk, three-chord band – diate co-owner Tony Calder, appears in the down Transformer Refracting The Legend Of including David Bowie – started playing it.” August 13 edition of the New Musical Express. The Dream Of The Tortoise Traversing The On his return to the USA, Cale brings with In her On The Beat column in the May 28 189/98 Lost Ancestral Lake Region Illuminat-him a bunch of British 45s that are largely 1966 edition of KRLA Beat, Louise Criscione ing Scenes From The Black Tiger Tapestries

53

54 The Velvet Underground’s first line-up, 1965. From left: John Cale, Sterling Morrison, Lou Reed, and Angus MacLise.

WHITE LIGHT/WHITE HEAT n AUGUST 1965

Of The Drone Of The Holy Numbers From was in the wrong key, her voice sounded like a tember 11 issue: “Nico really sings out, unlike “The Tortoise, His Dreams and Journeys.”’ horse on steroids.” Future VU drummer Mau-some of the rather whiny folksters. Song is

reen Tucker is a little more positive, however, treated considerately with a guitar-string back-

Thursday 19 describing it in What Goes On as “a nice little ing. This could easily be a hit, it’s so catchy.”

Angus MacLise w/ Walter De Maria, song,” adding, “I like it a lot.” Astor Playhouse, New York, NY More satisfying, if less commercially viable, Angus MacLise and former Primitive Walter is the somber, wholly acoustic folk-ballad on ALSO … De Maria provide the soundtrack for a mul-the B-side. Oldham supplied the lyrics; the At around the time ‘I’m Not Sayin’’ is released, timedia event featuring dancers upon which music is by a young Jimmy Page, currently Peter Whitehead directs a short promotional scenes from Jack Smith’s Normal Love are London’s top session guitarist but shortly to film of Nico miming the song on various dock-projected. become a rock star in his own right with The side locations around the River Thames in

Yardbirds. The track is produced by Page, London. Nico will never again look so much

Friday 20 and features guitars played by him and Brian like a conventional pop-star as she does in

At some point during the summer, Nico Jones. Far starker and more strident, vocally, this clip. She wears a black sweater and pat-signs a deal with Andrew Loog Oldham’s than the A-side, it’s not dissimilar to some of terned skirt as she climbs stairs, ambles over new Immediate label. Her plan of course is the folk-edged tracks that will later appear on bridges, bobs up and down (fully clothed) in to record Bob Dylan’s ‘I’ll Keep It With Mine’ Nico’s first solo album, Chelsea Girl. Not that the water, and makes appropriately earnest as her debut single, but Oldham opts instead Nico herself is particularly impressed. “I made facial gestures as she lip-syncs along to the for a song by the up-and-coming Canadian a single once with Jimmy Page,” she will later wistful lyrics. folksinger Gordon Lightfoot, who, like Dylan, recall in an interview for Kristine McKenna’s For all the effort involved in getting a is managed for a time by Albert Grossman. anthology Book Of Changes, “but it was a fail-promo clip together, however, it’s not certain

It’s apparent from Oldham’s production ure both artistically and commercially. Page’s where and when it might have actually been of ‘I’m Not Sayin’’ that he views Nico as a music was like cement.” aired. According to rock film expert Keith kind of folk-pop singer, somewhat in the The single is rejected by Decca prior to Badman, it never appears on any of the major mold of another beautiful blonde with whom being issued simultaneously with four other UK television shows; it might well be broad-he’s recently worked, Marianne Faithfull. It Immediate 45s: The Fifth Dimension’s cover cast outside the UK, but no specific details doesn’t matter that Nico’s voice is consid-of Pete Seeger’s ‘The Bells Of Rhymney’; The are available. erably lower than Faithfull’s, or that, in the Masterminds’ version of Dylan’s ‘She Belongs “The guys at Immediate Records rang me very youth-obsessed British pop-scene of To Me’ (the very existence of another Dylan up and said, ‘We have this new singer. We 1965, she’s rather old to be making her offi-cover on the Immediate roster, after hers is are producing her first record. Could you cial recording debut. (She’s about eight years rejected, no doubt galling Nico further); Gre-make a film with her?’” Whitehead recalls in older than Faithfull.) It’s not known exactly gory Philips’s rendition of Billy Joe Royal’s US a documentary made about him in 2006, In when and where the recording session takes hit ‘Down In The Boondocks’; and the first The Beginning Was The Image. “So I said ‘Yes. place, but if it’s on London’s Denmark Street, UK release of a US Number One hit by The Who is she?’ ‘A German actress who is in this as suggested by Nico: The Life & Lies Of An McCoys, ‘Hang On Sloopy.’ (Some sources film called La Dolce Vita.’ ‘Sounds interesting. Icon, it’s likely to be Regent Sound. give an August 19 or August 26 release date La Dolce Vita? I don’t remember a German

The song’s orchestral backing is arranged for the single, but the date is announced as actress.’ [Nico is referred to as a Swedish and conducted by David Whittaker, who has August 20 in the previous week’s edition of model in the film.] Anyway, she had decided also worked with Faithfull, and features Brian the New Musical Express.) to become a singer now. Well, we had – what Jones on guitar. There’s little hint of the emo-On the day of the single’s release, Nico can we say – a fleeting affair. She’s not alive tional depth of her later recordings, but her attends an Immediate Records launch party, any more, is she? But I doubt if she would deep voice is immediately recognizable. Old-with Mick Jagger, Eric Clapton, and Byrds remember. I don’t think I can remember too ham later describes the track as “an effort by drummer Mike Clarke also in attendance. many details, but she was lovely.” me to copy that Bob Lind ‘Elusive Butterfly’ But despite featuring a week earlier on Ready Whitehead will go on to become one of the sound.” Both songs combine folk with lush Steady Go!, and having a short film made to UK’s foremost directors of rock promo films pop-rock orchestration (and a prominent accompany it (as detailed below), ‘I’m Not while the form is still in its infancy. He over-glockenspiel in Nico’s case). Bob Lind’s hit Sayin’’ fails to chart. (Of the five Immediate sees clips for The Small Faces’ ‘Itchycoo Park,’ is recorded around the same time, but won’t 45s released today, only ‘Hang On Sloopy’ Jimi Hendrix’s ‘Hey Joe,’ Eric Burdon & The be released in the USA until November 19, will be a hit, peaking at Number Five.) Nico’s Animals’ ‘When I Was Young,’ and several and won’t chart in the UK until the follow-debut does at least get a reasonable review in for The Rolling Stones, as well as directing ing March. But as he later recalls in Immedi- the New Musical Express, which calls it “folksy ate Records: Labels Unlimited, Oldham has been and commercial, with a bouncing, driving fortunate enough to obtain an advance copy, beat … It highlights the most attractive voice NICO

the stellar Jackie DeShannon demos we loved” notes, “is more of a protest song.” ‘I’m Not Sayin’’ adding that he also tries to emulate “some of of girl singer Nico.” The B-side, the NME on ‘I’m Not Sayin’.’ Modest praise is also forthcoming in Record A ‘I’m Not Sayin’’ (G. LIGHTFOOT)

Nico is not particularly enamored of the Mirror’s small feature on the singer, which B ‘The Last Mile’ (A. LOOG OLDHAM/ results. “What a terrible song!” she exclaims states, “The disc isn’t bad … Nico tackles a J. PAGE) in a December 1980 interview with Jim Con-good song with a good big voice; an antidote don in What Goes On. Oldham has even less to the current rash of girls who whisper fear- UK release August 20 1965 fond memories of the song, telling the Times fully through folksy lyrics.” The same paper (Immediate IM 003) of London in September 2008, “I hated it. It gives the single a proper review in its Sep-

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a rarely seen 1965 documentary of a Stones the last anyone will hear of Nico until she pays much. Only walking. Most of the time he talks tour of Ireland, Charlie Is My Darling, and the a visit to Andy Warhol’s Factory in New York about people he knows. He loves beautiful 1967 Swinging London pseudo-documentary and begins a new phase of her career. people and beautiful movies. He used to write Tonight Let’s All Make Love In London. Summing up his work with Nico in 2001, all the time even with the studio full of peo—

Whitehead’s only subsequent Velvet Under-Andrew Oldham says, “She was a raging, ple. He is scared of being alone. He could cut ground connection is small but startling. devastating Teutonic beauty and game for himself off and write even with a lot of noise When Michael Leigh’s book The Velvet Under- my agenda, and I thank the lady for being a around him.” Nico also recalls a time when ground is reissued in the UK by the Annihila-good sport. The simplicity of it was I was about Dylan played her a new song he’d recorded, tion Press in 1991, the back pages advertise, to launch Immediate Records with ‘Hang on and “asked me what I thought. I had to say among other volumes, Whitehead’s memoir Sloopy,’ and The McCoys were unavailable ten times how good it was before he was sure. Baby Doll, a document of his 1972 adventure and unattractive, and too expensive to fly He always wants to know what you think and “in a chateau in southern France with a teen-around. I say unattractive because I had to what you are thinking about.” age heiress model and a month’s supply of motivate a British sales force about the poten-film and psychedelic drugs … a disturbing tial of Immediate Records.

visual diary of a lost four weeks spent in the “Tony Calder and I flew Nico to Glasgow October pursuit of both physical and spiritual erotic and the Midlands and she was a super-trouper, extremes.” a Lili Marlene for the swinging 60s. The salesmen loved her – and who wouldn’t. Add to

Saturday 28 that my Bob Lind agenda and an economic

Peter Jones offers an intriguing yet harmless B-side utilizing a stoned bit of my leftover Saturday 16 mixture of truth and lies in his portrait of sleeve notes, and you have the sum total of John Cale w/ La Monte Young, Marian Nico for Record Mirror. Jones writes that Nico how the times were and the Immediate Nico. Zazeela, and Tony Conrad, the Theatre is 22, when in fact she’s nearly five years older, She did her bit for us, we waved goodbye, and Upstairs at the Playhouse, Pittsburgh, PA and, rather more implausibly, that her father she went off to New York where she could take Tonight Cale plays one of his last gigs with “was an archaeologist, who traveled round herself a little more seriously, which remains Young, Marian Zazeela, and Tony Conrad India, Arabia, and Turkey, digging on the sites a questionable choice.” before throwing his lot in with The Velvet of religious temples.” The story about her get-Nico’s lone Immediate single is not, inci-Underground for good. Although he will ting a job at the Blue Angel in New York after dentally, the only recording she makes while not perform in public with Young until 1966, fainting at the audition also originates here. in Britain in 1965. Bobby Graham, session Terry Riley has already been earmarked as a Among the other dubious claims printed in drummer on hits including The Kinks’ ‘You replacement, and has been rehearsing with the article are that Nico appeared on The Ed Really Got Me’ and ‘All Day And All Of The the group since September. “It was under-Sullivan Show after her stint at the Blue Angel, Night,’ will later recall backing her on an stood,” Riley recalls, “that John would be as well as her proclamation – surely in jest – unreleased session from around the same leaving, and that I was gonna be the person that “if I wasn’t modeling or singing, I think time. Graham has recently been appointed taking over when he left.” I’d like to be a farmer, or possibly, a captain head of Barclay Records UK, and charged with of a ship.” producing British artists for the French mar- Thursday 21

On a more serious note, Nico tells Jones, ket. “Eddie Barclay [the label’s French boss] Kate Heliczer, who is still in London, plays her “The biggest influence on my career has sent her to England,” Graham writes on his Velvet Underground tapes to folk singer Julie really been Bob Dylan. With Nina Simone, website, bobbygraham.co.uk. “A really freaky Felix, whom she was introduced to by the poet she’s definitely my favorite singer. Otherwise bird, really weird. I did an EP with her, it was Lawrence Ferlinghetti after Allen Ginsberg’s I like Handel, jazz and Greek music … I have all in French for the French market, using legendary reading at London’s Royal Albert a habit of leaving places at the wrong time British musicians. It was a Marianne Faithfull-Hall on June 11. Felix gets Heliczer a job with … just when something big might have hap-type thing, we did a Joan Baez number. She her manager, Jo Lustig, who handles various pened for me. I did that in New York. But wasn’t much of singer.” British folk acts and is sporadically involved this time I’m determined to stay put in Earls in Nico’s solo career. Court [London] until I know exactly what is Originally from Santa Barbara, California,

happening over the record.” That ‘I’m Not Felix has relocated to Britain to launch a September

Sayin’’ isn’t destined for the charts must soon recording career. She will later host a variety

become clear, then, as she will not end up show on British television. According to The

staying in London for much longer. Act You’ve Known For All These Years by Clinton

The same day’s edition of Melody Maker Heylin, she considers recording a couple of

includes a baffling evaluation of ‘I’m Not Saturday 18 the songs played to her by Heliczer, but Heli-Sayin’’ in Jonathan King’s Blind Date column. In a Disc Weekly story titled ‘The Real Bob czer herself says that, although Felix prob-“Oh no! It’s Nico,” he writes. “I thought this Dylan … By Nico, Who First Met Him In ably heard the tapes, “I don’t think she ever was paralyzing ghastly when I first heard it – Paris,’ Nico offers her impressions of the man expressed any interest in singing any of the absolute crap – but the more I hear it the better who has just broken through to superstardom material herself.” it gets. She sings so flat she’s almost in the next with ‘Like A Rolling Stone.’ “I didn’t know On October 21, Heliczer receives a letter key. I’ll take this, but take it off.” The Raver what to expect when we met,” she admits. “He from John Cale in which he apologizes for column in the same issue claims that “Nico says was like a god to me. He doesn’t put himself “the recording, [which] wasn’t of professional her next single will be a previously unrecorded out. And he never tries to change anyone. He level.” He adds that the group have “no equip-Bob Dylan song.” In fact ‘I’m Not Sayin’’ proves accepts or rejects them as he expects them ment to use,” and that it “will take a long time” to be her first and last Immediate single, and to treat him. He doesn’t like to go out very to cut another set of demos. He also asks Heli-

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czer to see if Bob Whitaker – staff photog-to materialize, however, although Warhol’s The Closet will rarely be seen, and nor will rapher for Beatles manager Brian Epstein’s manager, Paul Morrissey, recalls Grossman any of the other full-length films Nico makes company, NEMS – can “take the tape to bringing Nico to the Factory prior to her with Warhol over the next couple of years. Epstein as is.” (Whitaker will later be remem-joining the Velvets. The only one to gain any real exposure will bered for taking the infamous ‘butcher’ pic-Nico gives Warhol a copy of her Immediate be 1966’s The Chelsea Girls. These probably ture used on the original, banned edition of single, and Warhol in turn gives her a ‘screen aren’t the kind of films she had in mind when The Beatles’ Yesterday … And Today.) test’ – the same rite-of-passage-on-film given she first arrived at the Factory, let alone when

It’s not clear whether Epstein ever hears the to many visitors to the Factory, including the she studied at Lee Strasberg’s Actors Studio a tape, but he will later listen to and enjoy The rest of The Velvet Underground, Bob Dylan, few years earlier. But they do give her a foot in Velvet Underground & Nico, and be approached Donovan, and Cass Elliot. These aren’t screen the Factory door, making her a logical choice to take a role in the group’s affairs shortly tests in the traditional Hollywood sense: here, when Warhol and Morrissey start thinking before his death. In any case, by 1966 Kate the camera is just pointed at the subject and about recruiting a female singer for The Vel-Heliczer will have received another letter left to roll for a few minutes with virtually vet Underground later in the year. from New York, this time written by Barbara nothing in the way of instruction, dialogue, or Rubin, informing her that The Velvet Under-predetermined action. (Nico will later claim ALSO … ground have found another manager just as that it was Bob Dylan who introduced her to It’s probably around now that Barbara Rubin illustrious as Epstein … Warhol and suggested that Warhol do films asks her friend Al Aronowitz to check out a

with her.) Velvet Underground performance at one of

Warhol makes more than 500 screen tests the ‘happenings’ to which the group have

November during 1964–66 alone, but few will ever be been providing soundtracks. An interesting

screened. What is clear from Callie Angell’s figure in her own right, Rubin has been part

diligent research for the 2006 book Andy of the New York underground scene since she

Warhol Screen Tests: The Films Of Andy Warhol started working for Jonas Mekas at the FilmM RECORDING aNguS MacLiSe exact loca- Catalogue Raisonné Volume 1, however, is that Makers’ Cooperative as a 17-year-old in 1963. tion unknown, New York, NY. Nico features in 11 screen tests in all. The first She recently tried to help an early John Cale

‘Electric Mix For “Expanded Cinema”’ is three are likely shot in late 1965 or early 1966. associate, Jack Smith, by pushing for a screen-probably the last recording Angus MacLise In one, Nico “puts up her hand to block the ing of his controversial Flaming Creatures at the makes before leaving The Velvet Under-light from time to time,” and “appears bored Knokke-le-Zoute International Experimental ground. He records the 28-minute piece alone or vaguely pained for most of the roll, occa-Film Festival in Belgium after it was banned this month, but it will not be released until it sionally giving the camera an amused smirk.” by censors. is included on The Cloud Doctrine in 2002. Another is more experimental, with zooms, Rubin also appeared in one of the first

It’s possible that MacLise has a specific film pans, and in-camera edits; a third shows Nico Andy Warhol films to receive widespread (or films) in mind when recording the piece, reading a magazine while she “scratches her attention, The Kiss (1964), in which she kisses as parts of this diverse yet tuneless sound-col- head, flips her hair, looks glumly at the cam-fellow filmmaker Naomi Levine. She has lage might fit well with an underground take era, and then rolls the magazine into a tube made films of her own, including Christmas on horror or science fiction. For rock-oriented and peers through it.” On Earth (1963), in which sexually explicit listeners, the most relevant comparison would Nico must do something – here or other-images merge with superimposed projec-probably be to the more outrageous attempts wise – to impress Warhol as she’s soon given tions, colored filters, and live radio. She also by Pink Floyd and Frank Zappa at musique a role in an actual 70-minute film of his, The introduced Allen Ginsberg to Bob Dylan, and concrète; fans of The Rolling Stones might Closet. Warhol’s films bear little relationship can be seen massaging Dylan’s head on the recognize the air-sucking blips that appear at to the conventional cinema, however: The back of his Bringing It All Back Home. She will one point as being similar to those heard on Closet contains little action and instead simply remain active in the multimedia underground ‘2000 Light Years From Home.’ documents Nico’s living in a closet with gay until the early 70s, when she embraces Ortho—

It must take MacLise some time to assem-youngster Randy Borscheidt. The pair con-dox Judaism, marries French painter Isaac ble the various scrapes, slides, rumbles, sider leaving, but never do – in a low-budget Besancon, and moves to a European Hasidic and burbles that make up ‘Electric Mix For nod perhaps to the Luis Buñuel classic The community before dying during childbirth “Expanded Cinema.”’ The end result certainly Exterminating Angel. They share a sandwich in 1980. (According to a 2000 interview with has nothing to do with rock’n’roll, and no and a cigarette and talk about what’s in the John Cale in The Observer, she also spent time obvious link to what The Velvet Underground closet and whether there’s any sexual attrac-in the same Connecticut mental hospital as are doing, but that’s not something MacLise tion between them. Edie Sedgwick prior to entering the New York will be concerned with for much longer. Nico’s photographer friend Peter Sahula experimental film community, and later intro—

comes with her to the Factory for one of these duced Sedgwick to Warhol.)

C FILMING Warhol screen tests; The Closet early shoots. “The way they did movies was Maureen Tucker will later recalling playIn or around early November, Nico travels very, very bizarre,” is his blunt assessment. “It ing behind a screen showing a Rubin film to New York to do some modeling and, with was like they spent all day doing nothing. I with The Velvet Underground, but the date Brian Jones, visit Andy Warhol’s Factory on can’t imagine how anybody really could have and venue remain unknown. “Barbara Rubin the fifth floor of a warehouse at 231 East 47th done a movie. There was just a lot of people irritated me,” Tucker tells John Hayes in an Street. She will later claim, in a 1986 interview milling around, and nobody knew what they interview later reprinted in the fanzine The with Melbourne’s 3RRR-FM, that Albert Gross-were doing. Nico was supposed to be in the Velvet Underground. “I didn’t hate her, but she man paid for her ticket to New York, telling movie, but she wasn’t doing anything, and eve-was a little too obscene for me. One time we her that “he can only do something for me rybody was just talking. It was crazy. I said, ‘Get were supposed to play behind the screen of over there.” No such arrangement ever seems me out of here. What is this?’” some Barbara Rubin movie that I don’t even

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NOVEMBER 1965 n WHITE LIGHT/WHITE HEAT

want to say the name of [probably Christmas Street, however, after which John Cale finagles Cinematheque, New York, NY On Earth]. When I realized what it was a movie a ride in the limo to ask Brian Jones whether In a last bash of sorts for the most significant of, I just left and they did it without me.” Vox’s new line of guitar/organ hybrids actu-players in the pre-VU John Cale story, Cale (Tucker, whose tolerance for offensive mate-ally work. (“No,” says Jones.) and some of his avant-garde bohemian pals rial will be much lower than that of her fellow Aronowitz might be new to management, supply the music for another Piero Helic-Velvets, also tells Hayes, “It turns out that a lot but even attracting his attention represents zer happening as part of the New Cinema of those people who I never thought knew I a step up in The Velvet Underground’s for-Festival. The musicians perform as part of existed said that they thought I was really cool tunes. The first gig he manages to secure for The Last Rites, a ritual of sorts acted out in for rejecting a lot of that stuff. That’s always the band will, however, quickly lead to the front of an 8mm image projects onto a big surprised me.”) departure of one of their founding mem-screen. As Heliczer (playing a bishop) reads Another New York mover and shaker with bers. from the New Testament, Cale plays ‘first whom Rubin is able to ingratiate herself, by viola,’ MacLise ‘first cimbalom,’ Conrad ‘first way of mutual friend Allen Ginsberg, is Al C FILMING Venus In Furs violin,’ Smith ‘first tambourine,’ Jennings Aronowitz. Although his own role in the Vel-Having already established a solid friend- ‘first recorder,’ and Wilbourne ‘first guitar.’ vet Underground story is fleeting, Aronowitz ship and working relationship with the group, The musicians are joined by a half-dozen is a man of some influence in the growing Piero Heliczer takes things a step further by female dancers, among them Beverly Grant rock world. As a reporter for the New York featuring them in one of his underground and soon-to-be-famous actress Sally Kirkland. Post, he famously introduced Bob Dylan to films. Venus In Furs is named after one of the (Some sources report the event as taking The Beatles in a Manhattan hotel in August strongest songs in the group’s emerging rep-place on December 10, but the existence of a 1964, and has lately been dabbling in rock ertoire, and also stars Barbara Rubin (as a flyer dated November 10 suggests otherwise.) management with a group from New Jersey nun). The film is so rarely seen that some Also shown as part of The Last Rites is Heli-called The Myddle Class. Rubin encourages later wonder if it is ever completed, but it will czer’s 12-minute film Dirt, the cast of which him to check out the Velvets at what he will be shown at least once, at New York’s Elgin reportedly includes Cale, MacLise, Barbara later describe on his website as a “ritual,” Cinema on December 21 1969. An on-set Rubin, Edie Sedgwick, La Monte Young, Mar-but which is probably just one of the group’s report also features in a CBS News segment ian Zazeela, Jonas Mekas, Gerard Malanga, behind-the-screen appearances alongside a entitled ‘The Making Of An Underground Andy Warhol, and Harry Smith, who, as well as Piero Heliczer film. Film,’ to be broadcast on December 31, and being a renowned folklorist, also produces the Aronowitz is interested enough in the in which Rubin can be seen impishly film-first album by The Fugs. It’s hard to make out group that he meets with Lou Reed, who ing the television crew while they in turn film who is who in the film, a largely incoherent apparently describes himself as “the fastest Heliczer. jumble of nuns, nude bathers, and miscella-guitarist in the world!” Aronowitz brings his Venus In Furs is widely thought to have neous stock footage, but the scenes featur-friend Robbie Robertson – the guitarist in been filmed in November at the band’s ing Cale and MacLise must presumably have Bob Dylan’s new backing band, The Hawks 450 Grand Street apartment, but the shoot been shot separately from those of Warhol, – along to the gig, but Robertson leaves after might in fact have taken place in December. Malanga, and Sedgwick, who won’t make the one song with the words “I can’t take no Oddly, both Angus MacLise and his replace-acquaintance of The Velvet Underground more a this!” Aronowitz isn’t too keen either, ment, Maureen Tucker, appear in the footage until late December. but Rubin insists on giving him a tape that broadcast on CBS on New Year’s Eve. Most the reporter-cum-manager later describes as histories of The Velvet Underground assume

“Awful! A piece of shit!” As he later writes in that MacLise leaves in early December, days December ‘The Origins Of The Velvet Underground,’ before the group’s first conventional gig. “All I hear are screeches, drones, noise.” (He Perhaps the CBS footage is shot on different ends up losing the tape.) days; perhaps MacLise doesn’t mind appear-Aronowitz also agrees to meet Angus ing even though he’s already left the band; MacLise at 450 Grand Street on the Lower perhaps Tucker joins earlier than is generally , Early December East Side – the four-bedroom, fifth-floor thought. Whatever the case, the whole mini-In his new role as manager of The Velvet apartment the group has taken over from mystery suggests that the transition between Underground, Al Aronowitz has landed the Heliczer. He arrives in a limousine, leav-MacLise’s departure and Tucker’s arrival is group their first paying gig. They’re set to ing his friends Carole King (co-producer of not as abrupt and definitive as is commonly open for his other clients, The Myddle Class, The Myddle Class) and Brian Jones outside believed. at a suburban high school in northern New while he trudges upstairs to talk to Reed and Jersey on December 11. MacLise. Reed objects to Aronowitz’s plan Monday 1 and Thursday 4 The gig must have been arranged at least to get the Velvets gigs in Greenwich Village Angus MacLise presents the first and third ten days in advance as the third issue of clubs but does shake hands with the man installments of a seven-part Rites Of The the Myddle Class fan-club newsletter, dated who will apparently become the group’s new Dreamweapon program at the FilmMakers’ December 1, mentions a planned appear-manager. Cinematheque. (It’s possible that The Vel-ance by the group with “The Velvet Under— This at least is how Aronowitz (who died vet Underground also take part in these ground and The Forty Fingers, both of whom in 2005) recalled it. Sterling Morrison will events.) will soon have records on the market.” (This later claim that the meeting took place at 56 seems like quite an optimistic statement given Ludlow Street, and that Aronowitz was there Wednesday 10 that no label has yet to show an interest in not to discuss management but to buy some John Cale w/ Angus MacLise, Tony signing the Velvets.) acid. Some sort of management meeting does Conrad, Jack Smith, Terry Jennings, Upon hearing the news, however, Angus seem to take place at some point in Grand and Dale Wilbourne, FilmMakers’ MacLise unexpectedly quits the band.

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MacLise has always been a hardcore artistic Tucker currently works as a computer opera-Ultimately most significant, however, is her purist, and doesn’t want to be told when to tor but has been playing drums (and guitar) drumming, which turns out not only to be show up and how long to play. He doesn’t for a while. And she does at least have a little better suited to the group than MacLise’s but even want to get paid, although the Velvets’ bit of stage experience, having recently per-also highly unusual and creative in its own fee of $75 is modest even by 1965 standards. formed with The Intruders, later described right. Heavily influenced by the compelling

“I think Angus and Lou had had some by Morrison as an all-girl three-piece. (The irregularity of Bo Diddley’s rhythms and the kind of falling out,” Hetty MacLise says Intruders’ only gig, in Long Island, is marred genuine African beats of the great Nigerian today. “’Cause [with] Angus, everything had by the accidental shooting of the house band’s drummer Olatunji, Tucker brings heavy, to be immediate. He couldn’t really stand drummer.) Reed auditions Tucker, whom he almost tribal patterns that enhance the Vel-the thought of having to rehearse at a cer-had met already during his college days, in the vets’ raw yet arty primitivism. She doesn’t have tain time, or turn up for a recording session room where she keeps her drums. She’s then many cymbals; never uses a hi-hat; plays the at a certain time, because maybe he wasn’t invited to join the Velvets despite the initial snare as a high tom; and puts the bass drum actually feeling quite like it or something. Just objections of Cale who, perhaps recalling the on its side to strike it with mallets instead of when they were about to make a record, or trouble with Elektrah Lobel, no longer wants using a foot pedal. make some money, then he would pull out. any girls in the group. “At first I literally just put the bass drum He would get tired of it. He wouldn’t want to Tucker is widely assumed to join the group on the floor at rehearsals, and at shows we’d be involved with that side of things. in early December but, as noted above, her put two chairs together, which didn’t work so

“Angus lived his life compartmentally: the presence in Venus In Furs suggests that she great,” she later tells Modern Drummer maga-poet, where he would shut himself up in a might have joined slightly earlier. On the zine. “But pretty quickly a friend of ours made really horrible little room wherever he was, other hand, Cale doesn’t mention her in the a stand that would hold it up so I could stand with as bad a view as possible, for indetermi-letter he writes to Kate Heliczer on Decem-up and play it.” It’s partly as a consequence of nate amount of time; then the musician, when ber 2, but does note the arrival of a female this that Tucker plays standing up, adding yet he would be everywhere and with everyone drummer in another letter he writes to her another mark of visual distinction to a group music, music, music; then, the family man, a week later. already well on the way to looking and sound-when even a phone call would annoy him. Maureen Tucker’s recruitment into The ing unlike any other band around. Of course for me this was the best time! This Velvet Underground is almost arbitrary in may explain his reluctance to be tied down its hastiness, and probably a matter of expe- Cafe Wha?, New York, NY to regular things, [such as] the Velvets as an diency rather than careful consideration at Most histories of The Velvet Underground organized group. This never changed … when this point. Tucker has only been playing the list the group’s first gig with Maureen Tucker he had the book shop [in Nepal in the 70s], drums for about a year and a half, having as taking place on December 11 at Summit our life was almost suburban. But it did not been inspired by the US release of the first High School in Summit, New Jersey. But in last.” Rolling Stones album in May 1964, which she his account of that concert, Rob Norris recalls

In his article ‘The Origins Of The Velvet later recalls playing “’til it was white” in an being told by Al Aronowitz’s babysitter that Underground,’ Al Aronowitz claims that interview with the Crimewave U.S.A. fanzine. Al the Velvets were “feeling low because they had MacLise’s departure came as a result not so Aronowitz will later suggest that Reed invites just been fired from the Cafe Wha? for being much of a refusal to sell out as a reluctance her to join the band because she has a car; undanceable.” So perhaps Aronowitz made to “carry his big set of bongos up and down Reed himself tells producer Tom Wilson on good on his earlier promise to set up a show five flights of stairs every time there’s a gig.” In the 1968 MGM promo LP The Music Factory for the group at a Greenwich Village club. truth, MacLise’s style – as unusual and some-that “we needed an amplifier and she had (John Cale remembers playing at the Cafe times inspirational as it might be – is probably one.” Tucker meanwhile claims not to have Wha? in 1965, but much earlier in the year, ill-suited for the more straightforward direc-rehearsed with the group until the afternoon when he and Lou Reed were playing as The tion toward which the Velvets are edging. The of their first gig together. Yet ultimately the Falling Spikes with Elektrah Lobel.) group will get close to MacLise’s approach on decision to hire her will turn out to be one of the wild, instrumental passages of ‘European those gloriously fortuitous accidents. Thursday 2 Son,’ which contains percussive beats and In recruiting Tucker, The Velvet UnderIn a letter to Kate Heliczer in London, John thumps so fast and furious that they almost ground – already one of the most unusual-Cale announces that The Velvet Underground seem to fall in on themselves. But most of looking and sounding bands around – now are making demos for Tom Wilson. Wilson their material is calling increasingly for rather stand out even more, female drummers being is currently one of the hottest producers in more conventional, regularly paced rhythms. a rare commodity among mid-60s rock bands. pop, having worked on Bob Dylan’s first batch The ambitions of Lou Reed, John Cale, and With her close-cropped hair, thin, tomboyish of 1965 electric folk-rock recordings, includ-Sterling Morrison to reach a wider audience, frame, and mod clothes, Tucker is sometimes ing ‘Like A Rolling Stone.’ He has also given meanwhile, are calling for at least some sort of even mistaken for a boy in their early days, Simon & Garfunkel their first hit by adding standard, paid performances. If nothing else, lending an androgynous air of mystery that electric guitar and drums to their earlier MacLise’s vociferous objections to organized will be one of the first things Andy Warhol and folk recording, ‘The Sound Of Silence.’ Less gigging suggest that the group has not played his associates find striking about the group. prominently, he has produced underrated a single paid gig before Aronowitz enters the She also brings a stable personality to this mid-60s folk-rock recordings by Dion and scene. often volatile unit – something that’s not lost worked with jazz greats such as Cecil Taylor,

Now reduced to a trio, The Velvet Under-on Paul Morrissey, who today calls her “one of Sun Ra, and John Coltrane. ground need a new drummer fast if they’re the best assets they had. Everybody liked her, It’s usually believed that Tom Wilson won’t to honor their first booking. Reed and Mor-she always got along with everybody. A really become involved with the Velvets until the rison decide to call on the younger sister of nice girl, and did a great job. She and Nico spring of 1966, but Cale’s letter seems to indi-their old Syracuse friend Jim Tucker. Maureen were the only ones you could really like.” cate that Wilson is already aware of the group

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DECEMBER 1965 n WHITE LIGHT/WHITE HEAT

in late 1965. It’s also possible of course that The Dreamweapon, a multimedia happening Young’s Dream Music’ (his debt to Young Wilson still isn’t aware of the group yet, but billed as “a seven-part manifestation of the not extending quite so far as to spell his that Cale and his band-mates have singled him presence, coordinated by Angus MacLise.” name correctly). out as a possible producer – perhaps on the But it’s unclear what role they would have advice of Al Aronowitz, who might well know taken; whether they would have played as Saturday 11 Wilson through his friendship with Dylan. a rock group; or whether these Rites Of The

Cale promises to send Heliczer a new set of Dreamweapon shows are similar to the events demos soon. “The songs ‘Heroin’ and ‘Venus’ of the same name MacLise put on at the Cin-have changed so dramatically for the better ematheque in November. that we feel now we’re into something and By now Terry Riley has been rehearsing with no one can imitate it. VELVET SOUND.” If Young’s quartet since September in advance that’s true, it certainly explains his eagerness of replacing Cale. He will play the first of to record new and improved versions of these only two concerts with the group (on voice) future classics for prospective record-label in February 1966, following it with a second consideration. appearance alongside Young, Zazeela, and

Unlike the 56 Ludlow Street demos Tony Conrad at the Midsummer ’66 festival included on Peel Slowly And See, these demos, in Amagansett on Long Island. Young’s group while almost certainly recorded and sent will make its final appearance (minus Riley) across to Heliczer, are never circulated, not at the Sundance Festival in Upper Black Eddy, even as bootlegs. There’s probably yet another Pennsylvania, on August 20 1966. After that unreleased VU tape from around this time, Young will stop rehearsing with the group, too. In a 1996 interview with Q magazine, Lou concentrating instead on his theory work, Reed reveals the recent discovery of a sealed, The Two Systems Of Eleven Categories, while also self-addressed package from 1965 containing performing both as a soloist and in a duo a reel-to-reel tape, which he probably mailed with Zazeela. Tony Conrad meanwhile will to himself as proof of copyright for the songs continue to make experimental recordings, contained within. “I’m not going to listen to but becomes more famous as an experimental it,” he tells reporter David Cavanagh. “I don’t filmmaker – particularly for 1966’s The Flicker, want to hear those things any more.” a full half-hour of alternating black-and-white Summit High School Auditorium,

frames. Summit, NJ

Saturday 4–Sunday 5 These two concerts at the FilmMakers’ The first definite Velvet Underground concert

John Cale w/ La Monte Young, Marian Cinematheque mark the end of an era for takes place at this high school about 25 miles Zazeela, and Tony Conrad, FilmMakers’ Cale – one that will, unfortunately, gener-from New York City. It’s an unlikely place for Cinematheque, New York, NY ate much bad blood between Young on one a debut of sorts for such an adult, innovative According to La Monte Young’s ‘Notes On side and Cale and Conrad on the other. It’s band. But it’s in the neighborhood where The Theatre Of Eternal Music And “The undeniable still that much of what Cale has both Al Aronowitz and The Myddle Class Tortoise, His Dreams And Journeys,”’ these learnt and helped pioneer with these musi-live, so the Velvets find themselves playing to are Cale’s final performances with the group. cians will feed into his work with The Velvet a crowd of teenagers who probably have little They’re presented as part of the FilmMakers’ Underground. The drones heard on several or no idea what ‘Heroin’ is, or what kind of Cinematheque Festival Of Expanded Cinema. early VU tracks – particularly those on which sex ‘Venus In Furs’ is about. Naturally, then, Andy Warhol is in attendance, just weeks Cale plays viola, such as ‘Venus In Furs,’ the group make sure to include both songs before becoming co-manager of The Velvet ‘Heroin,’ and ‘The Black Angel’s Death in their brief set. Underground. Song’ – can be seen as a direct outgrowth Remarkably, Rob Norris will later offer a

These concerts are also the first dur-of his experience of playing with Young. detailed eyewitness account in his 1979 arti-ing which Marian Zazeela’s light designs As Richard Witts rightly notes in his book cle ‘I Was A Velveteen’ for the Kicks fanzine. are projected onto the musicians’ specially The Velvet Underground, Cale’s furious viola “Nothing could have prepared the kids and designed silken robes. “The idea to present riffs on several of these songs bear some parents assembled in the auditorium for what lights with music, although now it seems so similarity to the rapid, twisting saxophone they were about to experience that night,” he obvious and common, was actually new at the heard on Young’s ‘“12 I 64 NYC” The First writes. “Our only clue was the small crowd time,” Zazeela will later explain in a May 1993 Twelve Sunday Morning Blues.’ Witts also of strange-looking people hanging around interview with Richard Witts for BBC Radio 3’s notes that the chair Cale slides across the in front of the stage. When the curtain went Strange Brew. “I developed that concept of the floor in ‘European Son’ recalls the scrapes up, nobody could believe their eyes! There musicians performing with projections that of furniture being moved around the room stood The Velvet Underground – all tall and slowly changed that were superimposed on in Young’s 1960 piece ‘Poem For Tables, dressed mostly in black; two of them wearing the musicians as they performed.” Chairs, And Benches, Etc.’ Something else sunglasses. One of the guys with the shades

Cale and the rest of The Velvet Under-that’s sometimes overlooked is that Reed had VERY long hair and was wearing silver ground will get used to performing with too is influenced by Young, both during jewelry. He was holding a large violin. The effects such as these in 1966 as part of the his time with The Velvet Underground drummer had a Beatle haircut and was stand-multimedia environment of the Exploding and beyond. On his famously unlistenable ing at a small oddly arranged drum kit. Was Plastic Inevitable. According to Branden W. Metal Machine Music, he even goes so far as it a boy or a girl? Joseph’s Beyond The Dream Syndicate, the group to include a note about “drone cognizance “Before we could take it all in, everyone also appear at these events as part of Rites Of and harmonic possibilities vis-à-vis Lamont was hit by a screeching surge of sound, with a

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pounding beat louder than anything we had ing her US Number Two hit ‘Jazzman.’ Greenwich Village act, the Richie Havens-ever heard. About a minute into the second “I don’t think anybody from Summit, alike folk guitarist Bert Mason. “We used to song, which the singer introduced as ‘Heroin,’ New Jersey knew what to make of The Velvet make fun of the way they introduced him, like the music began to get even more intense. It Underground and their music at that time,” ‘Heeere’s’ … you know,” she says. “There was swelled and accelerated like a giant tidal wave says Larkey now. “Except Al, who I think really no audience to speak of.” which was threatening to engulf us all. At this kind of enjoyed it. Their music was unique, At least The Velvet Underground’s biggest point, most of the audience retreated in hor-especially in comparison to the music The fan is trying to help them out by bringing peo-ror for the safety of their homes, thoroughly Myddle Class played, which was kind of blues-ple of a similarly artistic bent into the venue. convinced of the dangers of rock’n’roll music. pop. I liked it, but I was a little mystified by “Barbara Rubin took me to see them at the My friends and I moved a little closer to the it. I think I was left with more of a question Café Bizarre, which was this ghastly beatnik stage, knowing that something special was mark than [anything else] … like, ‘What was thing where you could buy five-dollar banana happening. that?!’” splits,” Ed Sanders of The Fugs recalls in

“Backstage after their set, the viola player The performance – during which The Vel-1999. “They were quite impressive. The kind was seen apologizing profusely to an outraged vet Underground play, in order, ‘There She of drone-like repetitiveness of some of the Myddle Class entourage for scaring away half Goes Again,’ ‘Venus In Furs,’ and ‘Heroin’ – is music, and of course Reed having good pipes, the audience. Al Aronowitz was philosophi-actually taped by Al Aronowitz. Unfortunately, obviously a rock’n’roll star to be.” (Rubin will cal about it, though, [saying] ‘at least you’ve he discovers shortly thereafter that his $300 soon help bring a much bigger name into given them a night to remember’ and invited Wollensak tape recorder has been stolen; the club, prompting the biggest break of the everyone to a party at his house after the somebody will later tell him that they saw one group’s career, but this won’t happen until show.” (Another member of the audience, of the Velvets “pack it up with their equip-their residency is almost up.) incidentally, is fifth grader Clint Conley, who ment.” So perhaps this one-of-a-kind docu-The Velvets already have a fair amount of will later play bass in the noted post-punk ment does survive somewhere, after all? original material, including the newly written group Mission Of Burma.) ‘Run Run Run,’ but still have to play a selec-

“The band just emptied that auditorium,” , Mid-to-late December tion of rock’n’roll and rhythm & blues covers recalls Martha Morrison, Sterling’s girlfriend Café Bizarre, West 3rd Street, to fill up time, among them ‘Little Queenie,’ (and future wife). “The audience walked out. New York, NY ‘Carol,’ and ‘Roll Over Beethoven’ by Chuck I felt bad for the band, ’cause they cared.” Unfazed by the puzzled response to The Vel-Berry and ‘Bright Lights, Big City’ by Jimmy The performance does apparently win them vet Underground at Summit High School, Al Reed. Although the group’s stint at the Café a few fans; Morrison remembers “standing Aronowitz quickly fixes the group up with a Bizarre is brief, probably lasting no more than around in the parking lot afterward [with] a residency at the Café Bizarre in Greenwich a couple of weeks, they quickly tire of play-few people asking for autographs. I remember Village. The club opened on August 18 1957 ing six nights a week for five dollars each per Lou yelling at me because Moe was signing an with performances by two of the greatest tal-night. They’re similarly unimpressed by the autograph, and I was jumping up and down, ents of the folk revival, Dave Van Ronk and relatively grueling schedule of playing several saying, ‘Moe! Your first autograph!’” Odetta. Beat poets also performed at the club, sets a night, alternating 40 minutes of music

With typical laconic understatement, Ster-while The Lovin’ Spoonful played some of with 20 minutes of rest; by having to play on ling Morrison will later note (in UpTight: The their earliest gigs on the premises. a stage so small that Moe Tucker has to swap Velvet Underground Story) that “Al Aronowitz As Van Ronk writes in his memoir, The her drum kit for a tambourine; and indeed by observed that we seemed to have an oddly Mayor Of MacDougal Street, the Café Bizarre was the indifference of both the audience – mostly stimulating and polarizing effect on audi- “the first Village coffeehouse to feature folk tourists and pseudo-beatniks – and the club’s ences.” This is certainly not lost on Cale, who music – or any formal entertainment at all for unpleasant management. admits in his autobiography that, even while that matter.” Even back in the 50s, however, The final straw comes when, having already apologizing to Myddle Class vocalist Dave “in concept and design, it was a tourist trap, worked on Christmas Eve, the group are told Palmer, “secretly I was exhilarated.” selling the clydes (customers) a Greenwich to play on New Year’s Eve as well. They want

The Myddle Class might end up lost to his-Village that had never existed except in the out, whatever it takes. But this being The Vel-tory as stooges for The Velvet Underground’s film Bell, Book And Candle. The ambiance was vet Underground, they’re going to get out of coming-out party, but are actually a pretty cut-rate Charles Addams haunted house: dark their New Year’s commitment in style. The decent band. They benefit from material and candlelit, with fake cobwebs hanging all room-clearing ‘Black Angel’s Death Song’ written and produced by husband-and-wife over everything. The waitresses were got up has for some time been driving the propri-Brill Building team Gerry Goffin and Carole to look like Morticia, with fishnet stockings, etress of the Café Bizarre up the wall. With King, who release several singles by the band long straight hair, and so much mascara that its skin-crawling mix of screeching, circular on their own Tomorrow label. One of these they looked like raccoons.” viola, half-chanted, macabre lyrics, and sharp, singles, ‘I Happen To Love You,’ is one of the By the time The Velvet Underground begin wordless hisses, it’s probably the least listener-finest garage-pop 45s of the mid 60s. (It will their stint, around the third week of Decem-friendly song in the band’s set. later be covered by The Electric Prunes.) ber, the club has definitely seen better days. As Sterling Morrison will recall in June

The Myddle Class never break out nation- “It was a real clip joint,” Reed will later tell 1990, “Around December 30, after a set, the ally, however, although bassist Charles Larkey Circus magazine. “It had a hawker outside lady who owned the café came up and said will go on to forge an illustrious career with and everything.” As Martha Morrison recalls, that if we played ‘Black Angel’s Death Song’ The Fugs and, as Carole King’s second hus- “It was a small place, and nobody was really one more time we were fired. So we led off the band, play on several of her solo hits. Front-paying attention. People were just drinking next set with it. A really good version, too.” (In man Dave Palmer will later sing and play and talking and sitting at the tables – and a separate interview, conducted in 1981 with keyboards on the first two Steely Dan albums there was the band at the back.” Also on the Mary Harron of the New Musical Express, he and co-wrote several songs with King, includ-bill, according to Morrison, is a more typical will call it “the all-time version.”) The Velvets

61

62 Left: Lou Reed, Sterling Morrison, and John Cale, late 1965. Right: Maureen Tucker plays tambourine on stage, shortly after joining The Velvet Underground.

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DECEMBER 1965 n WHITE LIGHT/WHITE HEAT

get their wish. It’s not known whether or not ent. And therefore the possibilities in 1965, in we’ll get them a record contract, and we they are allowed to finish the set, but this is the era of The Beatles just coming to America, can make some actual money.’ ‘What do definitely their last night at the Café Bizarre, The Rolling Stones, and everybody suppos-you mean, manage a group? What does that and also one of the most notorious concerts edly making a lot of money, seemed like a mean?’ of their career – one too that seals their deter-very good idea.” “[Andy was] against the idea from the word mination to do things their way, heedless of More specifically, Morrissey is keen to find go. But if I said to do something, I said it very the consequences. a group to play at a Queens club to be named politely, and he had realized already by then

Lou Reed will later give a slightly different in Warhol’s honor and launched by theater that whatever I suggested wasn’t terrible, and account of the performance, noting in the producer Michael Myerberg. “Myerberg he went along with these things. But he really Transformer documentary, “We got fired that asked for a meeting with Andy,” Morrissey hated doing it. He said, ‘Will we have to give night anyway, because some sailors came in later recalls. “He said, ‘I’m opening the larg-them money?’ And I said, ‘We probably will, and we played … ‘The Black Angel’s Death est discotheque in the US in an old airplane we’ll have to support them until the job comes Song’ or something … These guys yelled at hangar in Queens and I want to bring you along.’ He said, ‘I don’t want to be respon-us, ‘You fucking play that again, we’ll beat out to Queens. I’ll give you $500 a week and sible, I don’t want to give them any money. the shit out of you!’ So of course we started you can come every night. You can bring Edie Where would you get a group?’ I said, ‘I don’t right up and played it immediately and the or whatever girl you want, and I’ll pay you a know. Maybe I’ll find one.’ Andy didn’t have chairs started flying and all this … I mean, salary.’ Andy sat there, and of course as usual any large income then.” an audience of four people, all of them trying never opened his mouth. It’s Barbara Rubin who sets off the chain of to attack us. That’s where a guitar comes in “I said, ‘Well, that’s pretty silly. Why would events that bring the Velvets to the attention handy. An electric one, solid-body.” Andy go to Queens to see a discotheque? If he of Warhol and Morrissey by asking Gerard

In another version of the story, Nico, who wants to do that, he’s got one right here a few Malanga to take some pictures of the group is not yet a member of the group, will later doors away on 47th Street. It’d be different at the Café Bizarre. “Gerard didn’t know how claim that she heard the band was fired sim-if he was presenting a rock’n’roll group that to use a light meter,” Morrissey recalls. “I was ply because people couldn’t dance to their was appearing there. Then he would have a doing all the lighting for all the movies, and music. Whichever variation you believe, The logic to go there. His name would promote I had made my own movies; I was a photog-Velvet Underground’s brief tenure at the Café your club, and your club would promote this rapher and a cameraman. He said, ‘Can you Bizarre house-band comes to a most colorful rock’n’roll group, which we would manage.’ come and read the light meter so I can take end. But it’s hardly an ignominious finale as He said, ‘Yes, it’s a great idea. Why don’t you pictures of this group?’ the group could hardly care less, since they do that? It’s a couple of months off, but that “Normally I would never go to hear a now have the admiration – and the backing sounds like a good deal.’ rock’n’roll group, except that it was a very – of Andy Warhol. They might not have any- “I thought of the idea of finding a rock short time, a week or two, after the Michael where to play on New Year’s Eve 1965, but group that Andy could appear to manage, Myerberg meeting. Therefore I went and told within days Warhol and his manager, Paul or present, let’s say. He never managed; he Gerard what to do. I liked them enormously, Morrissey, will be booking much more suit-presented. Basically, movies that I made, or because the drummer was totally androgy-able venues, while starting to plot a course things that I thought of, he presented. He was nous, and because John Cale had an electric that will soon see the group gain national incapable of coming up with sensible ideas viola and wore a huge necklace of fake jew-exposure and record one of the greatest rock of what to do, and he very seldom made the elry around his turtleneck with his Richard albums of all time. effort. The few times that he did, I would lis-III haircut. They had a different look and

It’s unclear exactly when Andy Warhol sees ten, give them some consideration, but I’d sound. They weren’t jumping up and down or The Velvet Underground at the Café Bizarre. never take anything too seriously. But I made humping their guitars. They stood still. And I But as Lou Reed later tells John Wilcock, an effort to try to humor him. thought that the music was very good, distinc-author of The Autobiography & Sex Life Of Andy “I thought I could manage a rock’n’roll tive, different. And they were using the word Warhol, it’s probably during the band’s last few group,” Morrissey continues. “I didn’t even ‘underground’ in their name, which seemed days at the club. mention it to anybody. There was no interan obvious connection.

Despite claims elsewhere to the contrary, est of anyone in the Factory in going to hear “I went up to them and said, ‘I manage it’s almost certainly not on the very night they rock’n’roll groups. Andy seldom went to Andy Warhol, I’m looking for a rock’n’roll get fired: as contrary an outfit as the Velvets rock’n’roll groups unless there was a photo group that we could present at a big night-are, they would surely want Warhol to see and opportunity there.” It should nonetheless be club that’s gonna open in Queens. Do you hear as much of them as possible, and not risk added that, unlikely many culturally respected have a manager?’ They said no. [I said,] ‘I’ll being kicked out after one song. figures of his age (late-thirties), Warhol does bring Andy tomorrow; you can meet him

What is known for sure is that Warhol’s actually like rock’n’roll. He plays hits such and decide.’ So I brought Andy reluctantly manager, Paul Morrissey, has been looking as Dickie Lee’s ‘I Saw Linda Yesterday’ and … he sat there. Then he said, ‘What are we for a band to work with for some time as part ‘Sally Go Round The Roses’ by The Jaynetts going to do with them?’ He had no urge or of the Factory’s general expansion into multi-over and over again in his workspace, and interest in getting involved in any musical media activities. “The most unusual idea I had uses music by The Kinks and Martha & The group. I said, ‘Look, don’t worry about it. I’ll in order to make money with Andy’s name Vandellas in his 1965 film Vinyl. manage it, I’ll figure it out.’ And proceeded was to have him present a rock’n’roll group, “When I left the meeting,” Morrissey con-from there. They were a calculated business something he was extremely reluctant to do,” tinues, “I said, ‘Andy, this could be a very good attempt on my part to be a financially lucra-Morrissey explains in the documentary Fac- opportunity to make money if we find some tive enterprise.” tory Days: Paul Morrissey Remembers The Sixties. new group and present it there. We already Also in the audience with Warhol that “The opportunities for getting money from have a big job for them and any group that night are Edie Sedgwick, Barbara Rubin, and experimental movies were obviously nonexist-opens the club will get great coverage. Then Malanga, who is impressed enough to dance

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erotically to the music. (He will later reenact to a proposed management deal, and reap The forgotten man of the piece is Al a variation on the same dance as part of the some instant benefits in the form of better Aronowitz, whose handshake agreement the group’s performances with the Exploding musical equipment. Warhol is getting a lot Velvets don’t seem to view as permanent, Plastic Inevitable.) Another key figure present out of the deal too, however. There could be but continuing that relationship probably is John Wilcock, who co-founded the Village no better musical match for him than a band wouldn’t have made sense for either party. Voice in the mid 50s and has since turned to that has started to break similar barriers in Warhol seems far more appreciative of the even more alternative journalism. He will soon pop music to the ones he has been breaking band’s virtues and generally subversive atti-write some of the very first published accounts in visual art and film. Sonically and visually, tude than Aronowitz, who crankily dismisses of The Velvet Underground’s live show and the Velvets are the perfect fit for the kind of them, in his article ‘The Origins Of The will go on to co-found Interview magazine with bold, multimedia extravaganza Warhol and Velvet Underground,’ as “a bunch of speed-Warhol in the late 60s. “We sat in the front his associates are probably just starting to freaks and junkies.” (This characterization, row, a few feet from their horrendous noise, formulate. They’re already thinking of get-it must be said, will never be applied to Mau-like a hurricane to my ears,” Wilcock later ting a rock’n’roll band to play at the airplane reen Tucker.) Aronowitz is already tired, he recalls. “I became fascinated when they left hangar-sized Queens discotheque tentatively writes, of the Velvets “complaining that they the stage and the sound was still playing. I (and farcically) called Andy Warhol’s Up. want to be overnight stars.” Reed will later get was unfamiliar with the concept of ‘feedback.’ But the other events into which they plug his own back – again according to Aronow-Lou chided me, saying that all I did all night the group will end up being far more inter-itz – by returning a written interview request was sit and read a newspaper.” esting. unopened, and by failing to recognize his

Although this appearance at the Café As unlikely as an alliance between Warhol one-time manager at an induction dinner Bizarre marks the first time that Andy Warhol and an unknown rock band might seem on for the Rock And Roll Hall Of Fame. is exposed to The Velvet Underground’s paper, it should be noted that Andy has made music, he has probably met at least one or a much more unlikely venture into rock’n’roll Friday 31 two members of the band already. He was in already – not as a manager, but as backing I TV CBS News, ‘The Making Of An Under-the audience when John Cale took part in vocalist in a group called The Druds. Intrigu-ground Film’ the marathon performance of Eric Satie’s ingly, the band-members also included Velvets CBS uses footage shot on the set of Venus In ‘Vexations’ in September 1963, and also for alumni La Monte Young and Walter De Maria, Furs in November as part of a segment broad-a March 7 1965 concert by La Monte Young’s further fueling suspicions that Warhol might cast on the evening news hosted by Walter group. He has also worked with another Cale have already met the group – at least in pass-Cronkite. Unbelievably, this blink-and-you’ll-collaborator, Jack Smith, and with Piero Heli-ing – before going to see them perform at the miss-it appearance marks the only time The czer, for whose films the Velvets have provided Café Bizarre. Jasper Johns, another famous Velvet Underground will be seen on national live soundtracks in the past. And he has shot painter, wrote The Druds’ lyrics, while Claes television before Lou Reed leaves the band screen tests with both Marian Zazeela and Oldenburg, his wife Patty, and multimedia in 1970. Susanne De Maria, the wife of Primitives artist Lucas Samaras were also involved. The Velvets watch the broadcast at journal-drummer Walter. In a September 1994 inter-This strange group probably never played in ist Danny Fields’s apartment before celebrat-view with Richard Witts, Sterling Morrison front of an audience, and are unlikely to have ing the New Year by seeing James Brown at will note that he thinks the group played to remained active for more than a few months the Apollo Theater in Harlem with Andy Warhol films at multimedia happenings. It during the late winter/early spring of 1963. Warhol, Edie Sedgwick, Gerard Malanga, and certainly doesn’t seem impossible that Warhol As Warhol will later explain in an interview Sedgwick’s friend Donald Lyons. The same himself might have been at one or more of with Glenn O’Brien for the August 1977 issue crowd also spends some time at Reed and the experimental film showings at which the of High Times, “We met ten times, and there Cale’s apartment at 450 Grand Street. Cale Velvets played behind a screen. were fights between Lucas and Patty over the has apparently begun a six-week affair with

By all accounts, however, the Café Bizarre music or something.” Sedgwick that will see them living together gig marks the first proper meeting between Warhol would also have gained some knowl-briefly in her Upper East Side apartment. Warhol and the band, with Rubin taking them edge of the embryonic Lower East Side rock The liaison will even gain a passing men-over to the table where the artist’s entourage scene when he made a rarely seen film of The tion in the New York Journal-American’s ‘The is sitting after a set. “The idea then was Andy Fugs and The Holy Modal Rounders in mid Voice Of Broadway’ column on January 27, was getting a week at the Cinematheque,” 1965. Warhol never considered managing when it is noted that the Velvets are “led by a Reed later tells John Wilcock. “So why didn’t either of these groups, but both are at least young Welshman who’s leading Edie Sedgwick we appear in it? That is kind of what hap-moving in directions vaguely similar to those around by the heart.” pened. being explored by the Velvets. About 30 seconds from the CBS broadcast

“Obviously he loved the music. We were It might still seem like a miracle for the features in the 1995 television documentary doing what he was doing, except we were group and Warhol’s crowd to stumble upon Rock & Roll, broadcast on PBS in the USA and using music and he was doing it with lights each other at a dead-end Greenwich Village on the BBC in the UK. There are glimpses of … to my mind, nobody in music is doing any-club, but the meeting would probably have Lou Reed and Sterling Morrison on guitars, thing that even approximates the real thing, happened sooner or later, given the two par-and Cale on viola. All three are bare-chested with the exception of us.” Doing something ties’ overlapping social and artistic circles, and have their faces painted for the occasion, that’s “very, very real,” Reed adds, “is the only assuming the struggling Velvets managed to with Reed and Cale’s torsos also covered in way we could work with him. Because the first stay together. This will no longer be an imme-tattoo-like images. Angus MacLise is seen thing I liked about him was that he was very diate concern with Warhol’s backing, but briefly playing a pair of tambourines and play-real.” changes are almost immediately in the offing ing cimbalom, while Heliczer himself joins

Well aware of Warhol’s fame and wealth, as 1966 dawns, starting with the introduction in on saxophone. (According to Morrison’s The Velvet Underground immediately agree – at Warhol’s insistence – of a new singer. subsequent account in Little Caesar magazine,

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DECEMBER 1965 n WHITE LIGHT/WHITE HEAT

‘Heroin’ could be heard as the credits rolled mate the sound of an Indonesian gamelan Also in

on the original broadcast, but sadly this rendi- orchestra, albeit in a lo-fi bohemian fashion.

tion does not seem to have been circulated The piece is eerie yet soothing, and there’s 1965 …

since.) a hazy, glistening quality to the overlapping

Oddly, another musician also appears in tones, although the insistent, clanking percus— the clip. The painted-chest bassist wearing a By the time Angus MacLise drops out of The sion adds a slightly uneasy flavor. Not wanting bishop’s crown will later be identified by Ster-Velvet Underground in late 1965, the group to let listeners off too easily, the musicians ling Morrison as Bobby Ritchkin, but it’s not has become the main musical focus for Lou introduce some harsher timbres at about the clear whether he’s a temporary member of Reed, John Cale, and Sterling Morrison. But seven-minute mark, but after that the track the Velvets or just joining in for the duration it should be remembered that all four of the retreats to a gentler mood. of the film shoot. Maureen Tucker can also original members continue to juggle other be seen, wearing a bridal gown and bashing projects – and perform with other musicians – M RECORDING aNguS MacLiSe, JohN a tambourine with a drumstick. (As noted throughout the year. Reed’s work for Pickwick caLe, aNd ToNy coNRad exact location elsewhere, the presence of both MacLise and Records is covered elsewhere, and recordings unknown, New York, NY. Tucker makes it hard to pin down which of by all three of the others that go far afield Among the most far-out pre-VU record-them was actually the band’s drummer at the from anything that could be could labeled as ings MacLise and Cale are involved in are time of the filming.) ‘rock’ music will eventually find belated, low-the instrumentals ‘Trance #1,’ ‘Trance #2,’

profile release in the early years of the 21st ‘Two Speed Trance,’ and ‘Four Speed Trance.’

century. It’s unclear exactly when these tracks Recorded by Conrad in 1965, they feature were recorded, and not even certain that all MacLise on cimbalom and drum; Cale on of them are from 1965. But they demonstrate viola, guitars, and keyboards; and Conrad that, for all the strides Cale and MacLise were himself on violin, guitars, and keyboards.

making toward rock’n’roll, they still had Although they are included as separate strong roots in the avant-garde – and that, tracks on MacLise’s The Cloud Doctrine com-on at least one recording, they pulled Sterling pilation, their consecutive sequencing and Morrison in the opposite direction. similar titles suggest they were once part of the same work.

M RECORDING JohN caLe aNd STeRLiNg ‘Trance #1’ clocks in at just under five-and-MoRRiSoN exact location unknown, New a-half minutes and is based around a minor-York, NY. key drone and nonstop drum rolls that seem Identified only as having been recorded to have been seasoned by MacLise’s travels in in the mid 60s, the ten-and-a-half-minute Asia. It’s not the sort of group performance ‘Stainless Steel Gamelan’ features Cale and he would have observed there, however, as its Morrison on fretless guitar and cembalet, multiple layers of instrumentation – including an electric piano that uses a plectrum action some of the ugliest, creepiest electric-guitar similar to that of a harpsichord but has no slashes of the mid 60s – push the sound into strings, its sound generated instead by metal distortion. The guitar and drum eventually reeds. (The resulting sound is very plucky – give way to some far more sedate interplay like a music box, but darker.) As this is a John between violin/viola and portentous cimba-Cale composition with a 1965 copyright, it’s lom. The four-minute ‘Trance #2’ sounds like reasonable to assume that it was recorded in a continuation of the same recording after a 1965 as well, when the two men had more brief interruption, setting a somber, ceremo-time on their hands to make experimental nial mood that stops just short of the funereal.

tapes than they would during the next three (The version of featured on Sub Rosa’s 2002

years, although it didn’t mark the last instance compilation LP An Anthology Of Noise & Elec-such a tape was made. tronic Music Vol. 1: First A-Chronology 1921–2001

According to David Fricke’s liner notes for is a minute longer than the one on The Cloud Stainless Gamelan: Inside The Dream Syndicate Vol— Doctrine. The extra minute at the track’s end ume III, the 2002 Cale compilation on which allows for a brief shift in focus with a more the piece is first issued, the performance is “a rattling rhythm, but otherwise it’s the same four-handed attack on a single guitar; Mor-recording.) rison firing up a parade of arpeggios in the Of most interest to Velvet Underground fretless area about the bridge, Cale churning fans is the five-minute ‘Two Speed Trance.’

a percussion undertow below the bridge.” The After some incantation-like beats and harmo-implication is that both are playing the same nium-like bleats, MacLise suddenly launches instrument at the same time, but the effect into a passionate, frenetic roll that’s as fast as could have been achieved by overdubbing. anything he will ever commit to tape. Then, Regardless of the method used, the piece at around the 1:40 mark, comes the big pay-is much more accessible than most of the off: an insistent electric guitar that’s actually other non-VU recordings Cale makes during simulating a genuine rock’n’roll riff, albeit the 60s, even though it’s just as melodically a pretty rudimentary, single-chord one. The minimal. Its steady, pulsing tones approxi- beat is not unlike the opening section of The

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WHITE LIGHT/WHITE HEAT n ALSO IN 1965

Byrds’ ‘Eight Miles High,’ and the intense

interplay between drum and guitar continues

to dominate until the end, although the pace

is too haphazard to ever attain a truly gripping

intensity. More than any other extra-Velvets

tape by Cale and MacLise, however, this one

does offer a hint at rock music amid the drone

und drang, and is just about identifiable as a

relative of the most extreme instrumental passages in the Velvets’ work, such as the closing

sections of ‘European Son.’

Don’t settle into that easy chair just yet:

‘Four Speed Trance’ opens with a blast of

murky, electronic distortion as difficult to

listen to as anything the musicians ever laid

down. A half-minute in it abruptly switches

gear into Morse code-like spurts of guitar, but

this too ends up sounding like a music box

accelerating out of control. And that’s the way

it goes for the next three minutes. Creaking

noises beaver away underneath the rest all of

the while, sounding like a coffin lid that never

quite closes.

C FILMING Satisfaction

MacLise and Cale also find time to appear

in another film by the prolific Piero Heliczer.

The nine-minute, dimly lit Satisfaction contains little more than some random, aimless scenes of people – some of them eccentri— cally dressed – cavorting on a rooftop and

dancing while the Rolling Stones song of the

same name plays over the top. MacLise can

clearly be seen playing percussion at times,

however, and Cale and his viola sneak into the

frame for a few seconds. Several other people

with connections to the VU appear as well, Far outside the realm of either La Monte until years later. including Jack Smith, Barbara Rubin, and Young or The Velvet Underground, these It’s also suspected that Reed might have Gerard Malanga. When the film is shown at three tracks illustrate another side of the helped to write and/or played on a few other the FilmMakers’ Cinematheque, one viewer man who, for all his fame as the Velvets’ first Pickwick-related records during the mid 60s. becomes so annoyed that he knocks over the drummer, rarely recorded anything remotely In the absence of definitive proof, they’re projector and attacks a couple of other peo-rock’n’roll. It’s possible that these recordings not included here, but a list can be viewed as ple in attendance. (Some sources claim that are used at the FilmMakers’ Cinematheque’s part of The Velvet Underground Web Page Satisfaction is actually part of a larger Heliczer Expanded Cinema festival in November 1965, at olivier.landemaine.free.fr/prevu/lrprevu. work, Dirt.) for which multiple screens, hand-held projec-html#possible.

tors, and moving slides are used. Don Snyder Given that release dates and session inforM RECORDING aNguS MacLiSe exact loca-is one of the artists participating in the event, mation are so unclear for most of these discs, tion unknown, New York, NY. along with international names Claes Olden-they are grouped together below. As insignifi— MacLise is responsible for all the sounds burg, Nam June Paik, Robert Rauschenberg, cant as they might seem when stacked against on the instrumental electronic pieces ‘Tunnel and Andy Warhol, who uses split-screen pro-Reed’s later achievements with the Velvets, Music #1,’ ‘Tunnel Music #2,’ and ‘Tunnel jection for the two nights (November 22 and they do offer hints here and there of ideas Music #3,’ as featured on The Cloud Doctrine. 23) on which his work is featured. he would go on to develop more fully in his The album’s liner notes say that all three were own band. recorded in 1965 “by Don Snyder for Don LOU REED ON PICKWICK By far the most important of the Lou Reed/ Snyder’s Multimedia Shows.” With its ascend-The Velvet Underground became Lou Reed’s ing tones and jet-like swoops, ‘Tunnel Music primary focus fairly early in 1965, but he #1’ could well serve as the soundtrack to a continues to work for Pickwick Records as a VARIOUS ARTISTS

Music #2’ and ‘Tunnel Music #3’ sound like until September, according to Victor Bockris’s Soundsville! cinematic voyage into outer space. ‘Tunnel songwriter and occasional session musician they might be part of the same composition, Transformer. Quite a few of the songs in which and have a pre-industrial feel, all metallic he has a hand appear on obscure 45s and LPs US release 1965 Design DLP-187 clangs and percolating rumbles. during 1965; many will remain undiscovered

67

ALSO IN 1965 n WHITE LIGHT/WHITE HEAT

Pickwick recordings are the four tracks on what I wanted to do on Pickwick. Some of lations for the P-Vine label: ‘You’re Driving which he sings lead. Two of these – ‘The the records they put in there which I had no Me Insane’ is on I Was A Punk Before You and Ostrich’ and ‘Sneaky Pete’ by The Primitives control over were certainly nice ditties, but ‘Cycle Annie’ is on Skydog Poubelles: The Singles – are covered elsewhere. The other two fea-they weren’t brilliant.” (The Beachnuts also Story (both 1998). ture on Soundsville!, a kooky concept album perform a second Soundsville! track, a serviceAs well as featuring on Soundsville!, ‘I’ve Got on which most of the ‘bands’ are likely made able Jan & Dean soundalike called ‘I’ve Got A A Tiger In My Tank’ is released as a single by up from members of the Pickwick staff. Each Tiger In My Tank’ designed to represent ‘The The Intimates (Epic 5-9743), and embellished song is devoted either to a specific region or Sounds Of Hot Rod.’) this time by ridiculous tiger roars. According to a musical theme; all are presumably written Although these are the only two Soundsville! to The Velvet Underground Web Page, the by the team of Lou Reed, Terry Philips, Jim-tracks on which Reed sings the lead vocal, he song was originally written as a jingle for an mie Sims, and Jerry Vance except ‘I’ve Got A co-wrote most – if not all – of the rest of the Esso commercial by Jerry Vance, one of the Tiger In My Tank,’ which also credits Robert album, several songs from which will also be song’s co-authors, who is also credited as musi-W. Motta. recorded by other Pickwick acts. The album’s cal director on the single.

‘The Sounds Of England’ are represented opening track, ‘Don’t Turn My World Upside ‘Soul City’ is another song that started life by The Roughnecks’ ‘You’re Driving Me Down’ by The J Brothers, is meant to signify on Soundsville!, in a soulless, male-sung rendi-Insane,’ a rough-hewn slab of garage-rock with ‘The Sounds Of Nashville.’ It’s a good-natured tion by The Hi-Lifes. The version released as a laconic yet aggressive Lou Reed vocal prob-if unremarkable folk/country-pop tune that a single by The Foxes (Bridgeview BV-7000) ably recorded, according to Terry Philips, on would probably have quickly been shown the has a more fitting Chiffons/Shirelles-like Pickwick’s one-track Ampex machine. As with door had it been hawked in the real country-girl-group sound and a more sympathetic ‘The Ostrich’ there are whoops of encourage-music capital. If these are the same J Brothers production, presumably the work of ‘musi-ment in the background, but this is a far more who recorded ‘Ya Running, But I’ll Getcha’ cal director’ Jerry Vance. driving tune with a scratchy guitar, a nervous, for Pickwick in 1964 they sound like an The most interesting of the various Pick-rapid tempo, insistently repetitive, two-chord entirely different band here, suggesting that wick-related releases on which Lou Reed does verse, and oh-so-slight intimations of mental they are another spur-of-the-moment studio not sing the lead vocal is an obscure B-side imbalance. While the song is slighter lyrically concoction. It’s not impossible for Reed to be by The All Night Workers, ‘Why Don’t You than anything Reed writes for the Velvets, it’s playing on the recording, as he’s quite capa-Smile Now’ (Round Sound RS-1), which cred-actually a pretty catchy, elemental, and edgy ble of achieving the folk-style sound heard its Reed as co-composer alongside John Cale, recording that sounds closer to Reed’s later here. Terry Philips, and Jerry Vance. It’s a sub-Phil work than anything else from his Pickwick Flying the flag for ‘The Sounds Of The West Spector blue-eyed soul ballad vaguely remi-days. Give it a fuller, more considered arrange-Coast’ is The Hollywoods’ ‘Teardrop In The niscent of The Righteous Brothers’ mid-60s ment and some stronger lyrics and you’d have Sand.’ Far from being the genuine article, output and grounded by an elemental chord-something rather like the more goodtime however, they sound wholly unsure whether progression similar to those made famous by rock’n’rollers The Velvet Underground will to imitate The Four Seasons or Jan & Dean on ‘Twist And Shout’ and ‘Louie Louie.’ Jerry play live in the late 60s, such as ‘We’re Gonna this creepy East-West fusion. Having already Vance is again credited as the single’s musical Have A Real Good Time Together’ and ‘Sweet covered ‘The Sound Of Detroit’ elsewhere director, and, since the date March 27 1965 Bonnie Brown/It’s Just Too Much.’ on Soundsville! with ‘Soul City’ (discussed is stamped in the deadwax, it seems reason—

Representing ‘The Sounds Of The Motor-below), the versatile Hi-Lifes also take care of able to assume that it was released a few weeks cycle’ on Soundsville! is The Beachnuts’ ‘Cycle New York and Chicago. ‘I’m Gonna Fight,’ later, in April. Annie,’ the only other track on the album a barely serviceable mid-tempo pop-rocker The All Night Workers are a real band of sung by Lou Reed. This is the most conven-with wobbly vocals, is their Big Apple effort; musicians Reed once knew at Syracuse: key-tional of the four Reed-sung Pickwick record- ‘First Impression,’ an unsubtle Impressions boardist Lloyd Baskin, guitarist Steve McCord, ings, with a basic Chuck Berry chug to the imitation, is another Soundsville! track with no singer Otis Smith, bassist Billy Elmiger, and guitar and vaguely Beach Boys-like vocal har-songwriters listed, but it seems safe to assume drummer Herb Flower. Baskin will later turn monies. It’s the most confident of his pre-VU that it was written by Reed, Philips, Vance, and up in Seatrain, who go on to make several vocals, however, and sees him really nail a dry, Sims. The same is true of The Liberty Men’s albums during the late 60s and early 70s (two witty, sing-speak style. Just as cool is the sud- ‘Wonderful World Of Love’ (‘The Sounds Of of which are produced by George Martin). den drop into a lower key midway through, Philadelphia’) and ‘It’s Hard For A Girl In A “I still get [royalty payments of] $3.32 on while some critics will later see a foreshad-World Full Of Men’ by Connie Carson (‘The ‘Why Don’t You Smile Now,’ laughs Terry owing of Reed’s later gender-bending lyrics Sounds Of Campus’). The last definite Reed Philips. “I still get money from somewhere in ‘Cycle Annie’’s paean to a “real tough” co-write on he album is Jeannie Larimore’s on the planet, it’s a riot. I really dug that song; motorcycle chick. All in all the song is a sleek, ‘Johnny Won’t Surf No More,’ a mediocre girl-I thought that song was so ahead of its time well-oiled rock’n’roller, and something that group track included to represent – somewhat with the way the guitar was tuned.” Although the Velvets shouldn’t have been embarrassing dubiously – ‘The Sound Of Surfing.’ it probably won’t get much airplay, the song about revisiting if they’d needed to fill out an The front of the Soundsville! LP features a is heard on the soundtrack to Deux Voix, a early setlist. pair of British Invasion-like musicians with 1966 independent feature directed by Reed’s

There’s no songwriting credit for ‘Cycle Beatle haircuts, probably intended to rep-friend Rosalind Stevenson and starring one-Annie,’ but had there been one it would likely resent The Roughnecks, but neither is Lou time Falling Spike Elektrah Lobel. list Reed, Philips, Vance, and Sims as co-com- Reed (or John Cale). Both ‘You’re Driving The fact that Cale is credited as co-com-posers. Philips however hardly sees the song Me Insane’ and ‘Cycle Annie’ have since poser of ‘Why Don’t You Smile Now’ suggests as fulfilling what he saw as Reed’s potential. appeared on numerous bootlegs, beginning that he might have tagged along with Reed at “I thought songs like ‘Cycle Annie’ certainly with the Primitive: Pre-Velvets EP in 1976. Both Pickwick, but this is the only song on which showed he had ability,” he says. “But that isn’t also feature on legitimate Japanese compi-he is definitely involved. In his autobiography,

68

WHITE LIGHT/WHITE HEAT n ALSO IN 1965

Cale recalls being invited by Philips to play songwriting-by-numbers? viola on a Pickwick session, but no known Terry Philips incidentally sees the inclusion recording exists. Philips himself is not sure if of songs on which he and Reed worked on he used Cale on any sessions or not, but says budget compilations as evidence that “both that it could well have happened, “because he of us were taken advantage of by Pickwick could do anything, and he was just the easi-Records. We had done some demos that est guy to work with.” (Bob Ragona is more were gonna be singles on Pickwick City, and doubtful: “He was out more than he was in. unbeknownst to me, they put some of those He’d be here one day, and then you wouldn’t on some budget records. It wasn’t anything see him for three weeks. He was in his own that I was in control of. I was as surprised as world.”) anybody when they used the stuff on some of

Roberta Williams’s ‘Tell Mamma Not To the budget albums.” Cry’ (Uptown 707) might be an obvious Irma Thomas/Maxine Brown/Ronnie Dickerson attempt at emulating the success of The (Grand Prix KS-426) is another budget vari-Shangri-Las, one of the hottest acts in the ous-artists compilation of Pickwick songs. Tho-USA in early 1965, but it’s also one of the best mas, Brown, Dickerson – who doesn’t belong pre-VU songs to bear Lou Reed’s name in the in this picture? Dickerson, of course: Thomas credits. It takes in ominous piano licks, violin and Brown have already recorded a bunch sweeps, sexy whispers, and spoken dramatic of great soul-pop hits between them by 1965, the real names of Sims and Vance, respec-interludes, while the melody jumps from but Dickerson is another Pickwick unknown. tively. Another song, ‘Say Goodbye Over The weepy to exuberant and back again. The This unimaginatively titled LP simply throws Phone,’ is registered on January 13 1965. song also has a credible orchestral produc-together two songs by Thomas and four by ‘Wild Ones’ could well be ‘The Wild One,’ tion in the style of Phil Spector or Shangri-Brown, padding them out with four more by as sung by Terry Philips on the Swingin’ Teen La’s producer Shadow Morton, suggesting Dickerson, all of which were written by the Sounds LP, while ‘Walk Alone’ might be that this one could not have been recorded usual team of Reed, Philips, Vance, and Sims. the song of the same name that the Velvets in Pickwick’s shack-like studio; it’s just too ‘Oh No, Don’t Do It’ is a so-so tune in the New rehearse at the Factory on January 3 1966, thoughtful and elaborate. The B-side, ‘Maybe York soul-pop/girl-group mold, while ‘What although it seems unlikely that Reed would Tomorrow,’ is a reasonable attempt at The About Me’ is a pretty flimsy ditty in the same want to carry any of his Pickwick collabora-Ronettes’ sound that would not sound out of style bogged down by call-and-response vocals tions into the VU repertoire. Years later, Reed place on a compilation of girl-group rarities. shared by an over-enthusiastic male singer. will confirm that he co-wrote ‘Let The Wed—

The low-profile split-LP Swingin’ Teen Sounds ‘Maybe Tomorrow’ is a reasonable Ronettes ding Bells Ring,’ revealing that the song ends Of Ronnie Dove & Terry Philips (Design DLP soundalike, but seems to be the same record-with the hero dying in a car wreck. As for 186) serves as an example of Pickwick’s strating issued as the B-side to the aforementioned the rest, they simply might never have been egy of combining a few non-hit recordings Roberta Williams single – perhaps they’re the recorded; even if recordings exist, it’s doubt-by a star – Ronnie Dove, who is in the middle same singer, or perhaps Pickwick just hopes ful that we’ll ever get to hear them. of a run of 12 mid-60s US Top 40 hits – with no one will notice? The best of the Dickerson One final stranger-than-fiction footnote songs by somebody that no one has ever really tracks is ‘Love Can Make You Cry,’ but even to Reed’s time at Pickwick is that he can be heard of. The six Terry Philips tracks on the this one suffers from demo-like underproduc-heard on several of the company’s records for album include three co-written by Reed and tion. Lou Reed will nonetheless disclose a sur-children. As Bob Ragona recalls, “We used to the other Pickwick staffers. Oddly, while ‘This prising soft-spot for it during an April 1986 produce a three-minute-and-ten-second song Rose’ and ‘Wild One’ bear the usual Reed/ radio interview with George Gimarc: “There’s that was synchronized to a bunch of slides. Philips/Vance/Sims credit, ‘Flowers For The one record I really wanted to get where I was There were maybe six slides on there. You Lady’ adds a fifth name: Maurice Irby Jr, who the writer of it, but I didn’t sing it. They had stuck it in and played the record, and as the will later write ‘Apple, Peaches, Pumpkin Pie,’ a girl sing it. I don’t remember her name. record told the story, you had a slide show a Top Ten hit for Jay & The Techniques. But it was a great song. It was called ‘Love on a little ten-inch or twelve-inch TV screen.

Reed might well have taken a firmer hand in Can Make You Cry.’” (Perhaps it’s one of the It was commercially available as a program writing ‘Wild One,’ a Dion-esque pop-rocker 45s Reed loses when his record collection is from this General Electric show-and-tell thing. complete with spiky guitar and the kind of stolen in April 1966.) They did the story of ‘Johnny Comes March-yowling background shouts heard on records ing Home Again’ – I remember Lou singing

by The Primitives and The Roughnecks. ‘This AND ALSO … on that one with a fife and a drum. It’s kind Rose’ sounds like an early Righteous Brothers The BMI database at bmi.com lists a number of funny, ’cause he didn’t know the song; it track, albeit without the characteristic depth of other Pickwick songs co-written by Lou wasn’t in his repertoire. of Phil Spector’s production; ‘Flowers Of The Reed, all published by Barmour Music Corp, “He kept things interesting. He really Lady’ is a generic cross between late-period of which there are no known recordings. did.” doo-wop and fluffy, melodramatic teen bal- ‘Baby You’re The One,’ ‘Bad Guy,’ ‘He Hit Me ladry. Where It Hurts,’ ‘Help Me,’ ‘Nobody’s Gonna

The overall effect of these songs suggests Get Hurt,’ ‘One And One,’ and ‘Wild Ones’ that the Pickwick are almost willfully ignoring are all given the usual Reed/Philips/Vance/ the musical trends of 1965 and instead still Sims credit; ‘Let The Wedding Bells Ring,’ trying to mimic styles that peaked in the early ‘Put Your Money Down On The Tab,’ and 60s. Is it any wonder that Lou Reed is already ‘Walk Alone’ are credited to Reed, Philips, squirming to get out after a few months of James N. Smith, and Jerry Pellegrino, Jr –

69

Nico joins The Velvet Underground at the start of the year.

The new line-up is an explosive mix of rock, the avant-garde,

poetry, and the smashing of lyrical taboos. As part of the

Exploding Plastic Inevitable, the Velvets combine their music

with film, light projection, dance, and theater – and do so

more successfully and more excitingly than perhaps any other

1966 musical act before or since. By April they’re attracting national press coverage and recording the bulk of their groundbreaking debut album; in May they sign a contract with MGM Records.

The group’s momentum is derailed, however, by the muted

response to their first Californian tour, and by the inexplicable

delays to the release of their first LP. They continue to stir

up controversy and media coverage with sporadic touring

across the East Coast and Midwest throughout the rest of the

year, during which time they’re often unfairly viewed as Andy

Warhol’s latest pop-art gimmick.

JANUARY 1966 n WHITE LIGHT/WHITE HEAT

January nine, very elegant, and she didn’t jump up Factory Days documentary. “But I was, in real-and down and wave her hips. It was a perfect ity, his manager, managing them!” idea. But I realized from the start that Lou It will take some time for The Velvet Under—

didn’t like it one bit. He made that obvious.” ground to find regular work, and for a while

, Early January According to Nico: The Life & Lies Of An Icon, they’re dependent on their managers for basic

As much as Andy Warhol and Paul Morrissey Reed specifically asks for Nico to be billed survival. “I had to draw up a management con-like The Velvet Underground, they think the separately from the rest of the group – hence tract between myself and Andy and them, and group needs a new – or at least additional their subsequent billing, live and on record, they postponed signing it for months until the – lead singer. This might be hard to believe as The Velvet Underground & Nico. big job came through,” Morrissey recalls. “In in light of Lou Reed’s subsequent fame and “I was just this poor little rock’n’roller, and the meantime I was finding jobs for them here flamboyance, but it’s worth remembering that here was this goddess,” Reed says in the docu-and there, and getting Andy’s money to pay only a few months have passed since he rather mentary Lou Reed: Rock And Roll Heart. “We their rent and buy them food and amplifiers. reluctantly took on the role of lead vocalist didn’t really feel we had a choice. I mean, They didn’t even own any. Andy never liked it at the insistence of John Cale and Sterling we could have just walked away from it, or we one bit. Then finally [in April] they opened Morrison. As far as Warhol and Morrissey are had a chanteuse. So we had a group meeting the Dom, and there was this enormous public-concerned, the Velvets need someone more and said, ‘All right, we’ll have a chanteuse, ity, and I suppose finally he thought it might conventionally charismatic. In Nico: The Life and Lou will write a song or two for her, and be a good thing. But he was never keen on it, & Lies Of An Icon, Morrissey recalls telling then we’ll still be The Velvet Underground.’ and really never enjoyed his so-called associa-Warhol, “The problem is these people have You know, why not?” As John Cale notes in tion with them. But I think he benefited from no singer. There’s a guy who sings but he’s got the same film, “When Nico was introduced it more than anything else I ever did for him, no personality and nobody pays the slightest as sort of the great headline-maker, that was except the movies that I made.” attention to him. They need someone with a when I started thinking about Andy as the In the meantime, hanging out at the Fac-bit of charisma.” media manipulator, the master of all that.” tory isn’t just a fun thing for the Velvets to

Oddly, some reports claim that Warhol’s (Warhol’s name will be similarly instrumental do, but also something that has an immedi-first choice to fill the role is Tally Brown, in getting press coverage for this otherwise ate positive effect on their chief songwriter’s a cabaret singer in her early forties who unknown group.) work ethic. “It took us some time to get up to recently appeared in a film of his, shot in Although it’s not usually reported any-the Factory, but when we finally did, it blew October 1965, entitled Camp. In one scene, where else, Nico will later claim, in a 1972 my mind,” Reed later tells Dave Hickey in Brown introduces Cale’s old friend Jack interview with French television, to have first the June 1975 issue of Oui magazine. “The Smith; in another, she imitates the freaky, seen The Velvet Underground during their amount of energy was incredible. You know, multi-octave range of Peruvian pop-operatic residency at the Café Bizarre, which she calls people talk about how passive Andy is, but singer Yma Sumac – hardly the kind of tal- “the most beautiful moment of my life” for he works all the time, and at that time, so did ent The Velvet Underground are likely to good measure. This means that she must have everybody else who hung around there. We want to utilize. Given that she will later been aware of the group before the end of started practicing at the Factory, and when I be described in her New York Times obitu-December 1965 – and perhaps before Warhol showed up, Andy would say, ‘How many songs ary as a “short, stout singer with wild black and Morrissey pressure the other four band-have you written today?’ and I’d go, ‘Oh, ten,’ hair,” she doesn’t seem like the right choice members to let her join. and he’d say, ‘Well, you should have done 20. to add glamour to the group, either. She Nico will remain with The Velvet Under-You have to do as much as you can.’ I’d never does apparently spend an afternoon listen-ground, in an uneasy, on-off fashion, for the met anybody like that, who had such a clear ing to doo-wop singles with Lou Reed, but next year and a half. While her musical role idea of the artist as somebody who works – you will never appear with the group – or take in the band is limited, the other members will know, all the time.” Warhol up on his suggestion to form a band eventually come to appreciate her contribu-called Children made up of female filmmak-tions, if only in retrospect. “She got her share Monday 3 ers playing transistor radios rather than of ridicule from the press with her deep Ger- M RECORDING/REHEARSAL The Factory, standard instruments. (For his part, Paul manic voice, which I always tried to get her 231 East 47th Street, New York, NY. Morrissey doesn’t remember giving Brown not to sing with,” Sterling Morrison later tells The Velvet Underground are immediately any serious consideration for the role. “That Ignacio Julia in a 1986 interview for Spanish encouraged to make themselves at home was one of Andy’s dopey suggestions that I television. “She could sing high and sweet if as regular visitors to the Factory. The tapes paid no attention to,” he says.) she wanted to. But Nico could sing, she could made today by Andy Warhol of a rehearsal

If Tally Brown ever rehearses with The sing the songs that we had her do, sang them will eventually form the basis of a CD pro-Velvet Underground, it can’t be for very well.” (“We knew that it couldn’t last,” Mor-duced exclusively for the 1996 exhibition long, as by January 3 the group are already rison says in an earlier interview with Sluggo, All Tomorrow’s Parties: Remembering The Velvet rehearsing with a different singer, Nico, whom “because we didn’t have that many songs she Underground at the Andy Warhol Museum in both Warhol and Morrissey lobby hard for. could sing.”) Pittsburgh, Pennsylvania. (For years, the only “Most of the songs were sung by Lou, who With the line-up complete, the Velvets are way to hear the disc is to visit the museum had no personality, and I thought that could put under a management contract to Warhol itself after booking an appointment with the be remedied,” Morrissey says. “[I thought] and Morrissey, although Warhol’s part of the archivist several weeks in advance. It takes a Nico should sing in front of them, and also job, like many of the other activities in which while, but eventually someone will figure out be the girl that can replace Edie for Andy’s he’s involved, will often be delegated to oth-a way to duplicate it, with a copy of the mate-photo opportunities, and she could actually ers. “There I was, with suddenly a rock’n’roll rial making it into circulation on bootleg by sing in a beautiful deep German voice. Her group that Andy was pretending to be the 2005.) appearance was spectacular, tall and very femi-manager of,” Morrissey later exclaims in the If the rehearsal really does takes place

72 , An arrow denotes an estimated date.

WHITE LIGHT/WHITE HEAT n JANUARY 1966

on January 3, it appears that Nico has been

slotted very quickly into the band. No more

than a week has passed since their final Café

Bizarre gig, and perhaps even as little as four

days. The ‘rehearsal’ might therefore be an

audition of sorts for Nico – or even for Warhol

himself, since he and Paul Morrissey only

offered to manage the group a few days ago.

Whatever the case, and despite its imperfect

sound, the rehearsal tape is a fascinating document – it’s the only surviving recording of

any reasonable length made between the July

1965 Ludlow Street tape and the group’s first

official recording sessions in April 1966.

The most striking difference between the

July 1965 recordings and today’s rehearsal

tape is in the sound of the guitars. Instrumentally, the Ludlow Street demos could almost

have been the work of a folk group. Here

however the guitars are forcefully electric and

distinctly Velvet Undergroundian: the fuzzy,

almost guttural timbres and tunings are fully

in place. John Cale meanwhile appears to be because this is an earthy song with a more a good song for Nico to sing. But although playing bass on most of the songs, although he traditional structure doesn’t mean it isn’t as the song bears some early promise, it seems does move back to viola for ‘Heroin.’ good. ‘There She Goes Again’ demonstrates incomplete at this stage, and you can barely

Unfortunately, the sound quality of the Reed’s natural and largely peerless gift for hear Reed’s singing beyond a brief hint of his tape – which of course is not intended for street-tough vocal swagger as he spins out trademark cocky, sing-speak narrative style. public release – is poor, with the instruments simple yet compelling riffs and almost cinéma (As noted elsewhere, Reed apparently wrote coming through much more strongly than the vérité-like vignettes such as the double enten-a song called ‘Walk Alone’ with Terry Philips, vocals, which are often so faint that it’s hard to dre here about hitting a woman or ‘hitting Jerry Vance, and Jimmie Sims during his Pick-decipher the lyrics. There are no drums to be her up’ with drugs. wick days, but Philips did not recognize it as heard on many of the songs, but they’re defi-The big surprise is a second version of this when he heard the January 3 recording nitely there – if barely audible – on ‘Heroin,’ ‘There She Goes Again’ – presented in frag-in 2008.) and what sounds like the rattle of tambourine ments, and never in a complete pass – sung Elsewhere on the tape, Reed briefly recites and maracas can be detected from time to not by Reed but by Nico. This alone indicates a few phrases from ‘Venus In Furs’ but the time. (Perhaps Maureen Tucker wasn’t able to that Warhol and Morrissey must envision a band doesn’t play the song, instead breaking bring her full kit into the Factory today.) more prominent role for her than she will into an unexpected rendition of Bo Diddley’s

There’s also much less focus to most of eventually receive. She doesn’t do too bad a ‘Crackin’ Up.’ And while some of the grungy these run-throughs than the July 1965 demos. job of the song, especially when you consider instrumental passages bear some similarities Only two songs can be heard as start-to-fin-that she’s probably barely familiar with it, but to parts of ‘Run Run Run’ and ‘European ish pieces. One is ‘Heroin,’ which despite her rendition throws up an immediate red Son,’ one of them segues in and out of a appearing to fade out prematurely on the flag to whatever Warhol and Morrissey’s plan rhythm & blues vocal-improv of sorts, ‘Miss bootleg offers a close approximation of the might be. The group dutifully plays the song Joanie Lee.’ (Reed nonetheless feels the song version that will soon be heard on The Velvet in various keys that might better suit Nico, is significant enough to copyright, as a ‘Miss Underground & Nico, except for the tentative and even seems to try it with both Nico and Joanie Lee’ is listed among his credits in the sound of the drums. Cale’s viola drone has Reed singing it together, although it could be BMI database.) blossomed into the searing jet-engine roar that Reed is guiding her along as she learns The rest of the tape is padded out by non-he’s been aiming for ever since hooking up the words. But the simple fact is that the song descript bluesy jamming and brief snatches with Reed, mirroring the frightening rush of sounds far more convincing and confident of Ike & Tina Turner’s ‘It’s Gonna Work a genuine injection of heroin. when sung by Reed, who will continue to hold Out Fine’ (the song that Reed and Morri—

The other complete song heard on the the role of lead vocalist on most of the group’s son bonded over at Syracuse), Booker T. & tape is ‘There She Goes Again.’ It’s one of material until his departure in 1970. The MG’s ‘Green Onions,’ and the classic the group’s most conventional early numbers, It might come as a disappointment to some George Harrison guitar-lick from ‘Day Trip-lifting its principal riff from Marvin Gaye’s fans to learn that the rest of the tape con-per,’ the single of which is currently top of ‘Hitch Hike,’ and is again presented in an sists mostly of jamming and fooling around, the US chart. What this illustrates is that, for arrangement similar to the one included on but even these passages have their revelatory all their authentic weirdness and originality, the group’s debut album, right down to the moments. First, there’s what sounds like an The Velvet Underground really do have solid catchy falsetto harmonies and choppy guitar. otherwise unknown original with an ambling, rock’n’roll roots, and are certainly aware of For the first time, the Velvets sound like a real country-folk gait called ‘Walk Alone.’ That’s the chart-topping trends of the day, however rock’n’roll band – and a good, tight one at definitely the title, as Reed calls out at one out of step with them they might be. Lou that, even if the rhythm seems to come from point for someone to “do the riff to ‘Walk Reed will later claim, in a 1989 interview with maracas rather than a full drum kit. And just Alone’” before suggesting that it might be Rolling Stone, that anyone who played a blues

Nico shortly after joining The Velvet Underground, with Sterling Morrison in the background. 73

74

WHITE LIGHT/WHITE HEAT n JANUARY 1966

lick in the early Velvet Underground would

be fined. If that’s the case, they must be broke

on the evening of January 3.

The complete rehearsal tape also includes

some additional material, including ‘All

Tomorrow’s Parties,’ ‘Venus In Furs,’ ‘Prominent Men,’ ‘European Son,’ and, most fascinatingly, ‘Men Of Good Fortune,’ which won’t

be given an official release until it appears

on Reed’s 1973 solo album, Berlin. Whether

these are full versions or just small fragments

is unknown. But what is clear from the sections of the tape that can be heard is that,

‘Heroin’ and ‘There She Goes Again’ aside,

The Velvet Underground could do with at

least a few more weeks of practice, particularly

if they want Nico to learn some of their songs.

Both Warhol and the group are eager to get

started with live performances, however, and

a mere ten days will pass before The Velvet

Underground & Nico make the first of their

numerous unconventional appearances under

Warhol’s stewardship. martini-sipping, gum-chewing Edie Sedgwick The event is also covered by the New York

is also present. John Cale cuts a striking figure Herald Tribune, for whom Seymour Krim

Thursday 13 in a black suit with rhinestones on the collar, writes: “The neo-Jungians, Harry Black Sul-

Delmonico’s Hotel, New York, NY as does Nico, who wears white slacks. livanites, existentialists and just plain bread-The Velvet Underground are no strangers to “It was absolutely hilarious,” Reed later and-butter head doctors got an electric shock gigs that set them against mismatched audi-recalls in the 1998 BBC documentary John treatment they’ll never forget … While blind-ences, whether it be high school kids in New Cale. Cale himself then notes, “The com-ing sun-gun lights bombed the dress-suited Jersey, tourists at Café Bizarre, or even front-ment that came back from the psychiatrists psychiatrists as they attacked roast beef and ing a fake rock’n’roll band as The Primitives. was, ‘We suggest that these guys have a long red wine, movie cameras ground away, the But the first performance of their Warhol era rest. They’re disturbed individuals.’” Velvet Underground rock outfit began poundis, if anything, even stranger. Playing at an The ‘performance’ accomplishes another ing the beat as if it were fire-engine time, and annual dinner for the New York Society For of Warhol’s goals: getting the group some underground film star Edie Sedgwick began Clinical Psychiatry would be an odd gig for instant, high-profile attention. In an article to shake it while poet Gerard Malanga went any rock band in early 1966. Here at least entitled ‘Syndromes Pop At Delmonico’s: into his Whip Dance. The first five Freudians it’s odd with a purpose, fitting in well with Andy Warhol And His Gang Meet The Psy-left in a huff. Dr Marcel Heiman, as striking-Warhol’s general appetite for creating may-chiatrist,’ Grace Glueck of the New York Times looking as any underground actor but very hem in high society – something with which writes: “The act really came into its own mid-much a street-level gent with an office on Fifth The Velvet Underground are probably in way though the dinner, roast beef with string Avenue, said, ‘I’m ready to vomit.’” The per-good-humored sympathy. beans and small potatoes, when The Velvet formance even gets a mention in Newsweek

For reasons known only to themselves, the Underground swung into action. The high-later in the month. organization’s staff have invited Warhol to decibel sound, aptly described by Dr Camp-Oddly, Seymour Krim’s story suggests there give a speech. According to a report in the bell as ‘a shortlived torture of cacophony,’ was are currently several vocalists involved with New York Herald Tribune, the idea originated a combination of rock’n’roll and Egyptian the Velvets. “Inside the ballroom,” he writes, with chairman Dr Robert Campbell, a “swing-belly-dance music.” “singers Nico, Jane Odin, and Chic Cicarelli ing post-Freudian.” As Campbell explains The audience’s response is mixed and not added to the unaccustomed spire in the hard-to the newspaper, “Creativity and the artist exactly enthusiastic. As one guest, Dr Alfred working analysts’ lives by dishing up Bob have always held a fascination for the serious Lilienthal, tells Glueck, “I suppose you could Dylan-negro-blues-bossa-nova-type material student of human behavior. And we’re fasci-call this gathering a spontaneous eruption of while The Velvet Underground blasted the nated by the mass communications activities the id.” Another notes that “Warhol’s mes-room with high-decibel sounds.” It seems of Warhol and his group.” sage is one of super-reality, a repetition of the most likely however that Odin and Cicarelli

Instead of speaking, Warhol asks to show concrete quite akin to the LSD experience,” have joined in informally, as their names will some of his films. But when the time comes, while a third wonders, “Why are they expos-not pop up again in the VU saga. the psychiatrists are instead introduced to ing us to these nuts?” before asking not to Photographs of Reed, Cale, Morrison, and Barbara Rubin, who films the 350-strong be quoted. Tucker playing at the event appear on page audience while asking embarrassing ques- “We’ve had everyone appear at these annual five of the booklet accompanying the two-CD tions about sexual behavior. The Velvet dinners, from Paul Tillich to Warhol,” says Dr ‘deluxe edition’ of The Velvet Underground & Underground then play ‘Heroin’ while a Arthur Zitrin, director of psychiatry at Bel- Nico. Better yet, footage of the event – with film of a man being tortured while tied to a levue Hospital. “I’m program chairman for brief glimpses of the band, Sedgwick, and an chair plays behind them. A whip-wielding Ger-next year. How the hell are we going to follow incongruously formally dressed Malanga – is ard Malanga dances in front of the screen; a this act?” included in Jonas Mekas’s Scenes From The

Left: Lou Reed plays guitar at an early Velvet Underground show. 75

Right/above: John Cale with Edie Sedgwick.

JANUARY 1966 n WHITE LIGHT/WHITE HEAT

Life Of Andy Warhol. (It should be noted that used during many of their Warhol-era per-dropped dead. I would turn the sound up the music on the soundtrack is not from the formances. And as Reed explains in a 1971 on the sound films; I was just trying to fill the actual psychiatrists’ convention, but is taken interview with Metropolitan Review, the black void with some sound. But it was just deadly. instead from a live performance at the Dom clothes came about “because we were in a So I said, ‘Come up to the Factory, and we’ll in Greenwich Village during the spring of show where they were flashing movies and record you on film, two reels, and you can 1966.) lights on us, so we would dress in black so just improvise.’

Curiously, an obscure clipping attributed people could see the movies … it was purely “They just sort of made up sounds, and by Mike West in The Velvet Underground And utilitarian, but we were accused of being Andy operated the camera, ’cause that’s all he Lou Reed to an August 1966 edition of the evil because we dressed in black and wore ever did. He didn’t have anything else to do; Observer claims that the Velvets “were recent sunglasses. Sometimes we dressed in black he didn’t think of these things; he didn’t sug-guests of honor at a Civil Rights gathering anyway and then suddenly it became a New gest anything. He didn’t have any particular and a psychiatrists’ convention. In both cases York fashion, but I don’t know how we were skill at operating the camera and almost no half the audience walked out feeling sick.” responsible for it.” visual sense for composition. There were zoom While one is tempted to dismiss the first of A Symphony Of Sound opens with a few min-lenses on the projectors, and Andy pulled these mentions as a mistake on the part of utes of Nico in close-up before settling on the zoom lens in and out to make the images the anonymous reporter, a quote from Paul the full band sitting on chairs playing their jump up and down. When they stopped play-Morrissey in the same piece indicates that it instruments. Cale switches between bass and ing and stood around on stage, I turned the might just have taken place. “What do you viola, while also coaxing reverberations out sound up on that footage, so there’d be some know,” Morrissey tells the Observer, “the psy-of a piece of wood taken from the frame of sort of Velvet Underground sound while they chiatrists showed no understanding, and the a piano left in his and Reed’s apartment, at shuffled around. So that was footage that was Civil Rights Movement no tolerance.” one point massaging some truly malicious basically just wallpaper; to fill the white wall

feedback out of it. Nico strikes a tambourine behind them and to give a kinetic visual and

, Mid-to-late January with maracas and, near the end, gets into the sound thing to the show during the numer-

C FILMING The Velvet Underground & Nico: increasingly madcap spirit by tapping at the ous intermissions. But the idea of projecting A Symphony Of Sound strings of a guitar laid horizontally on her lap. images behind the group had already been

As amazing as the idea of seeing an hour Her position at the center in the opening seg-used on other, earlier engagements. There of this legendary band filmed in its prime by ment signifies how – in Warhol’s eyes at least were two projectors used at earlier shows, but Andy Warhol at the Factory might sound in – she’s probably seen as the band’s focal point at the Dom there were five movie projectors years to come, actually watching the thing at this stage. Her three-year-old son Ari sits and five slide projectors.” invariably turns out to be a disappointment. at her feet and shakes maracas periodically; In The Films Of Andy Warhol: Part II, Callie The band don’t play any proper songs, but one can only guess what he makes of these Angell writes that the rehearsal filmed for A simply perform an endless, wordless, cacoph-proceedings, or how loudly his ears must ring Symphony Of Sound is part of the Velvets’ prep-onous jam. The camera work is none too for days afterward. The liberal use of blurs, aration for their shows at the FilmMakers’ dynamic either, even if it is in keeping with zooms, strobe-like flickering, and dizzying Cinematheque in early February; on the doc-Warhol’s mid-60s work. The film does at least pans suggest that the footage might be suit-umentary DVD The Velvet Underground Under afford an opportunity to see the Velvets (and able for projection behind the band when Review, Billy Name suggests that the footage is Nico) in their visual prime. But the failure of they come to play as part of the Exploding projected onto the band during these Febru-Warhol to capture even a few performances Plastic Inevitable. ary performances. According to Paul Morris-of the group’s classic songs will come to be A little more than 40 minutes in a New York sey, however, the footage is not shot until after judged as a major oversight. cop enters the frame, probably responding to the second week of the Velvets’ month-long

A Symphony Of Sound is not an easy hour a complaint about the noise. The perform-residency at the Dom in April, and marks “the to sit through. There’s little action – the ance trickles to a halt about ten minutes later. only time they ever played at the studio,” but band doesn’t move much while playing – (The Beatles’ Let It Be, shot three years later, other accounts – and the January 3 rehearsal and the music is a dissonant, rumbling roar ends in almost exactly the same way, but the tape – suggest otherwise. that makes even the most avant-garde Velvet similarity is doubtless an unintentional coin-Underground tracks seem like light entertain-cidence.) The Velvets leave their instruments

ment by comparison. without a fuss and proceed to mingle aimlessly February The film is at least now much easier to see, with the police, Warhol, Gerard Malanga, and

having been made available on DVD and even Factory regulars Stephen Shore and Billy shown in art-house cinemas on occasion. And Name, who played in La Monte Young’s group it does capture the manner and dress with in the early 60s. M RECORDING exact details unknown which the Velvets are most often associated: As Paul Morrissey will later recall, there’s a With the Velvet Underground having brooding and sinister, dressed in black, with very practical reason behind the decision to played behind the screen at numerous experi-everyone except Nico wearing dark sunglasses film the Velvets at the Factory. “They had no mental films in 1965, it seems only natural for even though they’re indoors in midwinter. professional experience before I met them them to finally be asked to record a ‘score’ Despite Cale’s cheeky proclamation in a whatsoever, and they were very kind of awk-of sorts, especially as they’re now managed 1986 South Bank Show documentary about the ward, to put it mildly,” he says. “After they did by leading underground filmmakers. Only group that they wore sunglasses “because we a number, they would stand on stage and talk Lou Reed and John Cale are heard on the couldn’t stand the sight of the audience,” it is to each other about what the next number soundtrack to Hedy, a Warhol film inspired later revealed by other members of the band would be. They had no ability to go from one by press reports of the arrest for shoplifting that they often wore shades simply to shield song to another; they stopped after each one. of 30s and 40s actor Hedy Lamarr. None of their eyes from the bright lighting effects I realized that once they stopped, everything the Velvets appear in the film, but the cast

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WHITE LIGHT/WHITE HEAT n FEBRUARY 1966

does include the two most celebrated danc- , Sunday 6 least accessible song on The Velvet Underground ers of the Exploding Plastic Inevitable – Ger- FilmMakers’ Cinematheque, & Nico, but is much more accessible here than ard Malanga and Factory newcomer Mary New York, NY on many of the other renditions of it per-Woronov – as well as another EPI dancer, From February 8–13, The Velvet Under-formed during 1966. The major surprise is Ingrid Superstar, and Cale’s old friend Jack ground play a run of shows at the FilmMak-that the opening vocal is not Reed’s familiar Smith. er’s Cinematheque as part of a multimedia rant about spitting on those under 21 but a The Hedy score is closer in spirit to the happening called Andy Warhol, UpTight. A CD brief quote from Dale Hawkins’s rockabilly avant-garde recordings Cale and Angus produced for the Andy Warhol Museum’s All classic ‘Suzy Q’ – a sign that the song doesn’t MacLise appeared on during 1963–65 than Tomorrow’s Parties exhibition in 1996 includes yet have lyrics or a title, and more proof that anything The Velvet Underground are cur-three songs listed as having been recorded the Velvets are more conversant with clas-rently playing. The music builds around an at the same venue tonight, but there’s some sic rock’n’roll than is often acknowledged. instrumental storm of shrieking, rumbling doubt as to whether the date is correct. It’s (It is sometimes reported that the tape also viola, guitar, and a rickety piano that sounds possible that tonight is a warm-up show or a includes a version of ‘Venus In Furs,’ but no like it hasn’t been played since doing time in rehearsal, but perhaps more likely that the such recording has entered circulation.) a 19th century saloon, while Cale’s ‘thunder recording is actually made a few days later. machine’ – the sound made by the head of a Regardless of the date – and the tinny Monday 7 Vox Super Beatle amp being dropped on the sound – the three tracks offer another inter- I TV WNET, USA Artists floor – occasionally cuts through everything esting document of development of the VU New York public television station WNET else with hair-raising, high-pitch bursts of sound as the band gets used to the Warhol films a segment on Andy Warhol and the feedback. This might be the closest approxi-environment. The first is an incomplete ver-group he now manages. “We’re sponsoring mation of how the nascent Velvet Under-sion of ‘Heroin’ that lasts about four minutes a new band,” he announces matter-of-factly. ground sounded when they played, with and contains some particularly squawking “It’s called The Velvet Underground … Since Angus MacLise, behind the screen at Piero viola, with Reed’s vocal all but buried under I don’t really believe in painting anymore, I Heliczer’s ‘happenings,’ but those days are the instrumental noise. The second track is thought it would be a nice way of combining – rapidly becoming a thing of the past. more surprising: Nico singing her pet Dylan we have this chance to combine music and art The filming of Hedy is sometimes dated song ‘I’ll Keep It With Mine,’ which she has and films all together. We’re sort of working to late 1965, but more often to early 1966 – successfully lobbied the group to include in on that. The whole thing’s being auditioned which makes sense, as Lamarr’s arrest is not their set, and which they perform with a funky tomorrow at nine o’clock. If it works out, it reported in New York newspapers until Janu- ‘I’m Waiting For The Man’/‘There She Goes might be very glamorous.” ary 29. Even if the film was shot in late 1965, Again’-style rhythm. Nico wails energetically, Asked what he intends to do with the band, it’s extremely unlikely that Reed and Cale and the audience’s response is enthusiastic Warhol responds almost as if he’s answering a would have been asked to provide the score enough, but the song is completely out of step different question: “Well, it would be kind of until after they agreed a management deal with the Velvets’ world and will soon wisely be the biggest discotheque in the world, and it with Warhol at the end of the year. (It’s also dropped from their set. will have 21 screens, and, I don’t know, three sometimes reported that the Velvets play on This must certainly come as a relief to or four bands.” It’s generally assumed that the a soundtrack to or appear in another Warhol Sterling Morrison, who will later complain, interview is recorded today as Warhol refers film of the time, More Milk Yvette, but this is in UpTight: The Velvet Underground Story, of to the FilmMakers’ Cinematheque event not true. The confusion stems from a flyer not wanting to be compared to Dylan, or “being auditioned tomorrow,” but he could for a February 1966 screening of the film at associated with him: “We did not want to be be referring to an actual audition, rather the Cinematheque that mistakenly lists the near Bob Dylan, either physically or through than a public performance, since the event group as its stars.) his songs. When Nico kept insisting that we is advertised to begin at 8pm, not 9pm. (The work up ‘I’ll Keep It With Mine,’ for a long interview is later included on the three-disc The Scene Club, New York, NY time we simply refused. Then we took a long boxed set What Goes On, released in Australia Edie Sedgwick is seen dancing with Gerard time to learn it (as long as we could take). in 1993.) Malanga in front of the group in some pho-After that, even though we knew the song, we The Velvet Underground can then be tos featured in Factory Days: Paul Morrissey insisted that we were unable to play it. When heard playing incomplete yet powerful ver-Remembers The Sixties. According to Morrissey’s we finally did have a go at it on stage, it was sions of ‘Venus In Furs’ – prefaced by a bit voiceover, these were taken in the Scene, a performed poorly. We never got any better at of ‘European Son’-style jamming – and ‘Her-midtown Manhattan club run by Steve Paul, it either, for some reason.” (Morrison’s wife oin.’ On ‘Venus In Furs,’ Maureen Tucker’s indicating that a few low-key gigs might have Martha later adds that her husband “liked drums have developed into a more creative, taken place here around now, shortly before the song,” and that “his feelings about Dylan significant part of the arrangement and are Sedgwick’s exit from the Factory scene. “She had nothing to do with Nico singing [it].” closer to the funereal rhythm of the studio was a great dancer,” Morrissey remarks. “The The guitarist himself admits that Dylan “did recording. Reed’s vocals are unfortunately place was small, there weren’t many people in a lot of good songs” in an interview published buried beneath the instruments, however, so attendance at the beginning.” Asked to elabo-in the August–September 1967 issue of the it’s doubtful that many viewers will become rate on the Velvets’ possible appearances at Cleveland underground newspaper The Bud- instant fans. the Scene for this book, Morrissey adds, “I dhist Third Class Junkmail Oracle.) Just over a minute of footage showing the found little jobs for them, but they were few The FilmMaker’s Cinematheque tape Velvets (minus Nico) playing ‘Venus In Furs’ and far between. Andy used to go regularly ends with a well-played ‘European Son’ that’s at the Factory while Edie Sedgwick, Jack to the Scene, and Steve Paul was somebody I shorter than yet similar to the studio version Smith, and a whip-wielding Gerard Malanga sort of knew. I don’t think it was more than a and erupts into some truly frenzied improvisa-dance madly is included among the bonus day or two or three, whatever it was.” tion. It’s the first surviving recording of the features on the DVD release of Lou Reed: Rock

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FEBRUARY 1966 n WHITE LIGHT/WHITE HEAT

And Roll Heart. What can be heard of the song film to star Edie Sedgwick, which is projected done” in Richard Witts’ Nico: The Life & Lies confirms that it has reached a final stage, with onto a split screen from two separate reels and Of An Icon, adding, “They played the record droning viola and ominously clanging guitar is based on the last night of Mexican film-star of Bob Dylan’s song ‘I’ll Keep It With Mine’ at its center and the tension heightened by a Lupe Velez. The Velvets then take the stage to because I didn’t have enough to sing other-thumping, dragging backbeat. perform in front of more films and slides by wise. Lou wanted to sing everything. I had The evolution of ‘Venus In Furs’ symbol-Warhol and Paul Morrissey. Gerard Malanga to stand there and sing along with it. I had izes the immense improvement in the group and Sedgwick writhe around in front of the to do this every night for a week.” It seems since mid 1965. As John Cale notes in the band while Danny Williams, a film editor unlikely however that Warhol or the Velvets 1995 television series Rock & Roll, “What I was noted for his work on What’s Happening! The would stand for something as gauche as hav-really trying to do was trying to get a prospec- Beatles In The USA, projects lights and colored ing Nico sing along to a record (presumably tive sound by taking the harmonic basis, the slides over the musicians. Also listed on fly-the acetate she later remembers being sent by real bare bones of a song, and finding out ers for the event are photographic displays by Dylan). What’s more, the tape of the group where the one chord would work throughout Billy Name and Nat Finkelstein, and appear-performing the song dated February 6 (see the whole song. And when it finally paid off, ances by Donald Lyons and Bobby Neuwirth previous entry) is apparent proof that The when we had one rehearsal there on Ludlow – a singer-songwriter more famous for being Velvet Underground did play ‘I’ll Keep It With Street, it was very exciting because we knew Bob Dylan’s road manager – as ‘escorts’ to Mine’ with her. that there was something that set us apart Sedgwick.

from everybody else. Because this song that The end result is an unprecedented – and , Mid-to-late February we’d worked on, ‘Venus In Furs,’ had gone to some degree assaultive – way of presenting Another unhappy member of the Warhol through a number of folk-rock variations, and a concert in early 1966. The Velvet Under-troupe is Edie Sedgwick, who according to all of a sudden it was in the grip of this kind ground are just part of the performance, but Nico’s recollection actually tries unsuccess-of orchestral and sinuous noise that we had an important one, although when Malanga fully to sing along with the Velvets at the Cin-created. It’s very sexy.” simulates a heroin injection while the band ematheque. She is already impatient about Cale’s comments echo those of Sterling plays ‘Heroin,’ it’s just as taboo-breaking a getting paid for the films she has made with Morrison in an unpublished interview with moment in the history of live rock music as Warhol, and perhaps jealous of the attention M.C. Kostek and Phil Milstein. “The song is the song itself is in the history of rock. diverted toward The Velvet Underground – very seductive. That’s what I thought was our Metropolitan Museum Of Modern Art cura-and Nico, who is even more beautiful, glam-best and most destructive song, as far as the tor Henry Geldzahler, who has previously seen orous, and blonde than Sedgwick. She might image was concerned. We would have been Cale performing as part of La Monte Young’s also be unhappy about the size of her role in forgiven anything about the drugs, but the group, will later describe the presentation Andy Warhol, UpTight – it’s certainly smaller song that really scared people was ‘Venus in as “thrilling” but the music as “much more than the one given to Nico who, for all her Furs’ – because they liked it! It’s something romantic and melodic” in UpTight: The Velvet complaints about limited participation, does really menacing about it, but very attrac- Underground Story. “Andy Warhol, UpTight was at least get to sing a few songs on stage. tive.” explosive and abrasive but I kept finding the Sedgwick stalks out of the Factory scene for traditional, almost folk substructure of the good after arguing with Warhol at a restau-

ALSO … Velvets’ music. I was more impressed with the rant (the Maxwell Plum, according to Gerard It might also be around now that Warhol, Bar-music than with the other effects, but it was Malanga, whose book Archiving Warhol also bara Rubin, and members of The Fugs and enhanced by the combination.” puts Nico, Lou Reed, John Cale, Paul Morris-The Velvet Underground reportedly disrupt Bosley Crowther of the New York Times is less sey, and Barbara Rubin at the scene). She will a taping of a television program by New York enamored. “Also on the bill is a performance later play a leading role in one last film, Ciao, talk-show host David Susskind. The event is by a group of rock’n’roll singers called The Manhattan!, but is dead by the time it comes described by John Wilcock in the February Velvet Underground,” he writes in his Febru-out in 1972, having died of a drug overdose 15 edition of the East Village Other alongside ary 9 review of the opening night. “They bang a year earlier at the age of 28. a photograph in which Cale and Malanga can away at their electronic equipment, while Richard Goldstein, a rising rock journalist be seen. According to another article in Grey random movies are thrown on the screen in who later in 1966 will write the first in depth Room magazine, the group’s antics include back of them.” He also mentions that another piece about the Velvets’ music, describes the “Cale’s languid caressing of Malanga with a Warhol film, More Milk Yvette, is shown, but Factory crowd as “intensely sadistic. They were cattle whip.” Lupe is usually the only film mentioned as part unbelievably cruel. I didn’t find this to be true of the opening section of the event. at all of the Velvets. But all the Warholian

Tuesday 8–Sunday 13 The event is judged a success by almost eve-people, and I think it shed to some extent FilmMakers’ Cinematheque, ryone involved, except Nico, who is probably on their aura, were just utterly involved with New York, NY displeased to find her role limited to singing watching each other destruct. They all were Although The Velvet Underground have just a few songs – and, according to Cale, play-like little kicking Simon Cowells, and just already made their Warhol-era debut at a ing a tambourine badly. She’s also probably waiting for the next suicide or overdose or psychiatrists’ convention, their six day run at miffed at being billed separately on flyers for whatever.” (Lou Reed, Goldstein says, “didn’t the FilmMakers’ Cinematheque marks the the event: while The Velvet Underground are seem that way to me. I didn’t see any gratui-true unveiling of their new multimedia show. at the top of the list, she is by herself on the tous cruelty in him.”) The event is titled Andy Warhol, UpTight, and eighth line, below everyone except Williams Although Edie Sedgwick will be remem-there are performances each night, at 8pm and Linich. bered among the most charismatic of Warhol’s and 10:30pm, with a 2:30pm matinee on Sat-Warhol assures her that this is just a many quasi-superstars, her role in the Velvet urday and Sunday. rehearsal, but Nico is not happy. She calls the Underground story is ultimately a very minor The shows open with Lupe, the last Warhol event “the most stupid concert I have ever one: she danced at a few of their shows, and

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had a brief relationship with John Cale. She throwback to the kind of mock-hillbilly style she shows up, having apparently cut her ties does however leave an imprint on their legacy heard on some of the July 1965 demos, com-with Warhol in February. Even more dubious when Warhol says that Reed should write a plete with chorus harmonies and a sardonic is the claim, in the March 2 edition of the song about her, asking if he agrees that Edie Reed lead vocal. While ‘I’ll Be Your Mirror’ is Rutgers Daily Targum, that “Bob Dylan may be is a “femme fatale.” The resulting song will a definite step forward, ‘Get It On Time’ is a in the audience, [as] Dylan and the Velvets become a highlight of The Velvet Underground step back. Although it never makes it onto a attend each others’ concerts.” & Nico, helping to balance the band’s more Velvet Underground release, the group clearly Only about 200 of 1,000 two-dollar tickets ferocious and confrontational material with think enough of the song to copyright it, reg-have sold in advance, but business picks up some much needed – albeit often overlooked istering it on April 22 1966 as a Reed/Cale when the Factory crew descends on the stu-– tenderness and delicacy. composition. dent cafeteria. Photographer Nat Finkelstein About a minute of this performance of ‘I’ll gets in a fight with a campus guard who tries to

ALSO … Be Your Mirror’ can be heard on a track enti-stop him from taking pictures, the cops arrive, It’s probably around now that – despite their tled ‘Velvet Underground Rehearsal, March and everyone is thrown out. The ruckus helps opposing views on who should handle most 1966,’ as featured on Andy Warhol From Tapes: generate a sellout crowd for the first show two of the Velvets’ lead vocals – Lou Reed and Sounds Of His Life And Work, a 1994 CD sold hours later, which is apparently filmed by Bar-Nico conduct a brief romantic affair. The fling at the Warhol museum in Pittsburgh. It seems bara Rubin. Her main technique, according to soon ends, with Nico reportedly delivering logical to assume then that the three minutes The Autobiography And Sex Life Of Andy Warhol the devastating putdown “I cannot make love or so of similarly lo-fi doodling that precede by John Wilcock, who is in attendance, “is to to Jews anymore” at a rehearsal. Reed takes ‘I’ll Be Your Mirror’ are taken from the same jump up and down with her camera more or something from the relationship, however: rehearsal. Much of it is in the formless, blues-less in rhythm with the moving objects she after Nico tells him “I’ll be your mirror” he rock vein, but there is about a half-minute happens to be photographing. If her subjects uses the line as the title and inspiration for a of ‘Femme Fatale,’ although the recording tend to be motionless when she arrives, her great romantic ballad that will also end up on breaks down when the mic starts to pick up provocative gestures and questions soon get (and help to balance) The Velvet Underground some mundane discussion about the van that them, if not hopping mad, at least hopping.” & Nico. will be used to transport the Exploding Plastic (According to Warhol film expert Callie Ang— Inevitable entourage. ell, several such sequences shot by Rubin dur-

It has also been reported that the same ing her time in the Factory circle survive in

March tape includes excerpts of The Who’s ‘My the Museum Of Modern Art’s Warhol collec-

Generation’ and ‘I Can’t Explain,’ as well as tion, but are unavailable for viewing.)

‘It’s All Over Now’ and ‘The Last Time’ by Although the Velvets often play – or are

The Rolling Stones. The Velvet Underground photographed – in black, tonight they’re

are often painted as anti-heroes of 60s rock dressed wholly in white, which as Sterling

Monday 7 with no time for commercial trends, but the Morrison will later recall in UpTight: The Vel-M RECORDING/REHEARSAL The Factory, presence of even half-serious versions of these vet Underground Story has the effect of mak-231 East 47th Street New York, NY. songs would suggest – like that ‘Day Tripper’ ing them invisible against the film and light After the success of their week of multime-lick on their January 3 rehearsal tape – that projections. By the time of the second show, dia shows at the Cinematheque in February, the band-members are not as obstinately con-someone has figured out that the screen is The Velvet Underground and Andy Warhol temptuous as is usually thought. retractable, enabling the films to be shown are ready to take a version of their show out The Velvets are pretty hip to even be aware on a shifting surface as Warhol puts colored on the road. Warhol tapes this rehearsal, of the Who songs, as they only made small gelatin in front of the projector lens. The fire which takes place two days before the group’s pockets of regional noise when they were alarm is set off by some students at the end of first out-of-town show with him. issued as singles in the USA. It’s possible that the night, but this doesn’t so much create a A couple of lo-fi songs from this tape – ‘I Can’t Explain’ was one of the British 45s disturbance as blend in with the general swirl on which there are no drums – have since Cale brought back to New York from one of of sound and image. appeared on bootlegs, one of which is the first his trips back home in 1965. Judging by Wilcock’s account, in a chap-available version of the recently penned ‘I’ll ter of his book entitled ‘On The Road With Be Your Mirror.’ Nico takes the lead vocal on Wednesday 9 The Exploding Plastic Inevitable,’ the group a reasonable run through the song that has a Scott Hall, Rutgers University, New don’t come on until after Vinyl and Lupe have denser, thicker sound than the gentle, folk-like Brunswick, NJ finished. The Velvets, he observes, are “a four-timbres of the studio recording. This version It’s not quite the Exploding Plastic Inevita-member musical group whose most notable also includes a few bluesy guitar-licks at the ble yet, as the posters advertise both Andy attribute is a repetitive howling lamentation end of the verses that will wisely be dropped Warhol’s ‘Underground New York’ and ‘Rut-which conjures up images of a schooner from the final arrangement, while the final gers Uptight.’ But like the earlier events at the breaking up the rocks. Their sound, punctu-refrain is not quite finished: Nico sings the FilmMakers’ Cinematheque, tonight’s shows ated with whatever screeches, whines, whistles, song’s title too high and too forcefully for her include double-screen Warhol films, Lupe and and wails can be coaxed out of the amplifier, range, and there are as yet no backing harmo- Vinyl, starring Gerard Malanga and Edie Sedg-envelops the audience with … a sound two-nies. (The middle of the song is unfortunately wick, as well as filming of the audience itself. and-a-half times as loud as anybody thought marred by 40 seconds of distracting chatter There are two shows, at 8pm and 10pm, and they could stand. (It bears roughly the same from one of Warhol’s assistants.) the band is this time billed – perhaps in an relation to hit parade rock’n’roll as does The other track, ‘Get It On Time,’ holds attempt to assuage Nico’s ego – as The Velvet Archie Shepp to the mainstream of jazz.) At great interest as it is the only version ever to Underground & Nico. Sedgwick is also listed the same time, the movies are playing: mov-have escaped into circulation. The song is a among the performers, but it’s unlikely that ies of Nico, the bland, blonde singer. Nico’s

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face, Nico’s mouth, Nico sideways, backward, ever heard!,” she exclaims. “I wasn’t the only ple absolutely hated it, thought it was just superimposed, on the walls, the ceiling, on one who felt that. The performance took this New York garbage. Other people loved Nico herself as she stands onstage impassively place in a large auditorium on the campus it and thought that it was totally new and singing.” of the University Of Michigan, a magnificent exciting.”

According to a datebook from the period marble building. Acoustically, it was a very, On the way back to New York, the alterna-included in the Warhol Museum’s archive, very hard kind of room – lots of reverb, and tor in the VU van engine fails near Toledo, Nico is paid $100 for this appearance – the a lot of volume. The performance was long. Ohio, but electronics wizard Danny Williams is same fee that the other four musicians split They probably played every single song they able to get it going the thing going again. The between them, indicating that she must at knew. It was wonderful.” UpTight crew are a very weird sight indeed in this point be thought of as the main musical Of the non-musical elements, Nelson adds, the Midwest in early 1966, and are ordered to attraction, with the Velvets as sideliners, and “I remember Mary [Woronov] and Gerard leave town at once by police who follow them not the other way around. [Malanga] doing the whip dance, which they all the way to the city limits.

did a fabulous job with. I’m quite sure they

Saturday 12 played ‘The Black Angel’s Death Song’ – I , Mid-to-late March

University Of Michigan Film Festival, think [Woronov and Malanga] danced to that, Paraphernalia Store, New York, NY Ann Arbor, MI which was quite an amazing thing. The light A few days after returning from Ann Arbor, It’s fair to say that when The Velvet Under-show was incredibly hypnotic and patterned in The Velvet Underground play at Parapher-ground first start touring, the main draw is such a way that you really had to work to see nalia, a clothing store featuring designs by not so much the band but the idea of an event the band; it just broke up the images so much Betsey Johnson, who graduated from Syracuse centered around Andy Warhol and his films. you didn’t know what you were looking at. You University in the same class as Lou Reed. But the group are getting out on the road, at had to strain to see who these people were. Johnson has been hired to design clothes for least. Tonight they take part in a film festival I don’t know if that was Warhol’s strategy, or the Velvets, and she in turn hires Warhol to as part of a show that’s still billed as UpTight they just didn’t know how to work the light supply the entertainment for a party on the With Andy Warhol. The most exciting part of board, but it became part of their mystique. boutique’s premises. the show seems not to be the performance They were like this perverse thing where the The event is not quite as elaborate as the itself but the drive there – if Warhol’s account band was hiding in plain sight!” recent UpTight shows, but it does feature is to be trusted – with Nico behind the wheel The whole event, advertised with posters Warhol films alongside the music of the Vel-of the van, careering over sidewalks and lawns at the university’s art school, “had very much vets, and Gerard Malanga’s there to dance, along the way. In Ann Arbor, Warhol and his the feeling of a ‘happening.’ Ann Arbor at but perhaps not with whip and syringe in troupe stay at the home of Joseph Wehrer, that point was wild about happenings. [For] hand. In the crowd is Brian Jones, who has described in John Wilcock’s book as an “archi-people in the art school, particularly at the already encountered John Cale and Nico, and tect, teacher, and kingpin of the Once Group, graduate level, there were many, many venues who now becomes one of the first celebrities whose happenings have been exported to at which one could do rather elaborate, very to see The Velvet Underground perform. (His both coasts and also [in 1965] to Europe.” ad-lib vigorous kind of happenings. This had presence also indicates that the party must Tonight’s is the first UpTight show to fea-much the feel of that, and I think people in take place before March 26, as The Rolling ture strobe lights, with Warhol putting a the audience connected with it. It was like Stones are set to begin a European tour on colored gelatin filter into the film projector nothing anyone had ever seen.” that date.) to make Vinyl dark red. The Velvets’ perform-While Warhol will later claim in POPism that Tonight’s event probably marks the first ance once again follows screenings of Vinyl “the Velvets were a smash,” Ingrid Superstar meeting of Cale and Johnson, whom he will and Loop; Edie Sedgwick has by now been offers a more measured assessment in the marry a couple of years later. A picture of replaced by another member of the Fac-1967 book Andy Warhol’s Index. She remem-Reed, Cale, and Morrison at the party – with tory, Ingrid Superstar, who also danced with bers there being hecklers in the audience, some of Warhol’s silver pillows hovering in Malanga at Rutgers. and that, when she asked some other mem-the background – is used on the back of the “The most exciting part of Warhol’s work bers of the crowd what they thought of the Velvets’ VU out-takes compilation, released was the third, a combination of film and live show, “They said that they thought the music in 1985, while silent footage of the event is music and dance,” writes Ellen Goodman in was very way-out and supersonic and fast and featured in the 1986 South Bank Show docu-the Detroit Free Press. “While a beautiful blond intensified, and the effect of sound that it pro-mentary about the band. girl sang, her image was projected on three duced just vibrated all through the audience separate ‘screens,’ including her own white and through the hall that they were playing, , Late March jacket. The result was a vision of something and they walked out onto the street and … One of the reasons The Velvet Underground simultaneously larger and smaller than life-for about 15 minutes they still had these vibra-play a relatively small number of concerts size.” (Goodman will later become one of tions in their ears from this music, especially during the winter of 1965–66 might be that the most popular syndicated columnists in that last song, called ‘Nothing Song,’ which they have less need to than most young, the United States, a position she continues was just noise and feedback and screeches and struggling bands. They’re being financed by to hold in the 21st century.) groans from the amplifiers.” (Although it will Andy Warhol, who is probably more willing to In the audience tonight is Jan Nelson, the never be released officially, a half-hour version give them time and space to get their music future wife of Steve Nelson, who will himself of ‘The Nothing Song’ taped on November together – and more sympathetic toward play a notable role in the Velvets’ career dur-4 1966 in Columbus, Ohio, is available as a the music they’re making – than any other ing 1967–70 as the manager of the Boston bootleg.) manager around. But there is another more Tea Party club, while also hiring them for vari- “I do remember afterward talking with prosaic reason for their relatively sporadic ous other concerts in Western Massachusetts. friends who also went to it, and opinion was schedule. “The band was probably the loudest thing I’d very divided,” adds Jan Nelson. “Some peo-One of the reasons Warhol and Paul Mor-

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rissey took on the Velvets in the first place is to do with the change. According to Sterling extraordinary luck on my part. And again, so that they can arrange a long-term residency Morrison, the club – now called Murray The Andy panicked. But when he saw I really for the group at a Queens club to be named K’s World in honor of the New York deejay – is wanted to do it, he did it. I must give him in Warhol’s honor and launched by theater closed down for liquor violations on its open-credit for being frightened of almost every-producer Michael Myerberg. According to ing night, never reopens, and will eventually thing, and then still going forward with things Morrissey, the plan even before the Velvets burn down under suspicious circumstances. he couldn’t understand. He was frightened are recruited is to project several films at Whatever the reason for Myerberg’s change of going out, and he went out every night once behind a group as a means of putting of heart, Morrissey now has to find some-of his life as long as someone else would go some highly uncommercial work to use in where else for the Velvets to play. Somewhat along with him. He couldn’t go anywhere by an enterprise that might actually raise some fortuitously, while Morrissey is discussing the himself. He had to pay a month’s rent to the cash. Norman Dolph, the Columbia Records problem with Warhol at Café Figaro in Green-Dom and buy a half-page ad in the Village Voice executive who will soon play a key role in the wich Village, it just so happens that light-show by the next day.” Velvet Underground story, remembers scout-pioneers Jackie Cassen and Rudi Stern, who The hall is leased for the entire month of ing out the Queens facility with Morrissey and also work during the 60s with The Doors, April, with Morrissey just managing to squeeze Warhol, and describes it as “a big large room The Young Rascals, and The Byrds, are sit-an ad into the March 31 edition of the Village with several movie screens on the walls – it ting nearby. Cassen and Stern point Warhol Voice. The deal for the rental is only signed might have even been an airplane hangar at and Morrissey in the direction of a ballroom at around noon on April 1, just before the one time.” in an East Village hall at 23 St Mark’s Place. Expanding Plastic Inevitable’s equipment is Myerberg continues to push back the club’s It’s called the Dom, an abbreviation of Polski brought in and Gerard Malanga starts paint-opening date before finally settling on Fri-Dom Narodwy, or Polish National Home – the ing the back wall so that films can be pro-day April 1 – only to tell Morrissey, four days organization that owns the complex. jected onto it. Morrissey intends to use five before the Velvets’ scheduled debut, that he’s “I only learned on Monday [March 28] movie projectors and five slide projectors going to use The Young Rascals instead. The that the Queens job fell through,” Morris-which Warhol has acquired from art collec-Rascals are probably even hotter than Warhol sey recalls. “The Young Rascals, a Number tors in exchange for some silk screens. They at the moment, their ‘Good Lovin’’ having One group, would open it. But that same also install, as Morrissey recalls, “this revolving recently shot into the US Top 20 on its way day I heard about the Dom being available. dance ball from the 20s or 30s – that’s what to the Number One spot. Myerberg might So I went over and met [proprietor] Stanley the spotlight was used for, to hit the mirrored have got cold feet after seeing the VU at the [Tolkin], and rented it for a month begin-glass ball. It was really effective. It just gave Cinematheque; it’s later inferred that Mafia ning that Friday. I came back and told Andy, these little blotches all over in addition to the connections might also have had something ‘Well, we’re gonna open anyway.’ It was really movies; it really was a light show, and it was John Cale, Sterling Morrison, and Lou Reed perform at the Paraphernalia clothing store. 81

MARCH 1966 n WHITE LIGHT/WHITE HEAT

very simple. But it was all done on Friday after- The Fugs other main songwriter, Ed Sanders,

noon for the first time. Necessity is the mother confirms that the two bands would go to each

of invention: you want to do something, you other’s shows, and that Nico visited his Lower

just do it. And there was a strobe light, which East Side bookstore, The Peace Eye. had never been used on either a group or a Sterling Morrison meanwhile will eventu-dance floor before. It was a first.” ally assemble a complete collection of Fugs According to Morrissey’s recollection in Up- albums and call the Velvets, The Fugs, and Tight: The Velvet Underground Story, he came The Holy Modal Rounders “the only authen-up with a name for this new ‘happening’ tic Lower East Side bands” in UpTight: The when three words leap out at him from the Velvet Underground Story. According to Peter stream-of-consciousness liner notes on the Stampfel, who plays in both The Fugs and back of Bob Dylan’s Bringing It All Back Home the Rounders during the 60s, “The Velvets LP: “exploding,” “plastic,” and “inevitable.” were possibly a bit more tight-beamed than

In a 1967 interview with The Buddhist Third The Fugs were. Drugs and sex, as opposed Class Junkmail Oracle, Sterling Morrison offers to drugs, sex, and the counterculture, and a different take on the story: “It was never a smattering of 19th-century poems.” (The

intended to be the title of anything … every- Velvets will cross paths with both The Fugs

body has ‘great,’ ‘fantastic,’ ‘extraordinary,’ and The Holy Modal Rounders again in

so we picked three incredibly pretentious and 1969 when they share bills with each of these

ugly words. They came off [Dylan’s] Highway groups outside New York City.) 61 Revisited album.”

Neither Morrissey nor Morrison’s story

quite holds up, as these three words don’t April appear in either album’s liner notes. But it

could be that the name is inspired by a combination of Dylan references: a “psychic explosion” is mentioned on the Bringing It All Back Home jacket, and there are references to “the Early April hundred inevitables” and “plasma” on High- The first known mention of The Velvet way 61 Revisited. Underground in the British press appears in

Norman Dolph remembers Morrissey this month’s issue of The Long Hair Times, an announcing the two final contenders to him, underground newspaper edited by Miles. It Cale, and Morrison: “He says, ‘Oh, we’re try- reproduces a handwritten letter to Miles from

ing to think of this name. Which do you like John Wilcock, part of which reads: “Just got

better? Exploding Plastic Inevitable, or Erupt-would make it the first show of its type that back from trips to Ann Arbor & Rutgers with ing Plastic Inevitable?’” And yet the decision the group plays under Andy Warhol’s manage-Andy Warhol and his group The Velvet Under-seems not to be set in stone as the Velvets pre-ment. The Village Gate is a fairly prestigious ground. They use lights, films, rock & roll & pare for their Dom debut, as the March 31 Vil- venue that usually puts on jazz and folk shows, all kinds of turn-on stuff: Very exciting.” lage Voice advert encourages readers to “come but has recently begun to get into rock’n’roll, The Long Hair Times will soon evolve into blow your mind. The silver dream factory and will even host The Byrds for a couple of International Times, the leading British under-presents the first Erupting Plastic Inevitable weeks in October. ground publication of the late 60s. Miles and with Andy Warhol, The Velvet Underground, Tonight’s performance also marks the first his hip crowd will be among the Velvets’ first And Nico.” Morrissey will later claim that this time The Velvet Underground get to share fans in the UK. In his memoir, In The Six-is a mistake on the part of the Village Voice; the stage with an appropriate band: The Fugs, ties, Miles writes that “a record constantly on the name has changed by the time of the fol-who are also writing and performing songs people’s turntables was the first Velvet Under-lowing week’s paper. (A May 5 1966 article about sex and drugs. The Fugs are already a ground album, with Warhol’s peel-off banana in the Stroudsburg, Pennsylvania newspaper few steps ahead in one respect, having already cover. They dressed in black, they were from The Pocono Record will however make further released two albums, The Fugs First Album New York. They always meant more in Lon-reference to the Erupting Plastic Inevitable.) (1965) and this year’s The Fugs. The album don than any of the San Francisco groups.” Regardless of the name and its origins, this receives precious little airplay as a result of quick-fix gig will result in the most legendary its controversial content and occasionally Friday 1–Saturday 30 sustained residency of The Velvet Under-profane lyrics, but will actually crack the Top The Dom, New York, NY ground’s career. 100 on the back of little more than word-of- The Beatles at the Cavern Club; The Rolling mouth promotion, making it perhaps the first Stones at the Crawdaddy; The Byrds at Ciro’s;

Friday 31 ‘underground’ rock LP to do so. The Who at the Marquee; The Doors at the The Village Gate, New York, NY “I think we probably influenced each other, Whisky A Go Go: each lives on in the memory It’s not clear whether this performance, but not very obviously,” Tuli Kupferberg of as a time when a great group reached its peak billed as an April Fool Dance & Models Ball, The Fugs recalls. “And I remember being as a performing band, achieving an internal is a multimedia Warhol show or a straight-shocked by some of their songs. ‘Heroin,’ unity and a bond with their audience that forward rock concert. Since the Velvets share and the one about sadomasochism, ‘Venus would never again be matched. For The Vel-the bill with another band, it’s likely that this In Furs.’ So there must have been influences, vet Underground, that precious time is now, is a more conventional rock concert – which but I don’t know that they were very direct.” as their music and multimedia show blossoms

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Factory in 1967 when he takes legal action cotheque.” The piece foreshadows how Nico

against Warhol. will come to dominate media coverage of The

As Cutrone later enthuses in UpTight: The Velvet Underground for the next year or so, Velvet Underground Story, “The great thing to what Paul Morrissey will later speculate is about the Exploding Plastic Inevitable was that Lou Reed’s apparent displeasure. it left nothing to the imagination. We were on “Every weekend, the crowds got bigger stage with bullwhips, giant flashlights, hypo-and bigger,” Morrissey recalls in Factory dermic needles, barbells, big wooden crosses Days: Paul Morrissey Remembers The Sixties.

… You were shocked because sometimes your “The event was the first real light-show ever

imagination wasn’t strong enough to imagine given with a rock’n’roll group. We had five

people shooting up on stage, being crucified, motion-picture projectors with five pieces of

and licking boots.” film – much of the footage we’d shot in the

In the middle of all of this The Velvet past year – running on top of their perform-

Underground – all dressed in black except ance, and reflected on a screen behind them.

for Nico, who wears white – are now being There were also five slide-projectors showing

given the chance not only to sing about whips patterns of pink, green, and blue polka dots

behind whip-wielding dancers, but also to and things, just enhancing the kinetic effect

whip themselves into shape. They have not of the movie projectors. It was the first time

yet had much of a chance to perform since anybody had seen a strobe light put not just

coming under Warhol’s management, but are on the stage, but on the dancers, plus there

now able to play their original material night was a mirror ball from old dance halls.”

after night – a crucial discipline as the idea of For some of the shows, Lou Reed’s old

making a record starts to get tossed around. friend from Syracuse, Richard Mishkin, sits

“The first thing that comes to mind was in on bass, perhaps to take up the slack on the

there was enough room,” recalls Martha Mor- songs where John Cale plays viola and Sterling

rison. “There was the band up on a real stage, Morrison might not feel up to taking the bass

under the name the Exploding Plastic Inevi-and there was a big floor. It was filled up, and part. (Another friend, Helen Byrne, sits in table. The twist in the story here is that, while people were really having a great time danc-on another occasion.) During one set Reed all of the other bands mentioned above move ing.” The audience evidently joins in with the is nearly electrocuted when his guitar strings on to international superstardom, the Velvets lighting effects, too: “We would sit up in the hit a microphone; Morrison yells at him not won’t get much bigger, at least in their life-balcony and drop food coloring onto slides, to move, and the power is cut in time for Reed time. It will take years for the Dom residency and that would be projected onto the screen to avoid injury or an even worse fate. (In his to pass into legend, or for its electric atmos-behind the band. Anyone at all could do it 1995 New York Times eulogy for Morrison, Reed phere and groundbreaking innovations to be and it was fun.” will describe the incident as taking place in properly appreciated. The EPI shows are a success right from the “an airplane hangar in Los Angeles in 1966,”

The multimedia component of the show start, with 750 people attending the opening but no such show takes place this year.) has evolved now to include two film screens, night, and others being turned away. With Unlike her band-mates, Maureen Tucker onto which Warhol titles such as Kiss, Sleep, patrons charged two dollars on weeknights still has a day job, and has changed her work Emperor, Blow Job, Vinyl, and Couch are pro-and 50 cents more at the weekend, the shows hours to 11am–4pm to fit the nightly Dom jected. Warhol himself sometimes works the bring in $18,000 during the first week alone. shows into her schedule. When her cheap projectors from the balcony, putting differ-The press response is almost immediate, with drum set is stolen, Reed suggests that she get ent shades of gelatin over the lenses to add the Village Voice including several pictures from some garbage cans, put mics under them, an entire spectrum of colors to the black-the show in a full-page spread entitled ‘Andy, and play those for a few nights instead, to and-white films. (Examples of his method of Edie, & The Velvet Underground.’ Even bet-the audience’s great pleasure. In a 1980 inter-putting holes in the gel to create huge spots ter, on April 11 Marilyn Bender devotes a half-view with New York Rocker, Tucker mentions an on the faces of the performers can be seen page to the shows in the fashion section of the unspecified review in which this is described on some of the band-member photographs New York Times. She is more focused on the sce-as “garbage music,” adding, “At the end of used on the back of The Velvet Underground nesters attending the shows than the Velvets, the night we’d have to clean up the little piles & Nico.) however, making only a brief mention of “a of garbage that got shook loose during the Strobe lights are split into multiple beams four-piece band whose chanteuse is a fashion set.” by a spinning, glittering silver ball suspended model, answering only to the name of Nico.” The media gives the multimedia experi-in the middle of the hall, while Gerard Identified here as a 23-year-old, having shaved ence as much if not more coverage than the Malanga, Mary Woronov, Ingrid Superstar, four years off her true age for media purposes, music – something that will continue, and to Ronnie Cutrone, and Eric Emerson dance Nico is the only member of the band named some degree haunt the group, for the next in front of the band. Cutrone and Emerson or quoted on the story, although she reveals year or two. In the confusingly dated April are let into the shows for free on the recom-nothing beyond the fact that “modeling is 15–March 1 edition of the East Village Other, mendation of Eve Babitz, who will soon illus-such a dull job. I don’t care to get $60 an hour editor John Wilcock describes the scene at trate the Buffalo Springfield Again jacket before any more.” The article is accompanied by a some length, but does take care to at least becoming a novelist. “Eric was a very great large picture of the singer, with the caption: acknowledge the Velvets’ contributions. dancer, so sometimes I put the spotlight on “‘Just me cuts my hair,’ says Nico, the fashion “Twice during the evening were sets by The him,” Paul Morrissey explains. He will how-model turned chanteuse and underground Velvet Underground, a group whose howling, ever create an enormous headache for the movie star in Andy Warhol’s new cinema-dis- throbbing beat is amplified and extended

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by electronic dial-twiddling,” he writes. “It which there turned out to be many more unexpected, challenging, and memorable.” is a sound hard to describe, even harder to than anyone had suspected, who finally had Some pretty rough-sounding live material, duplicate, but haunting in its uniqueness. a place to go where they wouldn’t be hassled apparently recorded at the Dom, can be heard And with the Velvets come the blonde, bland, and where they could have a good time.” on the soundtrack to Jonas Mekas’s Scenes From beautiful Nico, another cooler Dietrich for “It became the place to be, to be mingling The Life Of Andy Warhol. There’s an almost-another cooler generation … Art has come with Andy Warhol and his Velvet Under-complete version of ‘I’ll Be Your Mirror’ with to the discotheque and it will never be the ground and the Exploding Plastic Inevitable, much fuzzier guitar than will be heard on its same again.” and being part of this happening,” recalls studio counterpart – you can almost smell the

“Part of [Warhol’s] art was to bring every-Charlie Rothschild, who represented The smoke rising out of the amplifier. Unfortu-thing together,” Wilcock later recalls. “Focus, Fugs and Allen Ginsberg at the time. “The nately the grungy guitar, and the poor quality focus, focus is one message of art. He was the carriage trade would come down to St Marks of the recording in general, means that Nico’s inventor [or precursor] of disco by putting Place, which at that time was not a happen-vocal is distorted and almost overwhelmed by together all the ingredients at the Dom – the ing area, in their limousines and get funky. the music. (If this is the live arrangement the circling mirror bar overhead, the movies on Because this was where it was happening. The group are using at the Dom, their decision to the wall, TV sets everywhere all on different Kennedy clan, the Greek shipping magnates – tone down the volume and pluck their strings channels, the Velvets onstage with Malanga all the people wanted to feel and touch what more gently for the studio version will be a dancing in snakeskin pants, foot-long flash-was happening. It was like, on a certain level, very wise one.) lights in each hand, neon tape gyrating across a three-ring circus. People came down there The soundtrack to Mekas’s film also the floor at his feet, strobe lights from the for the whole event, not just for the band. It includes a 25-minute instrumental jam – also balcony sweeping the room.” was the whole package.” used in his 1969 film Walden – that weds ever—

According to Norman Dolph, who operates Another witness to the Velvets’ perform-so-slightly bluesy riffs and a straightforward the mobile disco that plays for 20–30 minutes ances at the Dom is Charlie Gillett, an Eng-rhythm to the Velvets’ usual sturm-und-drang between the Velvets’ lengthy sets, “You had lishman in New York working on his masters feedback and howling, pulsing distortion. an impression of a light show as something degree at Columbia. (His thesis will eventu-It’s somewhat similar to ‘Melody Laughter,’ totally revolutionary [and] independent of ally become the first great rock-music history another extended instrumental the group the music. Malanga would carry around a when it’s expanded and published in 1970 sometimes perform. (Ten minutes of a 16mm projection, a huge actual projector, as The Sound Of The City.) Gillett arrives at 28-minute version recorded in Columbus and shoot images on other people and the the Dom for the discotheque downstairs, but on November 4 1966 are included on Peel wall. But the music was clearly without prec-ends up checking out the EPI instead after Slowly And See.) One distinguishing mark of edent. I don’t think I or anybody else had seeing a poster for the show at the entrance. this particular jam is the intermittent appear-heard anything like it.” “A woman sat behind the drums, an unusual ance in the latter half of what sounds like a

Jonas Mekas, who has already seen the sight then and ever since,” he writes in the melodica – the only known instance of the Velvets at the FilmMakers’ Cinemtheque, January 2007 edition of The Observer Music instrument being used by The Velvet Under-offers his own oblique stamp of approval in Monthly. “The three male musicians in front ground. the Village Voice. “The Velvet Underground of her seemed to be moving through treacle, “It is too bad that what it was like in the performances at the Dom during the month as if in a dream, everything in slow motion. Dom wasn’t filmed with good sound,” says of April provided the most violent, loudest When they started, I wondered if this was the Rosalind Stevenson, who attends several of the and most dynamic exploration platform for first time they’d ever played together, as they Velvets’ Dom shows and will later film Reed, this new art,” he writes. “Theirs remains the hammered the same chord relentlessly and Cale, and Morrison rehearsing in her apart-most dramatic expression of the contempo-then switched to another that got the same ment for her silent short film Sunday Morning. rary generation. The place where its needs treatment. If skiffle had been played with elec- “Although I don’t think it would have been and desperations are most dramatically split tric instruments, it might have sounded like really captured that well. It was quite remark-open. At the Plastic Inevitable it is all Here this. A man in dark glasses sang in a deliberable, and it’s hard to articulate what it was and Now and the Future.” (This quote will ately emotionless monotone, and shocked me actually like. It reflected what those times felt later be included, alongside part of Wilcock’s with a song that seemed to be extolling the like in many ways. East Village Other article, among the reviews virtues of heroin. “It was completely innovative. And while featured in The Velvet Underground & Nico’s “It was as if the Velvets had deliberately the word is overused, it was very psychedelic to liner notes.) decided to take out any reference to black have that much sensory stimulation going on

Among the celebrities in the audience dur-music. To my surprise, some people got up simultaneously. I remember someone [from] ing the Velvets’ Dom stint are Salvador Dali, and started to dance, evidently hearing a beat out of town coming there with me who wasn’t Robert Rauschenberg, and Allen Ginsberg, that didn’t reach me. A woman, presumably used to anything like that, who actually had who joins the group on stage one night to sing Nico, came on stage with a whip, and started to leave, just found it too much to take. But ‘Hare Krishna.’ (Barbara Rubin, the conduit caressing a bare-chested man with it. After a I don’t remember very many people finding for bringing Warhol together with the Velvets, while I realized he must be Gerard Malanga, it too hard to take. I think most of us just and Ginsberg with Dylan, will cut her associa-whose photographs had been in the Voice. On accepted it as something great that was hap-tion with the Factory shortly after the Dom the wall behind them, the film showed them pening. And I think we felt part of it.” shows.) Also in the audience is college student doing exactly the same routine. The effect Although The Velvet Underground are at Lynne Tillman, who will date John Cale for was mesmerizing. Then Nico sang in an even the Dom throughout April, they probably a while in 1966 before becoming a respected dirgier monotone than Lou. I was horrified, don’t perform every single night. It’s possi-novelist. As Reed later puts it in a 1975 inter-but fascinated. Which pretty much describes ble that they play one or two shows elsewhere view with Bruce Pollock for Modern Hi-Fi And my feelings about the whole night. Not the this month (see entries for April 26–28). They Music, “It was a show by and for freaks, of most enjoyable gig I ever went to, but the most might also be absent for at least a few days

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toward the end of the month, for in the mid-It was: ‘We’d like to make a record,’ and I said, Reed first worked in a professional record-dle of this beehive of activity, Paul Morrissey ‘I’ll take care of it.’” ing environment in 1958, and recently spent starts to think that the group should make a Although the Velvets don’t yet have a about as year as an all-round handyman at record, even though they don’t have a deal record deal, the intention is to make a releas-Pickwick Records. Nico made a flop 45 for yet with any label. able album, not just a collection of demos. Immediate Records with some of the biggest

“At no time was what we were doing ever names of the British Invasion in 1965, and has

Monday 18–Saturday 23 referred to by anybody as a demo,” Dolph worked with top UK session-drummer Bobby

M RECORDING Scepter Records Studios, recalls. “They were going for the jugular. They Graham and Serge Gainsbourg. John Cale has 254 W 54th Street, New York, NY. Producer wanted to make a record that sounded like recorded extensively with La Monte Young, Andy Warhol; engineers Norman Dolph, John they sounded.” Angus MacLise, and others; even Sterling Licata. According to Paul Morrissey, this has to Morrison has worked on home demos with

The Velvet Underground finally enter a do, at least in part, with Warhol’s eagerness Reed and Cale. Only Maureen Tucker has no recording studio for the first time, laying to see a return on his investment. “Andy was experience of anything approaching a studio down the bulk of their classic debut album [saying], ‘There’s no money here. We’re not environment; Martha Morrison later recalls within the space of a few days. Exactly which making any money. What is happening?’ He that “Moe’s drums were wiggling around, so I (and how many) days the Velvets spend at was always very uncomfortable if money wasn’t had to go in there and hold them for her.” Scepter is unclear: because they aren’t yet coming in. Even though they had signed their Even so, it’s something rather different to signed to a recording contract, the group are management contract before the Dom had be recording as part of a band managed, pro-not working within the usual system of prepar-opened, it was not easy, and Andy had to pay duced, and half-financed by one of the world’s ing material for release – which tends usually for the lawyers and all that. I said, ‘We have most renowned contemporary visual artists – to ensure some sort of documentation as to to do what everybody else does. They have to or at least sort of ‘financed’ and ‘produced’ when the tapes are recorded and mixed. But make a recording, and we have to try to sell by him. For all the resources at his disposal, whenever they take place, these sessions don’t it to a record company.’ Again he had to lay Warhol seems unwilling to invest large sums just generate the heart of a classic album: they out the money for the recording studio, but in the band’s maiden studio voyage. He and also produce one of rock’s rarest and most it was only two or three thousand dollars for Morrissey put in $700 – culled mostly from expensive relics in the form of an acetate disc two or three nights.” (Other sources put the revenue earned by the Exploding Plastic Inev-(the mere existence of which will not be disfigure closer to $1,500.) itable shows – toward the cost of the sessions, covered for nearly 40 years). In Joe Harvard’s book The Velvet Underground alongside $800 from Dolph. Although he is

The idea behind the sessions is to produce & Nico, part of Continuum’s 33 1/3 series described by Cale in Transformer: The Lou Reed material that can then be shopped around for on classic albums, Dolph speculates that the Story as a “shoe salesman,” Dolph does at least a record deal. The costs are shared roughly sessions take place somewhere between April have some experience of the record business, equally between Andy Warhol and Norman 18–23. He believes that the sessions amount which is more than can be said of Warhol or Dolph, a Columbia Records sales executive to a total of four days: two for recording, with Morrissey. (Years later, responding to Cale’s and art collector who met Warhol in the a third for listening to playbacks and a fourth jibe, Dolph tells Joe Harvard, “If you run into course of his side job of supplying music for for mixing. The Velvets themselves will later Cale, tell him to give you his foot size, and I’ll art gallery shows and openings with his mobile give different estimates as to how much time send him a fucking pair of shoes.”) disco. (He asks to be paid in art rather than is involved, but the total recording time prob-Dolph has no experience as a record pro-cash.) Dolph’s main job is in Columbia’s Cus-ably adds up to around ten hours. In any case, ducer, however, so John Licata, Scepter’s tom Labels Division, which provides services the sessions must be complete by April 25, as in-house engineer, is brought in to lend the for smaller labels without their own pressing acetates are cut on that day of the finished proceedings some semblance of professional-plants. It’s through this work that he notices tracks, with one scratchy copy later gener-ism. Neither man is credited on the eventual that one of his accounts, Scepter Records, ating an astronomic bid of $155,401 when The Velvet Underground & Nico LP, but both will has its own recording studios, which is how auctioned on eBay (see entry for December be listed as engineers of the Scepter sessions these sessions come to take place at Scepter’s 8 2006). in later CD reissues, even if Dolph’s role is midtown Manhattan facility on West 54th However long it takes, the session is a pro-much more like that of a producer. Licata, Street – later home to the famous Studio 54 lific and momentous turn of the calendar for says Dolph, “was wonderful, co-operative, easy discotheque. The Velvet Underground who, after a lively to get along with … he was the total antith—

On the first or second night of the Velvets’ year of fits and starts, are about to record the esis of The Velvet Underground. At no time stint at the Dom, Dolph recalls being told, by bulk of their first LP in little more than one did any of the musicians ever tell him what Warhol, of his plan to “do an album” with the fell swoop. Crammed, hasty studio dates such to do. They went in and played, and he got group. “I said, ‘I can help you with that.’ He as these are not uncommon in the mid 60s, what they wanted. On the ‘banana’ album, said, ‘Oh really? Okay, good. Do it.’ I think and not limited to smaller groups or albums. they credit Val Valentin with the engineer-he did that with a lot of people; if he found Ten of the fourteen tracks on The Beatles’ ing. He may have done much of the remix somebody that could do what he wanted, he’d debut album, Please Please Me, were recorded or whatever, but he’s certainly not the engi-just say, ‘Do it.’ And they would, whether it was on February 11 1963, later described as one of neer that was responsible for the sound of the appear in this movie or go out for pizza. He the most astonishingly productive days in the album at its basis. When I heard the album never gave a lot of orders that I ever saw. He history of rock recording. Although it won’t [a year later], it sounded to me just like what just made suggestions and people took him receive as much acclaim, the first proper day we did. It didn’t sound appreciably different up on it. He had plenty of people around to of studio recording for The Velvet Underground from what we did at Scepter.” do anything he wanted. He didn’t ask me any & Nico doesn’t rank too far behind. Although the Scepter label is known for questions about ‘do you know this studio or The Velvets are not exactly studio neophytes out-and-out pop/rock and soul records by the that engineer or this producer’ or any of that. when they walk into Scepter Studios. Lou likes of The Shirelles and Dionne Warwick, its

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86 The Velvet Underground in the recording studio, spring 1966.

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studios are not quite so state-of-the-art as one were saved. Because we were paying for the uncharted territory, with the best songs endur-might expect. In fact, the studio is probably tape at probably $125 a roll, usually the bro-ing as classics. only available to the VU because the build-ken takes were backed up and recorded over. Although Sterling Morrison is usually ing is on the verge of being condemned. “We Otherwise there would be some interesting thought of as a guitarist, he needs to play went in there and found that the floorboards scraps lying around.” bass on several occasions during these sessions were torn up, the walls were out, there were The role Andy Warhol plays in the record-while Cale is occupied with other instruments. only four mics working,” Cale recalls in his ing studio during these sessions will be much “I thought he was quite good [on bass],” autobiography. “We set up the drums where debated in years to come. He clearly doesn’t Dolph recalls. “If I close my eyes and think there was enough floor, turned it all up, and have the technical experience to ‘produce’ of the session, the first thing that comes to went from there. Dolph ran the sessions, but a record in a conventional sense. In a 1970 mind is the pieces where John Cale is playing he didn’t understand the first thing about interview with Fusion magazine, Sterling Mor-the viola. Because those drones and eastern recording.” rison describes Warhol as a producer “in the figures that he’d create, which had to have

“I was not the producer in any sense that sense of producing a film,” helping to finance that bass behind him, were just as locked in Quincy Jones is a producer,” Dolph admits. the sessions and generally keeping the band as you could imagine. And so I don’t have any “The only thing I would say is because they afloat and in good enough shape to enter the real recollection in my mind of Sterling as a were doing it on my money, and we had lim-studio in the first place. Years later, in a 1986 guitarist. I see him in tandem, in my mind, ited time resources fiscally – ’cause we were interview with Ignacio Julia, Morrison will with John Cale.” always bumping up against commitments that add: “He wasn’t really with us in the studio Even by the standards of an April 1966 rock Scepter had in the studio – I kept the thing much, but he would come down … He would recording, the production on these dates is on the rails. I think part of the way the record say what he liked – his main contribution was rudimentary, due in large part to the lack of sounds the way it sounds is because of John to give us confidence.” funds available for buying more studio time and I keeping the damned thing going and As Dolph recalls, “Licata was there 100 per and expertise. And yet, as Dolph stresses, the moving – you know, ‘Okay, next take, let’s cent of the time, I’m there 100 per cent of Velvets “were quite clear what they wanted to do it, blah blah.’ That’s my contribution as the time, and Morrissey was there much of do. I don’t know that anybody really told Lou a producer.” the time. Warhol was there on occasion. He Reed what to do or what they thought, but you

According to Dolph, the recordings are had his little tape recorder, which he carried had the feeling that musical decisions were made on half-inch tape. The studio has a all the time. I seem to remember him there being made largely by John Cale, sort of in two-track machine and a four-track machine, probably for about two hours in the aggregate conference with Sterling. Moe was very quiet which are probably used for overdubbing and over maybe three occasions. But he was totally in the whole thing. I don’t think I heard her alternate vocals. Dolph describes the Scepter fascinated by what was going on, and I don’t speak ten words. studio as “small, certainly by contempo-think he made any aesthetic judgment what- “Anything to do with a vocal performance rary studio sound. But they often recorded soever. ‘Gee, that sounds good’ might have where Lou Reed is singing, nobody influenced fairly large ensembles. They recorded a big been it. He was a spectator.” that at all,” Dolph continues. “If it was a thing orchestra behind Dionne Warwick, and they Both Cale and Reed however will later where he was the focus of what was going on, recorded gospel choirs in there. But they were emphasize how Warhol’s contributions aren’t he was it. But to the extent that it involved an always very crowded. It wasn’t Columbia’s 30th merely decorative, with Cale praising Warhol’s ensemble, I would think that the credit fell to Street [studio] or some such. Once you had insistence that the band stay true to their live John Cale. You had the impression that John everybody in there, they had to pretty well sound, and Reed appreciative of his refusal was a studied, learned musician in the sense stay put, because there wasn’t a lot of room to to bow to commercial considerations. “What that he could read scores and all that sort of move around. For a playback everybody but he did do is he made it all possible,” Reed thing. Lou Reed was essentially a performer. John and I had to stand, there were no real recalls in the Transformer documentary. “One I don’t mean that derogatorily, but that he seats in the place.” by his backing. And two, before we went in the was the Mick Jagger of the deal, whereas John

Recording The Velvet Underground in studio he said, ‘You’ve got to make sure – use Cale was the Keith Richards of the deal.” such an environment presents its own spe-all the dirty words. And don’t let them clean In The Velvet Underground Under Review, cial challenges. “It seemed to me that the things.’ And so, when he was there, they – you Dolph adds, “I didn’t have the last word on instruments, as heard live in the studio as know – they didn’t dare try to say, ‘Hey, why anything, except to listen for things that opposed to on the other side of the glass, don’t you don’t do that over,’ or, gee, any one sounded like true mistakes – if somebody were being played rather loudly,” Dolph of all the other things they would normally knocked over a music stand, or you’d hear recalls. “You would ordinarily expect if they have done never happened.” something that wasn’t mixed right, that you were gonna play that loud, they would be in Reed’s observation might not wholly apply just clearly couldn’t handle. And then we’d a much larger room to get some isolation to this first session, as there is no record com-look at John and say yeah, let’s start it over. between one and the other. But there could pany looking over the Velvets’ shoulders to And we’d break the take down, and start the have been little separation or isolation in any make sure the lyrics are sanitized or diluted. thing over from the head. [That’s why] in kind of modern sense in that room, consider-These recordings are designed instead to get most of those songs, there is only one surviving how loud they were playing. The adrena-the group a deal with a big label. Yet there ing take.” line quality of it was because we knew we had can be no overestimation of the importance In the same documentary, Tucker suggests eight hours, and they wanted to get on with of a figure of Warhol’s stature giving the go-that the limited time “affected the process or it, and I wanted to get on with it. Anytime ahead to an unadulterated representation of the result favorably, because we didn’t have they’d break down, I’d stop the tape and we’d the band’s sound and songs. That’s certainly time for nonsense.” According to Dolph, “At start over. I don’t think there are two differ-what The Velvet Underground deliver on no time did anybody on either side of the ent complete takes of more than one or two a set of material that pushes the sonic and glass say, ‘Well, we’ll fix it in the mix.’ There songs, and I’m not even sure the breakdowns lyric boundaries of rock music into previously was never any ‘I don’t know, I’ll play it back

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tomorrow, see if I like it tomorrow, and if that Reed doesn’t want Nico on the album at appear on The Velvet Underground & Nico, the I don’t, then I’ll redo it.’ It was all just like all; Paul Morrissey, who carries weight as one vocal is different, most noticeably when Nico they’d just sung it live.” of the group’s managers, wants her to be the sings “to show that you’re home” instead of

In the liner notes to Peel Slowly And See, Cale featured vocalist. “Lou didn’t want Nico to “so you won’t be afraid” at the end of the sec-describes the recording process as “a complete sing at all,” Morrissey confirms in Nico: The Life ond verse, having almost stumbled over the shambles. Norman Dolph is in the booth mak- & Lies Of An Icon. “I’d say, ‘But Nico sings that same verse’s opening line. The falsetto backing comments like ‘Great! Dynamite! We got song on stage,’ and he’d reply, ‘Well, it’s my ing harmonies are also much lower in the mix it!’ And we’re all looking at each other, going song,’ like it was his family. He was so petty.” than on the official release. ‘Where is it written that he gets to say ‘This is As he will later note in an unpublished ‘I’ll Be Your Mirror’ almost isn’t completed a take’?” At the same time, as Cale emphasizes interview with M.C. Kostek and Phil Milstein at all, however, as Nico keeps breaking down in his autobiography, “We were really excited. on the What Goes On fanzine, Sterling Morri-in tears between takes after failing to nail the We had this opportunity to do something rev-son prefers Nico’s voice “when she sings sort vocal. “At that point we said, ‘Oh, try it just olutionary – to combine the avant-garde and of whispery, like in ‘I’ll Be Your Mirror,’ as one more time and then fuck it – if it doesn’t rock and roll, to do something symphonic. No opposed to ‘All Tomorrow’s Parties.’” In the work this time we’re not going to do the matter how borderline destructive everything Nico/Icon documentary, Morrison adds that song,’” Sterling Morrison will later claim in a was, there was real excitement there for all of the voicing of just such an opinion “actually 1981 interview with the New Musical Express. us. We just started playing and held it to the reduced [her] to tears in the studio because The next take, fortunately, is the one that wall. I mean, we had a good time.” we wanted her to sing in a soft voice, rather Nico gets right.

More time and technical fuss might not be than in a hard, Germanic voice.” According ‘Femme Fatale’ has a seductively bittersweet necessary, as these songs have been perfected to Warhol, Nico also keeps bawling that she melody just as attractive as that of ‘I’ll Be Your in both rehearsals and live performance for wants to sing like Bob Dylan – which is not Mirror,’ and a similar Nico vocal made up months. The real challenge is to arrive at a only a style that she is ill-equipped for, but from equal parts gloom and croon. But the blend of frequencies rarely – if ever – heard also one that the rest of the band have no lyrics here are far more downbeat, detailing in rock music before: a low rumble of guitars, interest in pursuing. an icy, remorseless master of heartbreak – per-often lowered from the more common E tun-The group end up doing what Warhol has haps even modeled on Nico herself, although ing to D, not to mention the fretless ‘ostrich apparently been encouraging them to do all Edie Sedgwick is usually acknowledged as the guitar,’ on which all six strings are first tuned along: follow the lines of their live perform-primary inspiration. The song offers further to the same pitch and then allowed gradu-ances. And so Reed assumes lead vocal duties evidence of the Velvets’ underrated knack ally to detune, yielding a distinctively clash-on most of the songs, with Nico singing only for both softly shimmering guitar-lines and ing, twanging sound; the piercing squeaks of the three songs she is used to performing on slightly sardonic backing-vocals, pitched feedback; Cale’s alternately screeching and stage. “It wasn’t enough, but it took an awful much higher here than on the official version, soothing viola, not to mention his pounding, lot of arguing to get that far,” says Paul Mor-where the “she’s a femme fatale” harmonies ominous piano; Tucker’s funereal, minimal rissey in Nico: The Life & Lies Of An Icon. Since are mixed down so low that they sound like drums; and, on the songs Nico sings, her joining the group, Nico has pushed to sing a Greek chorus spilling over from the next ghostly voice (and, perhaps, tambourine). tougher Reed songs such as ‘Heroin’ and ‘I’m room. Reed will later claim, in the November Whether it’s Reed or Nico singing, it’s cru-Waiting For The Man,’ for which her voice 1987 issue of Creem, that the lead vocal is given cial that the vocals be decipherable, given the would be totally inappropriate, but in the end to Nico in part because “she could sing the pains the group has taken to preserve such the only official Velvet Underground record-high chorus. That’s why, at the end of the taboo-busting lyrics untouched. ings she will ever sing lead on will be ‘I’ll Be song, you get those ‘oh-woa-woe’s.”

Do they succeed? Well, yes and no. The mix Your Mirror,’ ‘Femme Fatale,’ and ‘All Tomor- ‘All Tomorrow’s Parties’ is not the most on the harder-rocking songs in particular is, row’s Parties.’ renowned of The Velvet Underground’s early by conventional standards, somewhat blurry It’s ironic then that, of the half-dozen tracks songs, but this Warhol favorite is a sleeper and murky, if not cacophonous on the largely from this session that will eventually find contender for the greatest achievement on instrumental ‘European Son.’ Yet these sub-release (sometimes in a slightly altered fash-their debut album. Lyrically, it’s a six-minute terranean clouds of sound don’t interfere ion) on The Velvet Underground & Nico, these wail of despair, made all the more chilling by with the effectiveness of the tracks, and in Nico-sung productions are perhaps the finest. its detached third-person narrative, enunci-some respects actually enhance them. ‘Run ‘I’ll Be Your Mirror’ in particular is proof that ated by Nico in her lowest and most boom-Run Run’ has the guttural churning of the the Velvets are not just about drugs, depri-ing, Wagnerian tones. Once again Reed is New York subway, and ‘All Tomorrow’s Par-vation, and kinky sex set to a nails-on-black-venturing into virgin territory for rock music, ties’ a dense foreboding wholly in keeping board soundtrack. A lilting and quite melodic detailing a more contemporary, urban, and with the despondent ennui of the song’s sad, piece, it also allows for the possibility of love decadent isolation than is usually heard in empty debutante. The Nico-sung ballads ‘I’ll as a redemptive force, quite apart from the laments over failed love: a party girl consumed Be Your Mirror’ and ‘Femme Fatale’ boast admittedly compelling degradation of songs by enervating boredom, her façade crumbling by contrast a clear, clean sound, balancing such as ‘Venus In Furs.’ The delicately picked into solitary tears behind her door. the vocals, light percussion, and guitars well guitar, sparse tambourine, and restrained, Just as important to the odd power of the enough to indicate that someone in the con-magnificently deep vocals work together to song’s deathly pallor are the gothic tune and trol booth knows what they’re doing. create a low-key masterpiece. These elements the inventive arrangement, which features

The big point of contention among the are buttressed by muted power-chords at the swooping bass-notes that glide into coffin-band-members as they ready first recordings stop-start end of the reassuring bridge and slamming thumps; Cale’s barroom-boogie-appears not to relate to specifics about the high harmonies on the fade. from-hell piano, its unusual clipped tone sound or mix but to how many songs Nico Although the acetate version probably uses produced by stringing a chain of paper clips should be allowed to sing. Cale will later recall the same backing track that will eventually between the strings; and spiky squawks of

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guitar culminating in a brief crescendo that it’s still known when it’s recorded) takes the the very acetate designed to land the group cuts off as if the power has suddenly cut out. band much further from the unwritten laws a record deal! The acetate version is about a Cleaved in half upon its initial release on the of rock’n’roll. Reed’s declamatory sing-speak minute longer than the version on The Velvet band’s first single, the full album version of vocal is backed only by Cale’s dance-on-fire Underground & Nico, from which more chaotic ‘All Tomorrow’s Parties’ is not as noisy as viola and a low guitar-figure that’s strummed guitar-soloing (perhaps a little more bluesy The Velvet Underground get, but they would with an edginess suggestive of whirling der-than the rest) is cut right after the loud crash. never be more devastatingly disturbing. (The vish madness; Cale leans into the mic to hiss Despite the relatively primitive technologi-1986 CD release of the ‘banana’ album uses viciously and wordlessly during the instrucal conditions of the sessions, one particularly an alternate mix featuring a single-tracked mental breaks. As odd as all of this is, the imaginative maximization of the tools avail-Nico vocal, as opposed to the usual double-lyrics are even more outrageously weird, able can be heard on ‘European Son.’ In the tracked version.) Reed’s tongue-twisting prose a match for any third issue of What Goes On, Warhol assistant

“That was John Cale’s arrangement,” Reed of Dylan’s surreal, poetic creations. (Dylan and EPI dancer Ronnie Cutrone claims that later explains in a 1971 interview with Vernon however is unlikely to have used such scato-the ‘broken glass’ effect heard on the song is Gibbs for Metropolitan Review. “The original logical imagery as bowels-embedded rat tails in fact the sound of somebody (probably John song was very folky, he made it very grand and suchlike.) Cale) running a chair down a grocery-store and Gothic and then of course Nico’s vocal More than any other early Velvets song, dolly into a stack of steel plates. According to changed it around a lot. Fabulous that Nico, ‘The Black Angel’s Death Song’ reflects Maureen Tucker, however, the noise is simply she really is great.” Asked whether the pro-Reed’s schooling in the literature of his the sound of a chair being dragged across tagonist of the song is a friend of his, Reed early mentor, Delmore Schwartz. So too, less the floor by Cale, who then drops a glass or replies, “Well, we knew each other. I wasn’t obviously, does ‘European Son,’ if only by bottle after stopping in front of Reed. Martha that friendly with her. I knew enough about virtue of an implied dedication in The Velvet Morrison, a visitor to the sessions, remembers her to stick her in a song. I always just exag- Underground & Nico’s liner notes, where the Reed actually dropping a mirror – “it had to gerate parts of people … I thought Nico and composer credits list it as ‘European Son To be perfect timing, it couldn’t have been just John did it up really well. If you get into Nico Delmore Schwartz.’ The dedication is some-anybody” – to mimic the sound of breaking there’s always the danger that you don’t want what tongue-in-cheek: as Sterling Morrison glass, “and me getting hysterical, and get-to leave.” will later explain to Ignacio Julia, “Delmore ting yelled at by Lou. I just thought it was a

Although stories will later circulate of a despised rock’n’roll lyrics, he thought they riot, what they were doing to get their sound troubled relationship between Nico and the were ridiculous and awful, and ‘European effects. I wasn’t serious enough.” Seriousness, rest of the Velvets, Norman Dolph notes that Son’ has hardly any lyrics so that meant that in fact, is the prevailing mood as the Velvets they “treated her with great respect” during was a song that Delmore might like. He didn’t work through their first proper studio session. the Scepter sessions. “Imagine [jazzman] Les care about the music part of rock’n’roll, he “It was very tense,” Morrison says. “There’d Brown and his band of renown, and Doris just hated the lyrics, so we wrote a song that be some laughing, of course, but it was a very Day as their singer,” he adds. “It’s as though Delmore would like: 20 seconds of lyrics and tense scene. It wasn’t party time.” when Doris Day came on, she was a special seven minutes of noise.” The versions of ‘I’ll Be Your Mirror,’ ‘All focus of what that orchestra did.” Similarly, ‘European Son’ is in some respects the Tomorrow’s Parties,’ ‘Femme Fatale,’ ‘Run as Dolph recalls, the Velvets saw Nico as “a most radical recording of the Scepter sessions, Run Run,’ ‘The Black Angel’s Death Song,’ jewel in a setting. It was in no way slapdash its manic up-and-down guitar riff joined by a and ‘European Son’ recorded at Scepter will or quick or ‘let’s get this broad out of here.’ choppy rhythm as Reed spits out a single verse all be used on The Velvet Underground & Nico, It was, ‘Now we’re gonna shift into a quieter of bitter non-sequiturs. An unearthly howl and albeit in different mixes. (Dolph later notes gear, and we’re gonna do Nico.’ Things went a mirror-smashing crash then lead into more that ‘There She Goes Again’ is also cut at the into sort of a quiet mode when she was there. than five minutes of frenzied instrumental same time, but doesn’t appear on the acetate, I don’t believe she was in the studio much jamming. Tucker’s irregular drum-patterns and might not be the same recording as can longer than when she was performing in the collapse and collide with hair-raising guitar be heard on the Velvets’ debut.) studio.” and ear-piercing feedback, culminating in the The Scepter acetate also includes three

Among the other tracks recorded at these thunderous clang of a discord. Considering other songs which, taken together, are the sessions are three songs that aren’t quite up the fact that most of it sounds like a group most famous Lou Reed compositions to to the standard of the Nico-sung material, improvisation, it’s appropriate that the song appear on the album. But the renditions of but are certainly impressive and vital to the is credited to the four band-members heard ‘Heroin,’ ‘I’m Waiting For The Man,’ and diversity of the running order of the even-on the recording: Reed, Cale, Morrison, and ‘Venus In Furs’ laid down at Scepter are not tual LP. ‘Run Run Run’ might not be quite Tucker. the versions that will appear on The Velvet so notorious as ‘I’m Waiting For The Man,’ The least accessible track on The Velvet Underground & Nico. Each of these songs will but it’s just as hardening and realistic a look at Underground & Nico, ‘European Son’ bears be re-recorded in May at TTG Studios in Hol-inner-city lost souls and junkies. The muddiest little relation to any rock recording before lywood, with Tom Wilson probably handling and least evenly balanced cut on the album, it – except perhaps The Who’s equally turbu-the production. (Years later, there remains it has a percolating, muffled roar carried by lent (but less dissonant) instrumental ‘The some dispute over whether the ‘official’ ver-one of Reed’s best rock’n’roll vocals (joined Ox,’ as heard on The Who Sing My Genera- sions of these songs were produced by Wilson by almost distracted-sounded harmonies in tion. When ‘European Son’ is placed at the or Warhol, or recorded in New York or Hol-the chorus); unpredictable bursts of feedback; end of side two of the Velvets’ own debut, lywood.) and strangled, distorted ‘ostrich’ guitar. however, it will bring proceedings to a fitting The acetate versions of these three land—

The sole Reed/Cale composition recorded take-no-prisoners climax. It’s surely an act of mark songs are noticeably different. ‘Heroin’ at these sessions, ‘The Black Angel’s Death perversity then to place it as track one on side has a different opening line: “I know just Song’ (or ‘The Black Angel Of Death,’ as one of the acetate cut from these sessions – where I’m going” instead of “I don’t know just

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where I’m going,” a seemingly slight altera-ties,’ ‘The Black Angel’s Death Song,’ Femme the acetate back [to the Velvets], and I got tion that nonetheless completely changes the Fatale,’ ‘Heroin,’ ‘I’ll Be Your Mirror,’ ‘I’m the impression they were disappointed that song’s meaning. It also has a shorter instru-Waiting For The Man,’ and ‘Venus In Furs’ Columbia didn’t bite.” (Dolph will play no mental intro, and a different guitar line. “That are all now registered with the Library Of further part in the Velvet Underground story, was the one where Lou Reed needed to kind Congress, but ‘Run Run Run’ is not. More but does make a commercial splash in 1974 of get his head in the right place,” Dolph intriguingly, an unreleased Reed/Cale com-as the co-writer of ‘Life Is A Rock (But The recalls. “In the control room, nobody moved position, ‘Get It On Time,’ is also registered. Radio Rolled Me),’ a one-off Top Ten hit for a muscle when he was singing that song. You This will lead to speculation as to whether it’s Reunion.) didn’t want anything to go wrong with that among the tracks cut at Scepter Studios but, As Paul Morrissey notes in Nico: The Life take at all, because if it had, he would have 40 years later, there is still no known studio & Lies Of An Icon, “Once we’d made the torn a wall down. Every bit of the energy in version of the song. tapes, we tried to sell them to a company the song, you experienced in his persona at Also copyrighted today is the gentle Reed/ who would manufacture the album and dis-that point.” Cale ballad ‘Little Sister,’ which will not be tribute it. Nobody wanted to buy the tape. It

In a less significant variation, ‘I’m Waiting released until it is included on Nico’s 1967 was too far out. We were sort of stuck with it For The Man’ begins with “the man” rather solo debut Chelsea Girl, but it might perhaps for a time. Andy said, ‘Other people succeed than “my man,” which might just clear up why be among the group’s early repertoire. This who have no talent. Here we are with you the song is so titled. It also has a rather more impression is reinforced by a reference to the gorgeous people and we can’t make it.’” As conventional, bluesy guitar-solo, and Reed’s song in a June 1966 article about the EPI in Sterling Morrison will later recall in an April memorable final aside – “walk it home” – the Chicago Daily News, but it’s unclear whether 1981 interview with the New Musical Express, is absent. ‘Venus In Furs’ is pretty close to the group actually performs the song live. Ahmet Ertegun of Atlantic Records “liked it, the version on what will come to be known The final song registered today is another but said ‘no, no, no, none of this – no ‘Wait-as the ‘banana’ album, but it’s possibly a bit early Reed composition, ‘Wrap Your Troubles ing For The Man,’ no ‘Venus In Furs.’ Then faster and slightly less tight, with Reed’s vocal In Dreams.’ This one is definitely performed we took it over to Elektra, who said some of not quite dripping with as much deadpan live by the band with Nico on vocals – as con-the content was unacceptable and the whole venom. firmed by Ingrid Superstar in UpTight: The sound was unacceptable. ‘This viola – can’t

These are admittedly hairline distinctions, Velvet Underground Story – and is among the Cale play anything else?’” so it’s perhaps most interesting to puzzle over demos Reed, Cale, and Morrison recorded in Elektra founder and president Jac Holzman why it was felt necessary to re-cut these three July 1965, as later featured on Peel Slowly And will, when asked in 2005, have no memory of tunes – particularly since the TTG retakes See. It will, like ‘Little Sister,’ later find a home ever being approached by the group, or of don’t sound particularly clearer or more on Nico’s Chelsea Girl. But the fact that both considering signing them; nor will Joe Boyd, professional than the versions cut at the sup-songs are registered now suggests that they who ran the label’s UK office at the time. posedly slapdash Scepter date (and this, too, might have been recorded at Scepter, or at “The process by which they could have been despite the likely involvement of Wilson, one least considered for the Velvets’ debut – per-heard by the label could have varied a lot over of the most esteemed producers in the busi-haps because of the feeling from some quar-time,” notes Peter Siegel, an Elektra producer ness). Perhaps Warhol, Dolph, and the Velvets ters that Nico should feature more strongly. who joined the company in late 1965 and cut are more competent at recording themselves demos with Neil Young and Jackson Browne.

than will sometimes be assumed, or maybe Monday 25 “It was customary then, if anybody sent in a the band’s raw approach neither benefits nor Norman Dolph makes an acetate from tape, [for] someone [to] listen to it. But who suffers from more experienced technological the Scepter Studios recordings today and listened to it depended a lot on who sent supervision. promptly takes it to Columbia Records, where it. If it came from one of Jac’s friends, eve—

Whatever the case, the acetate resulting he has connection as a result of his job as a rybody listened to it. If it came in the mail, from the session is an artistic triumph but a sales executive. As he later discloses in The who knows, an assistant engineer could have commercial failure as it fails initially to attract Velvet Underground Under Review, however, “I heard it. Who knows who said, ‘We didn’t like any industry interest. A deal with Verve/MGM got the acetate back in about 48 hours with the viola?’ All the reasons that are ever given is however looming on the horizon, and the a memo saying, ‘There’s no way in the world for turning anything down are never the real session can be seen as a great success in that it any sane person would buy or want to listen reasons anyway.” generates over half of what ends up on The Vel- or put anything behind this record.’” In his NME interview, Morrison goes to on vet Underground & Nico. But it will take at least “The actual rejection notice was written by a describe the group’s approach to Tom Wil-two more sessions, two more studios, and one guy who was sort of the A&R functional coor-son, a Columbia staffer famous for his work more producer to complete the final tracks dinator of activity,” Dolph adds in an interview on Bob Dylan and Simon & Garfunkel’s first – and almost a year will pass until the record for this book. “He was a junior producer, but electric folk-rock recordings. “[Wilson] told is finally released. speaking on behalf of the A&R department. us to wait and come and sign with him when

At A&R, they’d have these weekly meetings in he moved to Verve [a subsidiary of MGM],

Friday 22 which everybody would bring up stuff. They’d because he swore that at Verve we could do

Most – but not all – of the songs that will play it for the bunch, and John Hammond or anything we wanted,” Morrison says. “And he appear on The Velvet Underground & Nico are Mitch Miller or whoever would opine, and was right.” The Velvets would fit in, at least copyrighted today. Since the Velvets are prob-they’d green-light certain things and red-light the edge, of what a May 21 1966 Billboard arti-ably in the middle of their Scepter sessions, others. The time that I played it would have cle calls Wilson’s mission to “build up an LP they might have registered the songs in antici-been literally the Monday after the session operation and establish artists with consistent pation of the release of an LP, but they will finished [April 25]. Their reaction was parsed LP value” at MGM. have to wait nearly a year for that to happen. in corporate terms: ‘You’re out of your mind It’s unlikely that all of this takes place after Whatever the motivation, ‘All Tomorrow’s Par-with this.’ They had zero interest in it. I gave the Scepter sessions, since another Billboard

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article, dated December 25 1965, confirms the name of Warhol’s nightclub is definitely kneels to remove his studded belt and wraps that Wilson has already taken an executive incorrect. This show, if indeed the Velvets play it around his arm, after which Malanga strikes position at MGM, and from March 9–12 1966 it, is part of the avant-garde NOW Festival. the pose of a tortured junkie, mainlining was working on The Mothers Of Invention’s again after just taking the cure.” MGM/Verve debut. It’s also doubtful that Wednesday 27 Wilson could sign the Velvets in such a short FilmMakers’ Cinematheque, Thursday 28 period of time, as there are only a few days New York, NY The Village Gate, New York, NY between the cutting of the acetate and the On June 4, an article in the Fire Island News The Velvets probably play at the Village Gate group’s departure for California. (The group will describe a Cinematheque happening tonight, either instead of or in addition to will end up signing a contract with MGM on including the Velvets and Edie Sedgwick. This their regular gig at the Dom. On The Velvet May 2, but Wilson’s name is not on it.) might sound like one of their February per-Underground Web Page, Steve Nelson, who

Another intriguing possibility is that Mor-formances at the same venue, except that the will later book several of the group’s shows at rison, in his 1981 NME interview, might be article also refers to a screening of Warhol’s the Boston Tea Party, recalls seeing them play referring not to the acetate, but to the demos film The Bed, which is not known to have been in April 1966 at a “party for George Plimpton’s John Cale mentioned in his December 2 1965 shown at any of the February shows, but which The Paris Review at the Village Gate in NYC. letter to Kate Heliczer. Had Wilson still been is advertised in the Village Voice to be screened A lot of bands played all evening, and the at Columbia then, he might indeed have told here tonight – raising the possibility that the Velvets were the last to come on, with Nico, the Velvets to wait until he moved to Verve. Velvets also perform. Fire Island News reporter and Gerard Malanga doing the whip dance. Then, having cut the acetate, the group might George English might just have conflated the I never heard them introduced (if they were) decide to approach Columbia first because screening and an earlier VU show into one and had no idea who they were, but I was of Norman Dolph’s connections with the event, especially as the article runs several totally blown away. There were a lot of celeb-label – only to return to Wilson, now the East months later. rities at that event, and when Frank Sinatra Coast director of pop A&R for MGM, when came downstairs where the Velvets were play—

Columbia turns them down. (Four decades ALSO … ing, he took one look at them, and turned later, this theory seems impossible to confirm, One of the most detailed reviews of the VU/ right around and went back upstairs.” particularly as neither Wilson nor Morrison EPI at the Dom runs in today’s Columbia Daily An April 30 article in the New York Times are alive to ask about it.) Spectator, the newspaper of New York’s most confirms that just such an event takes place:

According to Paul Morrissey, the deciding prestigious university. “Warhol has a talent for “The Paris Review, a literary magazine that factor in Wilson’s eventual decision to sign finding the good bad,” write Mitch Susskind qualifies as a charity, according to its editor The Velvet Underground is the member the and Leslie Gottesman. “Nico sings terribly – George Plimpton, because it makes no profit, group have only taken on at their manage-she has a flat, dull voice – but the sincerity gave a benefit party for itself at the Village ment’s suggestion. “I sent it to all the record of her attempt evokes true sympathy from Gate Thursday night. More than 1,000 per-companies, they all said no,” he says. “Finally the audience who accord her light applause. sons jammed the nightclub’s three levels, at this guy from Verve contacted me, Tom Wil-She smiles slightly and sings more songs, the $17.50 a head, making it possible for the mag-son. He was a very nice guy, Harvard-educated. contents of which defy interpretation, and she azine to pay off a few bills.” Neither The Vel-He said, ‘I’m interested in recording them, exits unceremoniously. vet Underground nor any other musical acts I went to see them. I can’t put any of this on “[Then] Mary Woronov steps on stage. Miss are named in the story, but reporter Angela the radio, but that girl is fantastic. She could Woronov is tall and wears leather jeans too, Taylor confirms that “band after band shook be a big star, and I’ll sign the whole group and she’s carrying bullwhips. The audience the walls, and the racket spilled into sleeping just to have Nico.’ Well, when I went back I groans. The Underground’s man announces Bleecker Street as the party span on toward made the mistake of telling that to Lou, and they’re going to play ‘Venus In Furs’ and dawn.” Taylor also confirms the attendance he really froze. The last thing in the world Malanga and Miss Woronov begin dancing, of Frank Sinatra, as well as Senator Robert F. that he wanted to hear was this album was wrapping the whips around each other. In the Kennedy, his wife Ethel, comedian and film only being taken on because of beautiful Nico audience one fellow clutches his girl, who’s director Mike Nichols, and various other with the beautiful voice, and that Tom Wilson going to cry. But the whole tzimmis is really socialites and minor celebrities, including really wanted her, not them.” quite innocent. (Miss Woronov kicks Malanga Susan Burden, the director of the Parapher—

and he sprawls on the stage.) Everybody on nalia clothing store.

Tuesday 26 stage is having fun. (The Underground sings This might be the same “benefit at the

National Roller Skating Arena, ‘kiss her shiny boots of leather’ and Malanga Village Gate” that John Wilcock later men-Washington, DC does that.)” tions in The Autobiography & Sex Life Of Andy The April 27 edition of the Washington Post During another song, Malanga “dances, Warhol. Wilcock notes that Village Gate owner reports that tonight’s Robert Rauschenberg stares into the spotlight at point-blank range Art D’Lugoff “kept coming in and turning the performance event, Linoleum, ends “with an shaking his head back and forth, and waves sound down ’cause he couldn’t believe any-electronic bang when Pop Artist Andy Warhol two enormous flashlights at the audience, body would be normally playing that, and they and The Velvet Underground, a rock’n’roll while the Underground’s guitarist crouches in turned it back up again.” The Velvets stood band from his New York nightclub, The Plas-front of a loudspeaker to produce feedback. out, Wilcock adds, because “they played about tic Inevitable, turned the roller rink into a This takes 20 minutes, after which Malanga ten times louder than anybody that anybody giant discotheque.” This seems proof enough whispers ‘It’s impossible to like that song’ to had heard before.” Ingrid Superstar gives a of the fact that the Velvets don’t play at the Miss Woronov. Everyone loved it. An unfortu-few more details in Andy Warhol’s Index: “I Dom every single night in April (as is often nate move, however, was the recent replace-remember at the Paris Review downstairs at assumed), even if Post reporter Leroy F. Aar-ment of the final song (a tour de force) with the Village Gate they had all the lights out ons’s assumption that the Plastic Inevitable is ‘Heroin,’ in which Malanga’s dancing partner and they had on the strobe lights flashing on

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Gerard and Mary and some of the band … have that same beat-up LP. It was played over label until the end of the 60s, covering the just before going on stage, John Cale fell flat and over and over again.” bulk of The Velvet Underground’s recording on his face, and I had to practically lift him (In the March 6 1970 issue of Fusion, Lou career. up. He couldn’t even see where he was going Reed confirms that the Velvets played a con-It seems strange that this crucial date in … he probably drank too much.” cert for George Plimpton, but suggests that VU history will later be so seldom reported “It was a fairly chaotic event, with several it took place elsewhere. “Plimpton sucks,” he in overviews of the band’s legacy – particu-different things going on,” says Jeff Perkins, says. “We played a party at his house. I asked lar since copies of both MGM contracts will who has had a hand in a couple of chaotic him for this poster and he wouldn’t give it to eventually go on permanent (if only partial) events of his own this evening, including a per-me because it was a work of art.”) display at the Andy Warhol Museum in Pitts-formance of an artwork by Yoko Ono called burgh. As Lou Reed later recalls in the 1998

‘Painting To Shake Hands,’ which as he tells BBC Wales documentary John Cale, “We finally

it is “basically a blank canvas with a hole in it. were signed to a record company, really on May

One put one’s arms through it and just shook the basis of Andy. Because Andy said he’d hands with whoever wanted to shake hands do the cover [of the first Velvets LP]. I don’t with the arm.” Perkins also helps out with a know if we would have gotten a contract if piece by Fluxus founder George Maciunas, he hadn’t said he’d do the cover, or if Nico “which was to construct a very complex web Monday 2 wasn’t so beautiful … for the longest time, above the heads of the entire audience made All five members of The Velvet Underground people thought Andy Warhol was the guitar of scotch tape, sticky side down. We basically sign two contracts with MGM Records, with player!” created a web of string, and then laid all the Nico using both her adopted alias and her MGM’s subsequent handling of the band tape on top of these long strips of tape laying given name, Christa Päffgen. One of the con- – particularly in terms of promotion and mar-on top of a string. It was all sort of anchored tracts asks the group to confirm that they are keting – will later be heavily criticized by both to this one spot in the room, [so] that when the sole owners of the 12 master recordings the Velvets and others, but not by Norman George cut it, the whole thing sort of floated by the band that have been deemed “suffi-Dolph. “Columbia always moved artists to the down to the audience.” cient for the release” of a long-playing record middle,” he notes. “Look what they did with Steve Nelson has traveled down from Bos-album, while also requesting that they agree Aretha Franklin [who found tepid success ton after his girlfriend obtained tickets to to sell the tracks in question to MGM. The at Columbia before achieving superstardom the invitation-only event through Harvard label in turn agrees to “release for public sale with Atlantic]. I don’t think that would have student and future filmmaker James Toback. and distribution a record and/or records worked well. They were far better off, rather “At that point, I’d never heard of [the Vel-containing the recordings acquired by us,” than going to Columbia, to wind up where vets],” he recalls. “We went there because it paying them a royalty of seven per cent of they did.” In Dolph’s view, MGM not only left was gonna be just a kind of gathering of sort the suggested retail price and an advance of the group’s music alone, but also “packaged it of New York literati-celebs. But they were just $3,000. well. You can’t say they did a cheap and dirty so mind-blowing that [it was] kind of hard The signing of the contracts probably job. Because those gatefold covers with the to forget. It was nothing like I’d ever seen or means that Columbia and any other label peel-off [banana] and so forth had to have heard before. The intensity of it was so much approached by the group has by now rejected been very expensive relative to what a [stand-greater than anything else that preceded it them. It’s also likely that the 12 master record-ard] jacket could have cost. There was some that evening. The intensity of the strobes was ings cited by MGM are the tracks the group seriousness behind the effort.” still a fairly new phenomenon, and great for have recently cut with Norman Dolph and As Sterling Morrison will later admit, dancing. It was just as mind-blowing as hear-John Licata, as part of a package including MGM’s negligent attitude toward The Velvet ing The Beatles the first time, or hearing Bob three tracks not included on the Scepter Underground might have actually given them Dylan the first time, something like that – one acetates (which might perhaps be alternate the leeway to get away with uncompromising of those moments you know you’re listening versions of some of the songs). music that other labels might never have to something that is great, that is completely All five musicians also sign another four-allowed to be released. “The people at MGM original and really powerful.” page contract in which the label engages didn’t even know us by name,” he tells Creem For all the impact the group makes on Nel-them to record a minimum of six sides for magazine in 1969. “Obscurity at MGM gave us son, however, he is not entirely sure of what 45rpm singles between May 2 1966 and May freedom to do what we wanted to.” he has just seen. “Not only did I not know who 1 1967. This suggests that MGM might not be they were going in, but I didn’t even know sure they want to make an entire LP out of the Tuesday 3–Thursday 5 who they were coming out of it,” he recalls. “I Scepter sessions just yet, and that the label’s The Trip, Hollywood, CA had this mystery carrying around in my head executives are hedging their bets by guaran-Charlie Rothschild, who represents The Fugs of hearing this thing, not knowing who it was. teeing some additional (more commercial) and Allen Ginsberg and has booked con-There’s no internet; how was I gonna find out tracks from the group for the singles market certs for Bob Dylan, has by now also become what it was?” He won’t find the answer, in fact, – still the primary outlet for rock music. involved with booking The Velvet Under-until he finds a copy of The Velvet Underground The agreement also gives MGM the right to ground, having been introduced to the group & Nico at the Harvard Coop store a year later. renew its option on the contract on a yearly and Warhol by an attorney, Si Litvinoff, who “There was something about the image of see-basis until May 2 1970, which in theory ties the will later act as producer or executive pro-ing them on the picture on the back cover. group to the label for five years, until May 1 ducer of A Clockwork Orange, Walkabout, and I said, ‘Oh, maybe that was that group that I 1971. As it turns out, the Velvets won’t make it The Man Who Fell To Earth. “I wanted to see saw at that Paris Review party. That’s gotta be quite that far, and will only manage to release if I could make this into a bigger-than-New those guys!’ So I took it home and played it, four tracks on 45s before May 1967. But for York scene,” Rothschild explains. “So I con-and sure enough, it was unmistakable. I still better or worse, MGM will be the group’s tacted the people that ran the Trip at the time

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The trip to the Trip goes awry from the

start, however. The Velvet Underground

don’t get along with Frank Zappa, the leader

of the opening band, The Mothers Of Invention. John Cale will later recall Zappa putting down the headliners onstage, igniting an

almost inexplicable long-running animosity of

sorts between Zappa and the Velvets. “I don’t

remember him actually putting them down

on stage, but he might have,” recalls Mothers

drummer Jimmy Carl Black. “He really disliked the band. For what reasons I really don’t know, except that they were junkies and Frank

just couldn’t tolerate any kind of drugs.

“I know that I didn’t feel that way and neither did the rest of the Mothers. I thought that they were very good, especially Nico (whom I secretly fell in love with, or was it

lust). I especially thought that Moe was a very good drummer, because in those days I don’t

recall there being any other female drummers

on the scene.” And yet, he adds, “the thinking of the audiences was completely different than those from New York City. They were

lukewarmly received.”

There is nonetheless a good crowd for

the first night, for which tickets are priced

at three dollars, and which is attended by

celebrities including, according to various reports, Sonny & Cher, John Phillips and Cass Elliot, Ryan O’Neal, a couple of Byrds, and

the as-yet unknown singer of an unsigned LA

band called The Doors. A full-page collage of

photographs taken at the Trip by Howard L.

Bingham subsequently appears in the May 28

issue of KYA Beat, the newspaper of popular San Francisco rock’n’roll radio station KYA.

“We all went to the opening of their gig

at the Trip on Sunset Strip,” recalls photographer Lisa Law, who in 1966 is living with Peter Paul & Mary’s road manager Tom Law

at the Castle, which is also where the Velvets stay during their stint in LA. “Andy did a light show, which was projected onto a screen

behind the band. He used his screen tests with a lot of images of Nico and the VU. It was an

extraordinary show, and Gerard Malanga and

Mary Woronov did a whip dance in front of

the band with strobe lights. I had my Nikon F

with a wide-angle lens and got down in front

of the stage and took killer photos of Gerard

in front of the strobe lights. He and Mary were wrapped up in a whip at one point. Nico was

playing her tambourine, and with the light

show behind her … the visuals were excep—

about bringing Warhol to LA. I managed to by Donovan on a track from his classic 1966 tional. I didn’t use a strobe light, so I was able talk them into it, ’cause they thought it would Sunshine Superman LP. The group and Warhol to capture the light show behind them. I had be a scene, and that all the movie stars would welcome the chance to take the Exploding never seen anything like that and it blew my come down and hang out and be with it.” Plastic Inevitable to Hollywood, particularly mind! My favorite songs were ‘Femme Fatale,’

In the third week of April, Rothschild since the lease for the Dom is unavailable for ‘Venus In Furs,’ and ‘Heroin.’” announced a two-week stint for the band at the month of May anyway, because of a prior Once the novelty of the first night wears off, the Trip, the Sunset Strip club immortalized booking for a Polish cultural celebration. however, the Velvets find themselves playing

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to a near-empty club. According to The Doors hypnotic machine called the Exploding Plas-lin in the decadent 30s.” The Los Angeles Times On The Road by Greg Shaw, Jim Morrison’s tic Inevitable,” he writes. “This machine spins is more enthusiastic, albeit in a rather obtuse group – who have yet to release a record, or an endless cable of steel sound. Johnny Cale way: “Not since the Titanic ran into that ice-even gain that much of a local following – are may or may not be an Indian, has a tall thin berg has there been such a collision as when soon being considered as a replacement for face, long black hair parted in the middle, Andy Warhol’s Exploding Plastic Inevitable the Mothers, in light of the animosity between has an electric violin under his chin, plays burst upon the audiences at the Trip Tuesday. Zappa and the Velvets. “We were to be the tall, thin, and very shrill sounds on it. Gerard For once a Happening really happened, and opening act,” confirms Doors keyboardist Ray kneels in front of the strobe light, writhes, it took Warhol to come out from New York to Mazarek. “We were very excited. New York offers his whip. Mary writhes, twists her whip show how it’s done. The Velvet Underground and LA underground go head to head, so to around Gerard, cracks her whip, bumps, is so far out that it makes the tremendous speak. It would have been momentous. What grinds, grinds her Levi covered pelvis. The thumping beat of the great, groovy group a double bill! But the cops closed the club. black leather belt with a steel buckle sits right which opened the program sound passé.” Too much weirdness, don’t you know.” on top of her hips, and it too bumps, it grinds, Both of these quotes will later appear

Indeed, this intriguing double-bill never exceeding fine. among the press clippings featured in the comes to pass as, on the third night, the LA “Andy’s movies! Above the static-writhing inner gatefold of The Velvet Underground & sheriff’s department closes the club down. dancers, teenyboppers, Velvets, whippers, are Nico. Los Angeles Times journalist Kevin Thomas This is on the grounds, according to John three or four screens with Nico writ large, also describes Nico as “the long-haired, deep-Cale’s autobiography, “that we were putting staring, crying, Gerard lifting weights, huge voiced German model [who] sing[s] songs as on a pornographic exhibition,” although kisses, grainy white-and-black pictures of Edie beautifully banal as herself,” and the Velvets Greg Shaw suggests that it’s for “suspected Sedgwick feeling Gerard’s muscles, languid as “a rock group that goes beyond rock … It drug use and disturbing the peace” in The whipping, terrifying fast whipping. Mary has was like a searing sound from another planet.” Doors On The Road. her whip twisted around Gerard in the strobe Andy Warhol tells Thomas that Nico “could

Oddly, an article in the Los Angeles Times light, starlets and studlets in fluffy sweaters, probably make it [in Hollywood] tomorrow. cites The Modern Folk Quartet – not The uptight teenies are dancing, and Nico, blonde She has that ability to be five and 50 at the Mothers Of Invention – as the opening act. on blonde in a white wool pants suit steps into same time.” This combined with a photograph of the the spotlight and says, “The song is, ‘I’m Not In the Los Angeles Free Press, Paul Jay Robbins Trip’s marquee billing the VU and the MFQ A Young Man Anymore.’” gives more ink to Warhol and the rest of the casts doubt as to whether the Mothers play This final aside is perhaps the most intrigu-multimedia experience than the Velvets, and every night of a three-night stand, or whether ing of Paltridge’s observations – at least to is decidedly unimpressed by the band. “The the gig lasts for only three nights. Jerry Yester serious VU musicologists – since no official Velvet Underground has two styles of music,” of the MFQ later recalls playing with the Vel-recording of the song exists. But a composi-he writes. “One is a phlegmatic mode which vets for a week, and says that his group never tion by that name – credited to Reed, Cale, accompanies lyrics which smack of Baudelaire shared a bill at the Trip or anywhere else with Morrison, and Tucker – is shown in the BMI speaking through early-morning Bob Dylan; the Mothers. database. The title makes it unlikely that Nico their other style is centered around a bone-

“They sounded very peculiar,” Yester says of would sing such a song, however – as does the scraping electric violin played by a boy who the Velvets at the Trip. “The music was kind existence of a live recording of the song sung looks like a girl (their drummer is a girl who of on the nebulous side. There wasn’t a lot by Reed from a performance at the Gynma-looks like a boy). The rumbling terror of their you could really sink your teeth into. It wasn’t sium in New York in April 1967. delivery is saved only by the viscous movement like a band got up there and really kind of As far as one of the most sensationalist of the music: if it moves slowly enough, any-hit you with what they were doing. It was like aspects of the EPI’s performance is con-thing lethal becomes tolerable.” Kicking the spider webs or something. I just couldn’t get cerned, one onlooker, Hetty McGee, notices boot right in, he adds, “Nico, the chanteuse, next to the music. And Nico was just dreadful. that “they were missing something in their mitigates the impending collapse of sanity pri-But she was just a knockout, so it just didn’t mock-up. Gerard and Mary had one little bit marily because of her ineptitude as a singer. matter. In fact, I thought ‘just turn her mic where they were supposed to be shooting up, Her heavy and diffident voice seems to sug-off,’ and it would have been a lot better. [On] and they had this gigantic syringe. And [actor] gest that perhaps this is all a put-on – and ‘I’ll Be Your Mirror,’ she made Marlene Diet-Severn [Darden] and I noticed with a kind of by the time you realize it isn’t, you’ve grown rich sound like Edith Piaf.” Of the overall horrible glee that they weren’t tying off. And accustomed to the mace. Their sound is so EPI ambience, Yester says, “It was probably as there were many people who took heroin jaded and abstracted that I can only assume the darkest gig ever done. I mean, you could in the audience, they would notice at once, they are background music for the visuals.” barely see your way around the club, it was so ’cause we did. Not that we took heroin, but Even more disgusted is a writer identified dark in the damn place. On stage, there was everybody knew. I remember telling Gerard only as Burton in the weekly Hitline magazine a spot of some kind on Nico, but everything afterward, when I got to know him, ‘You know, of local radio station KFWB. “It’s nice that else was just so damned dark.” that’s one thing you didn’t do, and it kind of the Trip wanted to try something new, but

An account by Jim Paltridge in The Daily blew the whole thing.’” (McGee will see the this is a tasteless, vulgar review that should Californian – strangely not printed until band again a few weeks later in San Francisco, never have opened,” Burton writes. “The October 10 1967 – gives a sense of both the and shortly after that will meet and marry show consisted of questionable ‘underground excitement of the event and just what the former VU drummer Angus MacLise.) movies’ shown on four screens plus music by authorities might have found offensive. “At Even in this limited engagement, the Vel-The Velvet Underground (very uninteresting) night, on stage, the Velvets, Nico, the Whip vets manage to make quite an impression on and singing by Nico (fantastic beauty, but no Dancers (whips, black belts, pelvises, Gerard the local media. Los Angeles Magazine describes voice). Along with this mirrors and revolving with and without shirt and beads), strobe their music as “screeching rock’n’roll [that] and flickering lights were going and two danc-lights, Andy’s movies are the parts of a giant reminded viewers of nothing so much as Ber-ers gyrated disgustingly in front of the lights.

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The crowd was unusually silent after each nothing on their schedule for the next couple some kind of (presumably local) television number with maybe a few slow handclaps, of weeks. According to Musicians Union rules, appearance during the LA visit. It’s probably and many people walked out. The problem they can’t be paid their entire fee unless they also around now that the Velvets take advan-here is that most people are probably afraid to stay in town for the duration. (In fact, they tage of this break in their schedule to resume criticize this – which it really deserves – possi-won’t be paid for quite some time. A January work on their debut album. bly because they’re afraid of being thought of 19 1967 letter from the American Federation as ‘un-hip,’ certainly the biggest sin in today’s Of Musicians states that Lou Reed is still owed , Early-to-mid May society. In reality, the truly hip person is intel- $3,500, while a November 1 1967 bill from M RECORDING TTG Studios, 1441 N McCad-ligent, aware, and has the ability to discern Warhol’s lawyer, S. Edward Katz, indicates den Place, Hollywood, CA. Producer Tom Wil-between real art and just plain bad taste.” that he’s still working on the matter over a son, engineer Omi Haden.

“People would tell us it was violent, it was year later.) It’s usually accepted that The Velvet Under-grotesque, it was perverted,” Reed is later Hoping the club might re-open, the Velvets ground record a few more tracks for their quoted as saying in Nigel Trevana’s Lou Reed hole up in the Castle, the large home rented first album at Hollywood’s TTG Studios dur-& The Velvets. “We said, ‘What are you talk-for them for $500 per week in the Hollywood ing their stay in Los Angeles – which seems ing about? It’s fun. Look at all these people Hills. (Another recent guest is Bob Dylan. logical, as the group has nothing to do after having fun …’” The May 28 issue of another According to Charlie Rothschild, “They all the Trip is shut down, and some of the best local radio station’s newspaper, KRLA Beat, wanted to sleep in the bed that Bob had slept recording studios in the USA are in LA. Yet prints several photographs taken by Howard in!”) “They wouldn’t take [rock groups] in exactly when the sessions take place remains L. Bingham of audience members seemingly motels,” says Paul Morrissey. “There was only a matter of mystery. having at least some fun, including one of one motel that would take them, the Tropi-The liner notes to the 2002 deluxe reissue John Phillips and another of a dancing Ryan cana, and the private house called the Rock of The Velvet Underground & Nico state that the O’Neal. Alongside the pictures is a montage Castle.” group enters TTG Studios in April, but this of celebrity sound-bites: Phillips (“it’s where “We knew most of the groups that were seems impossible. Most accounts agree that entertaining’s going”), Hollies guitarist Tony popular during that time,” recalls Lisa Law, the Velvets play at the Dom through to the Hicks (“it doesn’t leave anything to the imagi-another mid-60s resident of the Castle. end of April, and John Cale recalls arriving nation”), and Sonny Bono (“out of sight”) “[Actor] Severn Darden, Patrick Closs, and in Los Angeles on April 30 in his autobiogra-are guardedly enthusiastic; David Crosby (“it’s [folk-rock singer] Barry McGuire moved in phy. It’s possible that the group goes straight like eating a banana nut Brillo Pad”) is decid-too and we had a grand old time. So many to the studio after landing in LA, but more edly obscure; and Barry McGuire (“The Velvet people came to visit: Allen Ginsberg, Richard likely that they are too busy getting ready for Underground should go back underground and Mimi Farina, Lenny Bruce, Tim Hardin, their performances at the Trip to think about and practice”) is downright nasty. According Dennis Hopper, [Bob Dylan road manager] recording. to Warhol, a putdown by Cher (“It will replace Victor Maymudes, Owsley, Patti McGuire, John What seems most plausible is that the Vel-nothing, except maybe suicide”) is later used Sebastian, and on and on. Robbie Robertson vets go into TTG in mid May, after the Trip in ads for the EPI, but her husband Sonny would come to visit; so would Albert Gross-has been closed down, although Joe Harvard seems to enjoy the show and stays after she man. That’s who Tom [Law, Lisa’s husband] later speculates in his 33 1/3 book that the leaves. worked for in New York, as [Grossman] was sessions take place during a second trip to LA

At least media and communications theo-the manager of Peter Paul & Mary as well. that has been confused with the first. Regard-rist Marshall McLuhan thinks enough of the During their stay at the castle, Nico and Lou less of when the sessions take place, it’s likely event’s importance to include a photo of the would rehearse on the balcony of the third that Tom Wilson is on hand, even if Andy group taken at one of the shows in his famous floor. I hung out with them and grabbed a Warhol ends up being the only producer book The Medium Is The Message. A color shot bunch of shots. Everyone was cool and they credited on the eventual album. Wilson is a of the Exploding Plastic Inevitable at the Trip were all very friendly. Severn had a blast with prestigious name, and the Velvets, according also appears in the May 27 edition of Life, them. He was as bent as they were.” to Charlie Rothschild, are “ecstatic” about his with Lou Reed clearly visible in the midst of a Feeling restless and isolated, Sterling involvement. VU performance. Almost 30 years later, in the Morrison moves after about ten days to The Velvet Underground probably spend Rock & Roll documentary, Maureen Tucker the Tropicana hotel near the Sunset Strip, a couple of days at TTG re-recording three says, “The audience was fine, but the critics where he parties with the newly formed Buf-songs from their Scepter acetate: ‘I’m Waiting and the club owners and music people didn’t falo Springfield. Back at the Castle, Severn For The Man,’ ‘Heroin,’ and ‘Venus In Furs.’ like us at all.” In the same program, Lou Reed Darden introduces John Cale to a groupie In each case, the arrangements are similar to adds, “They saw this as this terrible, terrible with whom he engages in a frenzied five-night those on the acetate, but the performances influence of the virus and disease of New York affair. (“I don’t think I even got her address,” are subtly tighter and more focused. City into the beautiful new counterculture of Cale later confesses in February 1971’s Roll- ‘I’m Waiting For The Man’ has come a long the West Coast.” These perceptions (or mis- ing Stone.) Hetty McGee also turns up at one way since the July 1965 Ludlow Street demo. perceptions) will become even more prevalent point, and is struck by how spaced-out Nico is, It now has a pounding, insistent rhythm; a when the group move up to San Francisco to while Jim Paltridge and Michael Kalmen – two devilish combination of hammering bass and finish their brief tour of California. UC Berkeley students who have come to LA to blues-boogie piano; and an ominously playful

check out the EPI – become Warhol’s desig- lead vocal. This tale of a young white boy try-

Friday 6 nated drivers of sorts, which in turn results in ing to score drugs in Harlem is one of Reed’s

Although The Velvet Underground are origi-Paltridge’s piece for the Daily Californian. most realistic slice-of-life reports on the streets nally booked to perform until May 18 – with Paltridge’s article quotes Warhol as wonder-of New York, and is no doubt one of the ‘drug the possibility of an extension – the closure of ing, “Did you see Nico on TV yesterday? She songs’ that might have scared off Ahmet Erte-the Trip leaves them with nowhere to play and was beautiful,” which suggests that she makes gun and Atlantic Records.

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If ‘I’m Waiting For The Man’ makes pro- ‘Venus In Furs’ is an all-time great Velvet ‘Monday, Monday’ – Number One in the USA spective labels queasy, ‘Heroin’ probably has Underground song and recording – and not when this article goes to print, and playing on some of them running for the exits. Its play-by- just for the inclusion of yet more taboo-break- the radio as the VU drive into LA from the play account of heroin use is accentuated not ing lyrics, this time about sadomasochism. airport – for a song they will record later this just by Cale’s alternately droning, screeching, Another superbly devious Reed vocal is com-year, ‘Sunday Morning.’ and furiously racing viola, but also by Mau-plemented by Cale’s droning and squawking reen Tucker’s menacing drums, the combined viola, Tucker’s march-of-doom drums, and Monday 23 effect of which simulates the actual rush of a some of the most skin-crawling guitar timbres In anticipation of their upcoming concerts at drug injection more accurately than any other ever captured on record. The brief accelera-the Fillmore Auditorium, Andy Warhol and attempt to capture the experience in song. tion at the end into a rapidly strummed rave-the Exploding Plastic Inevitable are the sub-Not that there will be many such attempts, up of sorts hints at the fact that the group ject of a story in the San Francisco Chronicle. but that’s part of the point of the song: to have been paying careful attention to those “The show is so simple, there’s nothing to discuss frankly something that rock music – weird singles Cale has been bringing back to explain or understand,” Warhol tells John L. and popular entertainment as a whole – has the States by The Yardbirds, The Who, and Wasserman. “People want to explain every-studiously avoided. The Small Faces, but here the Velvets make thing. We took a tour of Universal Studios in

Over the years, Reed and the Velvets will that device their own. Los Angeles and inside or outside the place, it weather their share of criticism for their sup-There are also indications that some touch-was difficult to tell what was real. They’re like posed sensationalizing and glorifying of drug up work takes place here or elsewhere on not-real people trying to say something, and use. What is often overlooked is that Reed is some of the tracks recorded at Scepter. Nico’s we’re real people not trying to say anything. not glorifying or even advocating the use of vocal on the ‘banana album’ version of ‘I’ll They always want to analyze things instead of the drug. But in presenting his largely objec-Be Your Mirror’ is not quite the same as the taking them as they are.” tive account of heroin use in so poetic a fash-one heard on the acetate, while ‘All Tomor-The article hints that Nico is still being ion, he might perhaps make the prospect of row’s Parties’ is given a new double-tracked pushed as the star attraction of the group; using the drug more attractive than many find vocal part at some point. In both cases, as with she is the only member of the group quoted comfortable. (“It wasn’t pro or con,” Reed the other three songs definitely re-recorded in it, adding to her growing portfolio of enig-later tells the 1993 BBC documentary Curi- at TTG, the improvements are small but sig-matic interviews by telling Wasserman “with a ous. “It was just about taking heroin, from the nificant. half smile, that she was, in fact, a total phony. point of view of someone taking it.”) One other track from The Velvet Underground ‘It’s my defense,’ she explained … ‘We have a

Reed’s decision to change the opening line & Nico, ‘There She Goes Again,’ is definitely gratified personality. Everything is just there, of the lyric from the Scepter version’s “I know recorded in the spring of 1966, but it’s not we don’t have to fight for anything. And that’s just where I’m going” to “I don’t know where clear whether the song is taped at Scepter in the way it should go – it would make things I’m going” prompts an angry response from April or TTG in May. Whatever its origins, easier, there shouldn’t be battle all the time, Cale, who calls it a “complete surrender” in the song is the most conventionally catchy constant competition. Do you understand his autobiography. “You fucked up the whole tune on the Velvets’ debut, and in fact will what I mean?’” song by changing the premise,” he tells Reed. sometimes be criticized for lifting its opening It’s possible that Nico also appears on pub-“The song is not about drug taking, it’s about riff from Marvin Gaye’s ‘Hitch Hike.’ But this lic television in San Francisco around the a person who hates himself, and the reason he doesn’t detract from the genuine quality of a same time. The May/June 1971 issue of Art hates himself is not clear to anybody because song that showcases the Velvets as a lean and In America mentions that, at some point in there’s this conviction in the first-person line, fairly accessible, hard-edged rock band, even 1966, “at a press conference in San Francisco and you don’t question it after that. It makes if Reed’s superbly sardonic vocal and lyrics on KQED, Gerard Malanga and Nico answer that song much more powerful and gives that hint at drug use, prostitution, and sado-questions directed to Warhol, who remains it more drive. When you say, ‘I don’t know masochism are hardly ordinary rock fare. The silent. This seems to be the first event of a where I’m going’ it gives the game away in song also contains one of Reed’s best vocal continuing style of allowing other people to the first line.” ad-libs as he waves the antagonist goodbye speak and act for him.”

Cale is not the only one dissatisfied with the with a devil-may-care machine-gun stutter at new version of the song. As Maureen Tucker the fade. Friday 27–Sunday 29 later complains in the fourth issue of What By the time they’re finished at TTG, the Fillmore Auditorium, San Francisco, CA Goes On, “‘Heroin’ drives me nuts. It’s a pile Velvets have a full album of great material As Charlie Rothschild recalls, one of the few of garbage on the record … the guys plugged that seems ready for release. One more song shows the Velvets manage to play at the Trip straight into the board. They didn’t have their will be needed, however, before Tom Wilson is attended by up-and-coming San Francisco amps up loud in the studio, so of course I is satisfied. rock promoter Bill Graham, who “said that couldn’t hear anything. Anything. And when he wanted to bring them to the Fillmore.

we got to the part where you speed up, you Saturday 21 He was a very clever promoter. If he could gotta speed up together, or it’s not really right. The first mention of The Velvet Underground make a buck and make something happen, And it just became this mountain of drum in the British music press is buried in an inter-he would do it. I don’t think that when he noise in front of me. I couldn’t hear shit. I view with Graham Nash of The Hollies in Disc came down and saw them at the Trip, he couldn’t see Lou, to watch his mouth to see & Music Echo, in which he mentions that his was overwhelmed by the music. I think he where he was in the song. And I just stopped. friends, The Mamas & The Papas, “like to talk was overwhelmed by Warhol, the music, the I was saying, ‘This is no good, this isn’t gonna about music and about this strange group at media, the psychedelic thing, and it was work, we need phones or something.’ So I the Trip called The Velvet Underground.” translatable into, ‘You put it on and they stopped, and being a little wacky, they just The Velvets will shortly return the favor by will come.’ I would assume that [Graham] kept going, and that’s the one we took.” lifting a lick from The Mamas & The Papas’ saw what happened in New York, and he saw

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From left: Sterling Morrison, John Cale, Mary Woronov, Lou Reed, Andy Warhol, 98

Nico, Gerard Malanga, and Maureen Tucker in Los Angeles, May 1966.

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what happened in LA with all the celebrities being invited to a “glamorous cocktail party” is charged with carrying an offensive weapon coming out.” attended by the Warhol crowd.) after being seen with his whip in an all-night

Bill Graham, according to Paul Morris-As far as the Fillmore light show is con-diner in the city’s North Beach neighborhood. sey, “was a horrible, awful person. He actu-cerned, Paul Morrissey notes in Factory Days Malanga had arrived at the diner with Reed ally begged me. He said, ‘I’m going out of that “we could see they didn’t have anything and a friend on the group’s second night in business, I need your group, they’re getting at all like what we had. They simply had the city, but ends up spending the night in so much publicity.’ I thought, well, why not. some oils projected behind the group.” This, jail. But they didn’t want to do it; Lou didn’t want according to Doug Yule, who will replace John Jim Paltridge’s article for the Daily Cali-to do it. I kept saying, ‘Let’s do it, ’cause we Cale in the Velvets in late 1968, “is one of fornian reflects how the media still sees the need the money.’ We had no money; we were Sterling’s rants that he would go on: they felt Velvets as just one of several parts of the sitting there. Once he had them booked, he that when they showed up with the Exploding Exploding Plastic spectacle. “Andy starts one started screaming at everybody and screaming Plastic Inevitable that Graham was doing like of the projectors,” he writes. “Giant picture at Andy, who was not used to being screamed kindergarten-level light shows, and they kind of Nico eating a candy bar. Andy turns on at. He was very timid. I later heard that he of opened his eyes and then he ripped ’em another projector. Giant picture of Edie Sedg-did so much business that he was able to pay all off, took all our ideas and put that out as wick in black bra and panties sitting on an all his back bills.” (Warhol will meet Graham his own. Which always seemed to me kind of unmade bed with a handsome boy wearing again on January 29 1978 when, as he writes like sour grapes. But there was that element; jockey shorts. ‘What do you mean, Andy?’ in his diary, “it finally came out after all these that was something that was talked about from asks Edie’s voice over the loudspeaker. The years that what made him really hate us wasn’t time to time.” Velvets set up their equipment. Nico comes the Velvets’ music – it was that he saw Paul “In San Francisco, we played the Fillmore out on the stage. Nico: ‘The song is “I’ll Be eating a tangerine and throwing the peels on and no one liked us much,” Cale tells Rolling Your Mirror.”’ Mary and Gerard are writhing the floor of the theater! Can you believe how Stone in February 1971. “We put the guitars together with their whips. The static din takes long it takes to get the real story?”) against the amps, turned up, played percus-on a shrill steel sound as Johnny Cale scrapes

Knowing that they won’t be playing at the sion, and then split [a trick that, according to the electric violin tucked under his long face. Dom in New York again until June at the ear-Hetty MacLise, had been introduced to them On the balcony a crowd forms around Andy. liest, the Velvets play three evening shows at by Angus MacLise the previous year]. Bill Gra-Four boys in electric paisley shirts and tight the Fillmore with The Mothers Of Invention. ham came into the dressing room and said, red pants are seeking his favor … “As it turned out, the society people did come ‘You owe me 20 more minutes.’ I’d dropped a “Lou, the lead singer, sings, ‘Shiny, shiny, and the art crowd did come when he did it cymbal on Lou’s head and he was bleeding. ‘Is shiny, shiny boots of leather.’ Gerard takes off at the Fillmore,” says Rothschild, “and that he hurt?’ Graham said. ‘We’re not insured.’” his blue shirt with ruffled sleeves, his greasy, was not the crowd that [Graham] had at his This may or may not be the same San Fran-curly, blond hair falls over his face, he kneels rock’n’roll emporium. It was a happening cisco performance Reed cites in a fall 1966 in front of the strobe light with his arms out-event. More so than putting on Janis Joplin taped interview with Nat Finkelstein where stretched. Severin appears on the balcony or The Grateful Dead. It took it to another “we told the other group, why don’t you leave dressed in black rubber trousers, white shirt, dimension.” our machines on and you can play against tie, and frock coat. A woman in a white vinyl

As in Los Angeles, The Velvet Underground them. But by then the manager of the theater coat pushes toward Andy, with a news photog-find themselves at odds with the emerging had gotten afraid, and because he was scared rapher behind her.” (It’s not clear whether Californian hippie sensibility. The group and he turned all the machines off.” the Severin Paltridge refers to is someone Graham take an immediate disliking to each The assaultive wall of sound is at least in playing the character from ‘Venus In Furs,’ other, in part because they find his light show keeping with Reed’s music-making philoso-or perhaps the actor Severn Darden.) laughably inadequate compared to the more phy of the time. As Charlie Rothschild recalls, Like Paul Morrissey, Sterling Morrison sophisticated EPI set-up. “They had to rent “Lou Reed said to me once when we were will also recall that Graham makes a lot of equipment, because this was Bill Graham out in San Francisco that he wanted to play money over the weekend, which suggests in the embryonic days of the Fillmore,” says so that the electronic impact of the music that the shows must be well attended. Yet Rothschild. “They had to rent a spotlight and would somehow cause something to happen the Exploding Plastic Inevitable and The Vel-a mirror ball. Then one of the other attrac-in the brains of human beings. He wanted vet Underground find themselves the targets tions wanted to use their spotlight, and Bill to somehow affect them through his music. of one of their most scathing reviews in the Graham said, ‘Well, I will pay you for half of Not emotionally, but electronically, is the way form of an extraordinary attack in the San the rental’ – which was like $20 – ‘I’ll pay I interpreted it.” Francisco Chronicle by Ralph J. Gleason, one $10 dollars toward it,’ so that the other act If San Francisco dislikes the Velvets, then of the most respected music writers in the could use it.” the feeling is certainly mutual, as the group USA, who will soon co-found Rolling Stone

“Actually we built the light show at the Fill-in turn hate the emerging psychedelic scene, magazine with Jann Wenner. “Andy Warhol’s more Auditorium,” Morrison will later claim led by groups such as The Grateful Dead and Plastic Inevitable, upon examination, turns in an interview published in the March 6 1970 Jefferson Airplane. Reed hates the Airplane out to be nothing more than a bad condensa-issue of Fusion. “Bill Graham didn’t, nor did so much, in fact, that he refuses to share a bill tion of all the bum trips of the Trips Festival,” any San Francisco entrepreneur. When we with them, having previously become enraged, he writes, making reference to the legendary showed up Graham had a slide projector according to POPism: The Warhol ’60s, when early psychedelic events that took place in with a picture of the moon. We said, that’s Danny Williams put on an “early recording” San Francisco in January 1966. “But justi-not a light show, Bill, sorry. That’s one of the of the group (which must be their first single, fying Barnum it drew a goodly number of reasons that Graham really hates us.” (Mor- ‘It’s No Secret’) at the Dom. people to the Fillmore Auditorium … Open-rison will give a more arcane reason in the July Another damper is put on the EPI’s brief ing night was really crowded even though 1993 issue of Q: that Graham is miffed at not stint in San Francisco when Gerard Malanga couples of San Francisco hippies were con-

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tinually walking out shaking their heads and ship was amazing. The Velvet Underground The couple’s presence becomes yet saying ‘Wow!’ in wonder that such a bore had a kettle-drum player, and they had this another irritant in the already volatile rela-could be.” weird stuff, almost [like] a fuck scene on the tionship between Graham and the Velvets.

Describing Nico as “the whip girl who looks stage with some chick getting whipped, and “I let Severn Darden and his lady into the like Mick Jagger in drag,” Gleason goes on to I went, ‘Oh wow, this is music?’” Fillmore, and Bill Graham read me the riot call the music “something of a drag, The Vel- “Like I said before, they were from the act. How could I let people into his club?” vet Underground being a dull group, behind East Coast, which was like another planet recalls Charlie Rothschild. “I went, ‘Bill, you at least a half-dozen local groups in interest. to those people up in San Francisco,” notes don’t know who this person is, [he’s] a friend The girl and the guy with the whips danced Mothers Of Invention drummer Jimmy Carl of mine, an actor. The Velvets just stayed in on stage in a crude attempt to be sexual. The Black. “Hell, they felt the same way about the their house.’ I wasn’t going out on the street Velvet Underpants sang a song about whips. Mothers in the beginning because we were and bringing people in for free. He just went, It was all very campy and very Greenwich Vil-from down south in LA. [The Velvets] weren’t ‘You’ll never do this again! None of your acts lage sick. received worth a shit up there. That time we will ever play my place!’ And then the next

“But the worst thing is that it was non-were received great because we had played a day, in the Chronicle, there was a picture of creative and hence non-artistic. It was not few times up there and the people were finally Severn Darden at the opening with his girl. new at all, everything but the whips bit has getting used to us.” Then Bill Graham had to rethink what he been done better here. In fact it was one of “We spoke two completely different lan-had done.” the dullest light shows I’ve seen at the rock guages,” says Mary Woronov of the East–West Speaking a couple of years later, in the dances … By taking the elements of the Trips clash in Martin Torgoff’s Can’t Find My Way March 10 1968 edition of the Los Angeles Festival and tightening them up and putting Home: America In The Great Stoned Age, 1945– Times, Graham makes no bones about his on a ‘show’ to be ‘watched’ rather than expe- 2000. “We were on amphetamine and they dislike for the Velvets. “A prime example of rienced, all life was removed. Warhol’s films were on acid. They were so slow to speak with my bringing in something I don’t like was the are a triumph of monotony into boredom. these wide eyes – ‘oh, wow!’ – so into their Andy Warhol show,” he tells journalist Leon-The Plastic Inevitable is the same principle ‘vibrations’; we spoke in rapid machine-gun ard Feather. “I thought it was important that applied to a rock’n’roll dance … fire about books and paintings and mov-if anything has that much notoriety, it should

“‘America is waiting for this,’ one of ies. They were into ‘free’ and the American be exposed for what it is. [I] notified the press Warhol’s managers said. I wonder. I really Indian and going ‘back to the land’ and try-in front that I was doing it for just that pur-do. If this is what America’s waiting for, we ing to be some kind of ‘true, authentic’ per-pose. So he brought in the show, with The are going to die of boredom because this is a son; we could not have cared less about that. Velvet Underground and the film with the celebration of the silliness of cafe society, way They were homophobic; we were homosexual. perverted scene and the whole bit; the worst out in left field instead of far out, and joyless. Their women, they were these big round-tit- piece of entertainment I’ve ever seen in my The rock group, The Velvet Underground, ted girls, you would say hello to them and they life. It was supposedly geared toward the con-was really pretty lame. By contrast, the Moth-would just flop on the bed and fuck you; we cept of what’s happening to youth today; but ers, who are not really the most exciting thing liked sexual tension, S&M, not fucking. They when you looked at it, what was it? Negativism. around town, sounded positively delightful were barefoot; we had platform boots. They Everything was anti. It was sickening, and it merely because they brought the tempos were eating bread they had baked themselves drew a real Perversion USA element to the up a bit from a dirge to a funeral march.” – and we never ate at all!” auditorium. The only thing that saved the day In his book The Jefferson Airplane And The San More open-minded than Gleason is his was, I brought in The Mothers Of Invention, Francisco Sound, Gleason adds, “It was a per-counterpart at the San Francisco Examiner, for protection. fect example of the misinterpretation of the Phil Elwood, who writes that the EPI experi- “In itself the Warhol thing made a great freedom of rock music and the San Francisco ence “was hardly a revolutionary experience point, because it really showed what I wanted artists,” but it’s doubtful that Warhol or the for San Franciscans long used to rock dances, to say. ‘Look, America, look what you’ve cho-Velvets are – or ever will be – influenced by visuals, black and strobe lights, and other gim-sen as your artistic hero.’ Sure, we made a the San Francisco psychedelic scene, which in micks of a happening. But some aspects of the lot of money, but at the end of the show, in May 1966 is still only a local phenomenon. EPI were innovative and fascinating … The answer to the question ‘when do you want to

Not all reactions are as hostile as Gleason’s, Velvet Underground employed, far more than have us back?’ I simply told Mr Warhol that but he’s not alone in not knowing what to I’ve heard before (and very effectively), inten-I never wanted to see him in the auditorium make of the Velvets or the EPI. Bill Cham-tional electronic feedback in their instrumen-again.” If this holds true for the venue Gra-plin, who will shortly come to prominence tal bedlam.” Elwood will also be open-minded ham will soon open in New York, the Fillmore in the Bay Area band Sons Of Champlin, enough to write (more positively) about the East, it will cause unforeseen obstacles when is another baffled member of the Fillmore Velvets again when they return to San Fran-it comes to getting the Velvets exposure in audience. “Just out of interest I went to see cisco in November 1969. their hometown – but for their part, the The Velvet Underground and the Mothers at The San Francisco Chronicle meanwhile group might not want anything to do with the Fillmore,” he recalls in a September 1997 thinks the EPI shows are enough of an event Graham, either. conversation with rock historian Alec Palao. to feature a photograph of a couple of con-In his Fusion interview, Sterling Morri-“All these fashion people, the art community, certgoers (as well as shots of Nico and Warhol) son will imply that Jefferson Airplane – as the real limp-wristed ‘I’m hip’ types, were in its May 30 fashion section. The man in the yet without an album to their name, or a there because of The Velvet Underground. picture is Severn Darden, the actor who made Grace Slick in their line-up – open the bill The Mothers hit the stage and tore the place his way into the VU entourage in Los Angeles; at the Fillmore as an “audition group.” apart. I thought, ‘Oh my god, these guys are the woman is his friend Hetty McGee, who in There’s no evidence of this anywhere else, so funny.’ Zappa saw what kind of audience two years’ time will marry the Velvets’ original however, and it’s unlikely that a band that was out there and just went off. His musician-drummer, Angus MacLise. has already become the most popular local

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act on the psychedelic-rock scene – and has June already released a single for RCA – would

be billed as an ‘audition group’ behind

the less popular Velvets and Mothers. The

fact that the group’s current female singer, Wednesday 1 Signe Anderson, gives birth on May 27 also Andy Warhol, Nico, Ingrid Superstar, and vari-makes it highly unlikely that they would be ous other “glamazons from his underground performing at the Fillmore or anywhere else movie entourage” travel to Boston to tape this weekend. video introductions for a Pop Art Theater series

Another mini-myth, given credence by the on local station WNAC-TV. According to a 1995 television documentary Rock & Roll, press release the stations sends out the follow-states that Jim Morrison is inspired to start ing the day, Warhol will act as a consultant to writing songs after attending one of the Vel-the eight-week series, with Nico appearing as vets’ San Francisco shows. There are several the “hostess.” Among the films to be shown as until September, by which time the venue has reasons why this is not true. Morrison for one part of the series are such camp non-classics as become the Balloon Farm. In fact, the Velvets had already written the backbones of several King Kong, Tarzan The Ape Man, White Savage, won’t perform again in New York until these songs when The Doors formed in 1965, and Batmen Of Africa, and Dick Tracy Meets Cue Ball. fall shows, despite the mention, in an April in fact decided to form a band with keyboard-Quite how this charade is going to advance 7 Park East report, of their apparent interest ist Ray Manzarek after singing one of them, either Nico or Warhol’s career is unclear, in participating in the Central Park A Go Go ‘Moonlight Drive,’ to him on a Los Angeles and no film footage exists of any of the video concert series this summer. beach. And Morrison is almost certainly not intros. Maybe it’s just a chance to make some For the record, Andy Warhol will later claim in the audience at the Fillmore, since The easy money. In Jim Paltridge’s October 10 in a 1979 interview for What Goes On that “we Doors are in the midst of a residency at the 1967 article for the Daily Californian, Paul wanted to get out of [the Dom] anyway, we Whisky A Go Go in Los Angeles. Morrison was Morrissey is described as telling Warhol that didn’t want a nightclub. It was just too hard. in the audience when the Velvets played at the he’s asking $1,500 for Warhol’s services, and We could’ve gotten it back [but] we weren’t Trip, however, and it will later be suggested $500 for Nico’s. happy there. We could have found some other that he bases some of his stage act on Gerard The existence of a script for Nico’s intro place and we did, we started another place Malanga’s leather-suited whip-dancing. That’s to Dick Tracy And Gruesome makes it hard to called the Gymnasium.” (The VU will play a as far as the Velvets’ influence goes, but Mor-believe that she could get through her patter residency there in April 1967.) rison will pop up again in the VU story in without laughing or hiding under a desk in In POPism, Warhol gives the impression about a year in a brief yet crucial role as Nico’s embarrassment. “Hi luvs. I’m Nico,” it begins. that Morrissey makes no attempt to rent the lover and muse. “It’s just super-marvelous being Miss Pop Art Dom again until the fall, but other people’s

“The VU influenced The Doors?” asks Ray of 1966. It’s something I’ve always dreamed of, recollections suggest that the Velvets would Manzarek. “How? Musically? No chance. They but never thought would happen to little me. be keen to go right back to the residency if couldn’t play. We were working John Coltrane Imagine! Andy Warhol, the famous pop artist, possible. Charlie Rothschild however recalls modal territory. Miles Davis was our influence. Campbell Soup Cans, underground movies, that “when they came back [from California], Lou Reed influence Jim? Lyrically? Jim was the Plastic Inevitable, picking me! But, I’m they didn’t want to come back and play [at the coming from a point of cosmic consciousness. not here to talk about little me, I mean, what Dom]. When they wanted to come back and Carl Jung. Friedrich Nietzsche. Lou was New I’m here to talk about is so super-fabulous, play in the fall, we had adapted and brought York street hustler punk. Great, but not Morri-these movies that Channel 7 is going to show in other acts in order to survive. We had to son. No way. They did have a nice junkie rush, for the next eight weeks, they are REALLY put on attractions that would bring people however. I liked that. A punk band before its what’s happening” – whereupon she is sup-in, and couldn’t be beholden to The Velvet time.” Manzarek does however confirm that posed to launch into a multi-paragraph recap Underground.”

“Jim liked Lou Reed’s lyrics a lot. Dark, New of the plot of Dick Tracy And Gruesome, while In any case, the Velvets’ progress slows York, gay, and junkie. Almost like John Rechy also offering a teaser for next week’s attrac-down considerably in June, first when a in City Of Night,” he says, referring to the 1963 tion, King Kong. (Another script survives of bout of hepatitis lands Reed in hospital for novel that later inspires a key line in The her only slightly less over-the-top intro and several weeks, and then when Nico takes off Doors’ classic ‘LA Woman.’ outro to Tarzan, The Ape Man.) for Ibiza – perhaps to visit her mother, or

It should finally be noted that, for all the perhaps, according to Sterling Morrison, to

supposed animosity between The Velvet , Early-to-mid June do some modeling work and/or appear in Underground and the San Francisco scene, Although only two months have passed since commercials. The May 3 edition of the Los the group will play some very well-received the Dom residency and the Scepter sessions, Angeles Times mentions a plan to take the EPI shows in the city later in the 60s – parts of The Velvet Underground’s momentum is to Cincinnati, Minneapolis, and London. A which will eventually be used on one of the somehow starting to dissipate. Their trip to three-week engagement in London is also greatest live albums of all time. California hasn’t worked out to everyone’s mentioned in an April 17 article in the New

satisfaction, even if it has allowed the group York Herald Tribune, but none of these events to do some additional recording and provoke take place in the end, although the Velvets will

some admittedly mixed media attention in eventually make it to Cincinnati in November.

Los Angeles and San Francisco. “Barbara Rubin wanted to bring us to Lon-

The obvious next step might seem to be don, so I guess if we’d really gone to London

a return to the Dom, but for one reason or it might have been more successful,” Warhol

another, the group won’t appear there again would later tell Mary Harron in a February

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1980 Melody Maker interview. “I’m sorry we titis; Nico is in Ibiza; and Warhol apparently The solution was: John stays on keyboards didn’t do that. She wanted to get the Albert otherwise occupied. Even Mary Woronov can’t completely. If John wanted to do bass stuff on Hall.” On June 11 1965 Rubin had organized make it, but Gerard Malanga and a silver-clad the keyboard, like [The Doors’] Ray Manza-another event at the same venue, a poetry Ingrid Superstar are on hand as dancers, and rek, then we did. Otherwise we had Maureen reading by Allen Ginsberg widely regarded as Danny Williams is there to work the lights. playing bass. On ‘All Tomorrow’s Parties,’ the UK’s first major counterculture event. The poster nonetheless bills the show as Andy Maureen played guitar, which she could do.

Tensions are also starting to mount between Warhol And His Exploding Plastic Inevitable, She had played guitar in that all-girls band.” the Velvets and their managers. Under the while also suggesting that it will include “the Against all odds – and perhaps to Reed’s terms of the group’s contract with Warvel (the new sound of The Velvet Underground with consternation – the group are so well received company formed to manage them), all mon-Nico – Pop Girl of ’66.” that they’re asked to stay on for another week. eys go to Warhol and Morrissey, who deduct For the Velvets to pull off the concerts with-As the Velvets don’t yet have a record out and their 25 per cent before distributing the rest. out either of their lead singers requires an have barely played outside of New York, not Reed however refuses to sign the MGM con-ingenious reworking of their usual line-up. many people know that Lou Reed is the usual tract until the terms are reversed, so that the Maureen Tucker switches to bass and rhythm lead-singer, and not many are even aware of money goes to the band first, and Warhol and guitar – a development probably welcomed by his absence. Morrissey get their share second. While this Sterling Morrison, who only usually handles “No one knew the difference,” Cale later might be an astute business move on Reed’s bass out of a sense of duty when John Cale is tells Rolling Stone in February 1971. “We part, some will see it as placing an irreparable on viola. Cale himself plays more keyboards turned our faces to the wall and turned up strain on the relationship he has with the men in the absence of Reed’s guitar and handles very loud. Paul Morrissey [and] Danny Wil-who, when all is said and done, are responsi-the lead vocals (a role that’s not without prec-liams had different visions of what the light ble for whatever financial success and media edent, since he sang a few of the songs on the show should be like, and one night I looked exposure the Velvets have so far enjoyed. July 1965 demo, including ‘Venus In Furs’). up to see them fighting, hitting each other in The band-members have also begun to feel Some accounts suggest that Morrison takes the middle of a song.” that Warhol is paying them less attention than some of the vocals as well. Among the new fans the Velvets make in he might have in the past, but in fairness he Filling in on Indian-style drums, played Chicago is Susan Pile, who has just graduated can’t be expected to devote all of his time to while sitting on the floor, is the Velvets’ old from a nearby suburban high school. She’s the band when he has so complex a multime-friend Angus MacLise. He quit the group initially disappointed not to see Warhol or dia operation to oversee. But the group are about six months ago, on the very eve of Nico – “We wanted to meet [the] ‘Girl Of The nonetheless disappointed when Warhol passes their entry into proper ‘rock’ venues, but now Year,’ she recalls, “but we got Ingrid instead” up an opportunity to take the EPI to Europe gets his chance to play some shows with the – but is soon won over the spectacle. “The after Denis Deegan – who was present when band after all. Before the shows, he goes with first time we went, somebody asked us to use Nico first met Warhol in 1965 – calls from Warhol and Malanga to Reed’s bedside to let these tin foil pieces to swing in the strobe Paris offering some bookings. This won’t be him know what’s happening; Reed, ill as he lights. We thought that was utterly cool. The the only time Warhol fails to follow through is, makes it clear that this will be a temporary experience of dancing with all of the strobe on a chance to take the Velvets across the gig. MacLise seems to have realized that, far lights, the other colored lights, the film in Atlantic. The Andy Warhol Museum’s archives from selling out, the Velvets are still doing a very small space was just transcendent. We include a couple of feelers put out to him exactly what they want, and apparently has just couldn’t stop coming back for more. We about bringing the group to Germany, while second thoughts about his having left. The were addicted; I think we went every night.” he will also be asked about the possibility of a Velvets are not about to let him back in on Both Pile and her friend Ed Walsh will later be Swedish tour even after he has ceased formally a permanent basis, however. He still has the seen in a short film made at Poor Richard’s, to manage the Velvets. same eccentric notion of when to show up Andy Warhol’s Exploding Plastic Inevitable With and when to leave, arriving a half-hour late The Velvet Underground; later in the summer,

ALSO … for one show but carrying on drumming on the pair will dance with Big Brother & The Perhaps expecting the first VU album to be his own after the set to make up for it. Holding Company as Atom Man and Tinsel released imminently, John Cale writes to Kate As Morrison will later tell Ignacio Julia, Woman during the band’s Chicago engage-Heliczer in London, informing her he’s “now “We did lots of practicing just to make the ment at the Mother Blues club. embarrassed by the existence of the tapes” – songs work. That was the first time that we As for Reed’s absence, Pile adds, “We didn’t the demos he sent last year – and wants her ever played with people missing, and after know who Lou was, so that was immaterial,” to send “both copies back.” She does, but a that anybody could be missing and the shows but he is at least represented in the form of copy of some Velvets demos or other will soon would go on – John or Lou or anybody, it projections of footage from his Warhol screen-fall into the hands of a friend of hers who is didn’t matter. We had already demonstrated tests. And while the Velvets “weren’t making about to start managing a British psychedelic that we could do it. If John could sing, there any contact with the audience whatsoever, group called The Pink Floyd … was no demonstration of it before then. [Mor-Gerard was very amiable. Ingrid was very rison here seems to have forgotten about the delighted to have someone think that she was

Tuesday 21–Sunday 3 Ludlow Street demos.] I figured he could, but a brilliant superstar.” Pile becomes friendly Poor Richard’s, Chicago, IL had such a strange voice, you could hardly with several members of the EPI entourage Showing more resiliency than the other main sing harmony to it … We had no choice. We and ends up getting kicked off a lakefront players in the Velvet Underground story had to rehearse all the songs, John had to beach one night in the suburbs when Malanga might have expected, the group travel to practice singing. But we came up with real has the effrontery to wear a bikini. Chicago for a weeklong engagement at Poor good versions of them. A report by Susan Nelson in the June 29 Richard’s – without Lou Reed, Nico, or Andy “We had to do ‘Venus In Furs’ and ‘Heroin’ edition of the Chicago Tribune highlights yet Warhol. Reed is still in the hospital with hepa-without the viola. That was a major problem. again how many reviewers of the EPI are still

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paying much more attention to the Warhol “Let’s hope it’s killed before it spreads.” (The the Poor Richard’s shows, written on headed films and dancers than to the Velvets. After LP jacket also mistakenly misspells Williams’s paper from a restaurant six blocks from the quoting only Malanga and Superstar in her first name as Michaelo.) venue, will later be included in the catalog article, Nelson concludes, “Concerts are usu-Another quote that the group will later use for the 2007 exhibit c/o The Velvet Underground ally attended for their entertainment value. is found in a Variety review by an unnamed New York, NY at Glenn Horowitz Bookseller in But after the novelty of the lights and the big reporter, who calls the show “a three-ring psy-New York City. It’s fascinating in part because amp shocks of the group wore off, it seemed chosis that assaults the senses with the sights of the inclusion of several songs that the Vel-that most of the audience in the loft of Poor and sounds of the total environmental syn-vets won’t record until much later in the 60s, Richard’s was bored – and on the verge of drome.” The Velvets, the article continues, are and a few songs that they won’t record at all. heat prostration. To feign comprehension – a “four-piece big beat band that specializes in These include ‘Pale Blue Eyes’ and ‘That’s some tried valiantly – is letting a group which discordant music … As the beat increases, four The Story Of My Life’ (listed here as ‘Story Of admits its farcicality put you on.” stroboscopic lights go on, causing the room to My Life’), both of which will end up on 1969’s

In a review of the June 24 show for the Bos- appear to jump about and giving everything The Velvet Underground; ‘Foggy Notion,’ which ton Broadside, Larry McCombs similarly treats a nightmare quality … Lighting is the most will be recorded in May 1969 but not released the music as an almost incidental aspect of impressive part of this show, although The until it’s included on the mid-80s compila-the EPI extravaganza, while also complain-Velvet Underground’s throbbing cadences tion VU; ‘Mr. Rain’ (aka ‘Hey Mr. Rain’), not ing about the stifling heat – not surprisingly, prove to be extremely interesting.” None of recorded until May 1968, and not released perhaps, when you consider that the Poor the band-members are mentioned by name in until 1986’s Another View; and ‘Book T.,’ also Richard’s shows take place in an unventilated the piece, but Malanga, Superstar, and Danny known as ‘Booker T.,’ an instrumental that former synagogue, in which temperatures Williams are – with Williams misleadingly will never yield a studio recording. (A live ver-exceed 100 degrees. described as the “mastermind” of the EPI. sion appears on Peel Slowly And See.)

“One of the musicians is a girl. Or is it?” Sterling Morrison will later recall that at Another song on the setlist is ‘Searching,’ McCombs writes. “There’s an electrified violin some point during their visit to Chicago, the better known as ‘Sister Ray,’ performed here making horrible bagpipe sounds against the Velvets tape a couple of radio show appeara good year-and-a-half before its inclusion on noisy background. It’s grating, terrible, and ances as well as a guest spot on a television White Light/White Heat. According to Morrison, yet your mind latches onto that bit of tune program hosted by Studs Terkel, one of the the song first takes shape at Poor Richard’s, against all the chaos. It’s almost a relief … most beloved oral-historians and interviewers but it’s still an instrumental at this point. More The music gets noisier, the violin is frantically of the 20th century. Back in New York, Warhol surprising however are the inclusions of three screaming a tune … riles up Reed by visiting him in Beth Israel songs of which no Velvets recording exists.

“The music is lost in a chaos of noise. Are hospital and telling him how well the band is ‘Mae’ could, at quite a stretch, be another there children chanting or singing? The doing without him. name for ‘Foggy Notion,’ which makes amplified violin goes higher and higher, In a conversation with Reed reproduced in repeated reference to a Sally Mae; ‘I Guess becomes a shriek, a feedback noise, a regular UpTight: The Velvet Underground Story, Ingrid Things Happen’ could perhaps be a cover of dit-dah-dit of unbearable Morse code scream-Superstar reports that the makeshift band Johnny Cash’s 1958 hit ‘Guess Things Happen ing above the other noise. It all builds to a went down well in Chicago, creating “their That Way,’ although it’s hard to imagine the tremendous climax. You wish it would stop. own little variations on ‘Heroin’ and ‘Waiting song fitting into a VU set in any way, shape, or The musicians build wilder and wilder. The For The Man’ and ‘Venus In Furs.’” In Andy form. ‘Hey Ho’ meanwhile is a title that can’t drummer hits a shuddering beat that you feel Warhol’s Index, she adds, “There was one last be tied to any known Velvets song. through the floor. It’s all coming to an end. song they did in the show, and they had the Whatever these unknown songs might be, But it doesn’t. It goes on. The lights flash in feedback from the guitars which sounded like the setlist proves that, by mid 1966, the Vel-your eyes. The noises all blend into one and 12 million guitars going at one time with these vets’ repertoire of original songs extends at your mind tries to sort out little bits of rhythm amplified intensified screeches that really hurt least twice as far as what ends up being used or tune.” the eardrums, and it was nothing but a chaotic on their debut album. The absence of ‘I’ll Be

In the Chicago Daily News, Michaela Williams confusion of noise. You couldn’t even make Your Mirror,’ ‘Femme Fatale,’ ‘All Tomorrow’s provides another of the quotes that will end out any distinction or hesitation between the Parties,’ and ‘Wrap Your Troubles In Dreams’ up being used inside The Velvet Underground notes, and I wouldn’t call it beautiful and I from the list also implies that the group has & Nico, albeit one that is cobbled together don’t know what I’d call it. It’s different. And dropped all of the Nico-sung songs for their from the headline and various phrases scat-I’m sure the audience readily would agree shows without her. tered throughout her piece. “Warhol’s bru-with me …

tal assemblage – nonstop horror show,” she “We seldom got any applause, maybe one or C FILMING Andy Warhol’s Exploding Plastic writes. “He has indeed put together a total two claps here and there and when the audi- Inevitable With The Velvet Underground environment, but it is an assemblage that ence walked out they just walked out struck in During the Velvets’ residency at Poor Rich-actually vibrates with menace, cynicism, and a daze and a trance because they were just so ard’s, Chicago filmmaker Ronald Nameth perversion. To experience it is to be brutal-shocked and amazed they didn’t know what shoots footage of the shows for this documen-ized, helpless – you’re in any kind of horror to think. They didn’t know whether they were tary which, in its first edit, will premiere as you want to imagine, from police state to mad being put on or being put out or being put in a 22-minute film in November 1967. Its very house. Eventually the reverberations in your or whatever you want to call it.” Superstar also title is a tip-off that the film is not just about ears stop. But what do you do with what you infers, in UpTight, that she, Malanga, MacLise, The Velvet Underground, but a document of still hear in your brain? The flowers of evil and Cale do a ‘reading’ of sorts in Chicago, the overall Exploding Plastic Inevitable expe-are in full bloom with the Exploding Plastic based around ‘Venus In Furs,’ ‘Heroin,’ and rience. To the grave disappointment of many Inevitable.” What the group won’t be reusing, ‘Wrap Your Troubles In Dreams.’ VU fans, the group can only be glimpsed for however, is the last line of Williams’s story: A handwritten, 15-song setlist from one of a mere ten seconds of this first edit. There

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are no shots whatsoever of Angus MacLise, which was a very powerful experience. So, the any extra lighting so as to be able to record while the images of the other band-members intention was to recreate as much of my own Warhol’s projected film imagery and the light are brief and impressionistic. There’s much personal experience as possible. To do that, show on the walls, floors and ceilings, as well more footage of people dancing to the EPI I would place myself as close to the action as as of the performers and the Velvets. than there is of anything else. But unless some possible, and immerse myself in that intensive “Film for sound projections is normally unexpected document is unearthed from the experience. recorded at 24 frames per second. Since film Warhol archives, this will probably remain the “One has to remember that this was 40 stock in 1966 was radically less sensitive than most vivid document of the Exploding Plastic years ago, in 1966, and that ‘rock’ concert the film stock of today, and there often was Inevitable on film – with the added bonus of a films [as we know them today] had not yet not enough light to make recordings, spe-little unreleased live VU on the soundtrack. come into existence. In addition, rock videos cial techniques were used that would make

“The intention to make a film about Andy were still 20 years away in the future! However, it possible to record low light imagery onto Warhol’s Exploding Plastic Inevitable with The one might say that the EPI film was actually film. One of the techniques used to make up Velvet Underground was primarily to create one of the first true rock videos because it for the lack of film sensitivity and to enable a film that would give a direct experience of was focused on a very direct visual and audio recording in situations where there was not the event,” Nameth explains. “It was not to be experience. enough light to expose at 24 frames per sec-a documentary about the event, but rather it “The equipment used was the least expen-onds was to expose the film at eight frames was to be a direct visual and audio experience. sive 16mm portable silent film camera per second. This increased the light sensitivity It was meant to provide as much of a feel of available – the Bolex. This was what most by 150 per cent. the original EPI experience as possible. underground filmmakers used at the time, “Later, the film sequences were optically

“Prior to making the EPI, I had made sev-including Warhol. The camera in its basic printed, so that each picture frame would eral films which were based on the same focus form allowed a maximum of three minutes be reproduced two more times to create of a non-narrative, direct visual experience. I on a roll of film. This meant that after three the amount of frames needed for it to be had also created a number of light shows for minutes, one had to put the camera into a projected at 24fps. However, the resulting rock bands, and I had also been seeing a lot of black camera bag, to unload the reel of film motion is not realistically lifelike. Instead, it underground films and things New York and and put into a film can, and then open a new is an experience of another space and time – San Francisco. I knew about the VU and that can of film and load the camera again – all something that is outside ordinary time. One the EPI had opened at the Dom in New York. inside this black camera bag. One could not newspaper review commented that this time So, when it was clear that the VU and Warhol’s see what one was doing – it was all done by shift out of ordinary reality actually benefited EPI tour would be coming to Chicago, I got touch. It took about five to ten minutes to the film very much, because it created a shift interested in making a film of it and made load each reel of film, which only lasted for in time similar to that of the strobe light, and arrangements for permission to film it and three minutes. So, to compensate for this slow added to the experience of a space outside of record audio. I worked alone because there process, I simply shot as much as I could dur- ‘normal’ time. was only enough money to cover the costs of ing the three sets each evening for the entire “[Some] sequences were combined and film stock and film processing.” first week of the show. eventually five layers of imagery were synchro—

Nameth’s approach is similar to that of “The experience of the Velvets’ music and nized together. However, films in the 60s were the EPI. Instead of making a straightforward the Warhol multiple-screen films and the light primarily made for one screen with one image film, he uses numerous superimpositions, show completely overwhelmed everyone. So, level, and film equipment only provided the black-and-white negatives, freeze-frames, most people in the audience never noticed possibility to preview one screen image. As and strobe-like effects, as well as montages me filming. For the most part, I would lie the work continued, it became clear that with connecting innumerable stills and other very on the floor up front at the stage, low and many levels of imagery viewed simultaneously, brief shots. Because of the strobe lights and out of the way. Sometimes, I would be on the that it might be possible to come closer to the darkness, he shoots at eight frames per floor under a table, loading the camera with re-experiencing the same level of intensity of second but prints the footage at the stand-a new roll of film. My hands were so wet with the live EPI. So, the final cut of the single-ard speed of 24 frames per second, resulting sweat that it was difficult to keep the film dry screen film of the EPI used up to five levels of in an otherworldly, jerky motion. He also when changing camera rolls. Recently, I met imagery to provide this intensity of imagery. shoots without sound; the music heard on the with John Cale and we were talking about our “Even though this single screen version of soundtrack isn’t what is actually being played experiences at that time in Chicago, and he the film worked well enough, it does have while the dancers writhe around and the EPI said that he could not actually remember me one limitation, and that is it is not able to light-show works its kaleidoscopic magic, but filming – so, it seems that I was able to make provide the spatial environment experience is instead a combination of live sound from myself inconspicuous when recording for the of the EPI. The only way to do this is to actu-Poor Richard’s and officially released VU stu-film. John Cale also mentioned that a feature-ally have a spatial environment with multi-dio recordings. length documentary film for cinema is being ple-screen projections. However, this was not

Nameth’s intention, he explains, “was not made about him and he discussed an interest possible to make in the 60s because 16mm to make a conventional film of a rock group to include some sequences from the Explod- film-projector loops only had short durations. in concert. In any case, such a film would ing Plastic Inevitable film in this feature-length So, this solution had to wait many years, until not have been possible with the camera documentary.” digital technology, DVD recordings, and video equipment I had available to me. Instead, As far as the unusual look of Andy Warhol’s projectors of sufficient light intensity became my focus was to record the essence of the Exploding Plastic Inevitable With The Velvet Under- available and made it possible. The first multi-EPI as a direct visual and audio experience. ground is concerned, Nameth says, “Most films ple-screen version used four screens. Later, a The Velvet Underground’s intensive sound at that time required a lot of stage lighting to seven-screen environment was developed for and Warhol’s film projections and light-show compensate for the film stock’s lack of sensitiv-a space with multiple rooms, and recently a imagery created a total sensory environment, ity to light. However, [this] was made without twelve-screen environment was created in con-

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junction with an exhibition of Andy Warhol’s From Warhol’s inter-media, the sharp cry of crescendo. The overall effect makes ‘Heroin’ media work.” pain and desperation which seems to be the sound far more ‘normal,’ at least in compari—

While no film could entirely capture the heart of all his work, Nameth has employed a son to the menacing Reed-sung versions. It’s multimedia splendor of the EPI, Nameth’s pulsation of light and sound to modulate an also interesting to note that Cale has slyly does convey something of both the excite-event into an abstraction. With its stop-fram- reverted back to the original opening lyric ment and hyperactive chaos of an Exploding ing, sunbursts of light, blood-bursts of color, (“I know just where I’m going”), having been Plastic event. Among the non-VU members of its mixture of black and white, negative, its annoyed at Reed’s decision to change it while the entourage, Gerard Malanga takes more of dancers moving sinuously through the vortex recording the song in Los Angeles. the spotlight than anyone else, notably when like memory’s white ghosts, its metallic glints The soundtrack version of ‘Venus In Furs’ his whip-dancing is accompanied by ‘Venus of sliver and slivers of clashing color, even in is unfortunately incomplete, cutting off after In Furs’ on the soundtrack. its use of heavily-grained print for aesthetic the second bridge, but there’s enough there

As for why there’s so little footage of The purposes, it has become dance-animation of to show that once again Cale brings a less Velvet Underground in the original edit of the a decadent dream.” serious but still playfully devious tone to the film, Nameth explains, “The primary reason An even more effusive review of the film is vocal delivery, and again substitutes organ for [is] that the dance performers were in the included in Gene Youngblood’s 1970 book viola. These things aside it’s pretty close to lighted area on stage while the VU preferred Expanded Cinema, in which it is hailed as “a most other 1966 performances of the song, to place themselves in a darker area off to the paragon of excellence in the kinetic rock-although there are some nice cymbal crashes side of the stage. The Velvets were not into show genre … There’s a spectacular sense of from MacLise (cymbals being a part of the being ‘entertainers’ – they made little contact frantic uncontrollable energy, communicated drum set that Maureen Tucker rarely uses). with the audience, and even sometimes played almost entirely by Nameth’s exquisite manipu-The soundtrack also includes a brief piece with their backs to the audience and simply lation of the medium … Staccato strobe guns of discordant instrumental music improvised concentrated on their music … In addition, stitch galaxies of silverfish over slow-motion, live at Poor Richard’s that doesn’t resemble they were often dressed in black. So that stop-motion close-ups of the dancers’ dazed any known VU song, as well as studio versions together with the low light setting made it dif-ecstatic faces.” Youngblood also reveals of ‘I’ll Be Your Mirror,’ ‘European Son,’ and ficult to record them on film. However, I have something of Nameth’s methods, noting the Nico’s ‘It Was A Pleasure Then.’ gone back to my original footage and created director “developed a mathematical curve As enjoyable as these live versions of ‘Her-a new edit entitled The Velvet Underground In for repeated frames and superimpositions, oin’ and ‘Venus In Furs’ are for VU obsessives Andy Warhol’s Exploding Plastic Inevitable. Some so that the result is an eerie world of semi- – if for nothing else then to provide a marked footage of the Velvets was also taken by Danny slow motion against an aural background of contrast to their usual arrangement – they’re Williams, and recently this footage has been incredible frenzy.” no match for the versions performed by the now included in a new revised version of the The film is unlikely to gain wide circulation Reed/Cale/Morrison/Tucker line-up. And film.” in the 21st century, Nameth says, “as there are as enjoyable as this residency might be for

This new version contains digitally already so many DVD bootlegs available, and the band, they’ll need to get Lou Reed back enhanced excerpts of much of the EPI foot-also because it is readily available on YouTube on board as soon as he’s healthy. That means age used in the original edit, but has been and so many other video web sites. However, time’s up for Angus MacLise, who returns to constructed to focus more on the Velvets’ role there is an idea to eventually up-convert it to the world of avant-garde multimedia obscu-in the Exploding Plastic Inevitable, and less the Blu-ray HDTV format, which would cer-rity. His next act will be to record music for on Warhol’s. As well as the aforementioned tainly enhance the visual experience of the Jonas Mekas’s 12-minute film Notes On The Williams material, it also includes still photos film and also make it work even better in mul- Circus, but the tapes are unfortunately erased. of the band from their early days. The sound-tiple-screen environment presentations.” He also publishes poetry and/or calligraphy track is comprised wholly of 1966 recordings For VU musicologists, the film’s greatest for Dreamweapon magazine at some point in from the Velvets’ studio releases – and some value is the soundtrack’s inclusion of a cou-1966, but the exact nature of his contribu-of Nico’s ‘It Was A Pleasure Then’ – and ple of genuinely live songs from the Poor tions is unknown. He will never play with there’s some onscreen text at the beginning Richard’s shows. These are the only audio The Velvet Underground again, but he’ll and end of the film that lays out some of the documents of this Reedless quartet, and the make and record much more music than basics of the band’s early history. (While there only recordings anywhere of the Velvets with even most dedicated fans of the group might are no plans to commercially distribute this Angus MacLise. (Some sources claim that realize over the remaining dozen or so years version, it is available for special screenings these recordings are from the June 23 show, of his life. and other presentations; details available from but the date cannot be verified beyond all vu.aw.epi@gmail.com.) doubt.) , Late June

The original version of Andy Warhol’s Explod- The version of ‘Heroin’ included on the An extensive article on Andy Warhol in the ing Plastic Inevitable With The Velvet Underground soundtrack is quite different from all other summer issue of ArtNews demonstrates the premiers in November 1967 at the Aardvark 1966 recordings of this classic, and not just double-edged sword of the Velvets’ early press Cinematheque in Chicago, and is shown for because Cale brings a lighter and almost dain-coverage. Their association with the artist the first time on the West Coast at the Film-tier touch to the lead vocals than does Reed. guarantees them exposure in arts publications makers’ Cinematheque in Los Angeles. In a It also makes his organ an integral part of that don’t usually discuss rock music at all, but review for the Los Angeles Free Press, Richard the arrangement, while subtracting the viola the music itself is barely mentioned, with the Whitehall writes, “As a jangle and concord of so central to every other version of the song accounts instead focusing on the Warholian sound and image, a poetic expression of all the recorded by the Cale line-up. MacLise mean-spectacle and Nico’s glamour. The closest arts of white magick, of the cinema of imagery while is playing tablas, and the rhythm sticks reporter David Antim gets to a description built around the strobe-light rather than the remarkably to a steady mid-tempo throughout of the band’s music is when he writes: “Eye-arc, it is something wonderful and exciting. instead of the usual ebbing and rising to a shadow in the macabre face of his astonishing

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singer Nico, who so beautifully resembles a Tucker and Sterling Morrison’s faces are par- Wednesday 6 memento mori, as the marvelous deathlike voice tially obscured; John Cale is barely visible at Nico writes a letter to Andy Warhol from Spain coming from the lovely blond head sings, ‘Let all – only adds to the puzzle. Picture sleeves that’s indicative not just of her uncertainty me be your mirruh! Let me be your mirruh! are by no means a given for debut singles in about her future in The Velvet Underground, Let me be your mirruh!’ repeated each time 1966; the face that one exists for ‘All Tomor-but also of the whole group’s uncertain future. with the precision of a cracked record.” A row’s Parties’ suggests that Verve Records Noting that she still hasn’t received the MGM slightly altered version of that sentence will intends to give the single at least a modest contract, she asks if a record has come out end up on the Velvet Underground & Nico push. And yet according to Record Collector yet, which suggests that the group were prob-jacket, but without Antim’s description else-magazine, the picture sleeve “was never issued ably expecting an album to be released quite where of Nico as being “perfect as a cadaver.” commercially, and was only ever intended for soon after the completion of their sessions ArtNews does at least include a photograph of promotional purposes. Legend has it that this in Los Angeles in May, and are certainly not the band in performance, but the musicians cover was never packaged with actual vinyl envisioning having to wait until the following are barely visible. copies; certainly, it has only ever surfaced as March. Nico also seems to wonder if the whole

a paper artifact and then in only single figure EPI enterprise might be dissolving, perhaps

, Late June–early July quantities.” The tone has already been set for feeling that the record’s failure to appear –

Playboy Club, Chicago, IL the extraordinarily haphazard, ill-conceived, and her absence, alongside Reed and Warhol, In UpTight: The Velvet Underground Story, Ster-at times self-defeating ‘promotion’ offered to from the group’s latest shows – might mean ling Morrison mentions playing a noontime the Velvets by MGM during the group’s three that The Velvet Underground will break up show at the Playboy Club in Chicago during years with the label. before they even get some vinyl out. the group’s Poor Richard’s run, with cloth-Also puzzling is the choice of tracks paired Keen to allay any fears Warhol might have ing “given to us by a mod shop in [the] Old together for this debut release. ‘All Tomor-about her not returning to New York at all, Town [neighborhood].” As with so many row’s Parties’ might be one of The Velvet Nico also reminds him that she needs him seemingly ludicrous and improbable VU Underground’s greatest recordings, but it’s far to sign some papers relating to her visa. This anecdotes, this turns out to be totally accu-too gloomy to be a commercial hit. Yet here could be part of the reason why she left the rate, as verified by a photograph in the fall it is as the group’s maiden A-side, its potency USA to begin with: bills from Warhol’s lawyer 1966 issue of Playboy’s VIP magazine show-cruelly bowdlerized by an edit that shortens dated July 1 and September 1 include fees for ing Morrison, Cale, and Gerard Malanga on the song by more than three minutes, utterly “immigration matters for Nico.” The prob-stage with several dancers, some of whom deflating the drama so purposefully con-lem will still be dogging Nico when she and are Playboy bunnies. The accompanying cap-structed on the six-minute LP version. At least a lawyer meet with an immigration officer at tion describes the show as “a recent fashion the B-side, ‘I’ll Be Your Mirror,’ offers a small Santa Monica Police Station on December 8 show-happening at the Windy City, spon-bonus for trainspotters: it doesn’t fade out, as 1967. But she’ll be back in New York before sored by mod shop Man At Ease, featured the much more commonly known LP version too long, appearing in Warhol’s The Chelsea the nouvelle vogue entertainment troupe, does, but comes to a close on a graceful guitar Girls during the summer. ‘The Velvet Underground,’ touting the most chord not heard at all on the version used on modern in way-out wearables.” In the audi- The Velvet Underground & Nico. (Mono versions , Early July–August ence is Hetty McGee, who has recently seen of both sides of this rare 45 will eventually C FILMING The Chelsea Girls some of the group’s other Chicago perform-become easier to track down as bonus cuts on Perhaps because they’re waiting for Lou ances, where she met her future husband, 2002’s deluxe, two-CD edition of the Velvets’ Reed to recuperate after his bout of hepa-Angus MacLise. debut album.) titis, The Velvet Underground have a quiet

In an interview with Nat Finkelstein taped July and August. After finishing off their stint

in the fall of 1966, Lou Reed mentions Andy at Poor Richard’s on July 3, they won’t play

July Warhol’s ingenious idea of putting a “built-in live again until August 31. But it’s almost cer-

crack” in ‘I’ll Be Your Mirror’ so that the song tainly during the intervening period that Nico

will play the refrain endlessly until the needle returns to New York to shoot her scenes for

is manually lifted off the record. The gimmick one of Andy Warhol’s most famous films, The

At long last, here’s the first official Velvet is not used in the end, but Warhol will remain Chelsea Girls (co-directed by Paul Morrissey). Underground record, on MGM’s Verve sub-fond of notions such as this. In John Cale’s Nico is definitely not back in the USA sidiary – a strangely low-profile release, con-autobiography, John Cale recalls Warhol sidering how brashly publicized the Exploding exclaiming, on the day The Velvet Underground Plastic Inevitable shows have been during the & Nico is released, “Wouldn’t it be exciting if last few months, and how much major media you could put the record on where you put THE VELVET UNDERGROUND & coverage they’ve received in the largest mar-the needle in the center of the label and it NICO

become so rare that it seems never to make it Assuming this 45’s odd pair of songs has ‘All Tomorrow’s kets in the United States. In fact the single will went backward?”

into stores, having perhaps been pressed only been selected by Verve A&R man Tom Wilson, Parties’ in a promotional run. Some collectors will it perhaps reflects his initial belief that Nico later speculate that the single might not have – who sings lead on both – should be pushed A ‘All Tomorrow’s Parties’ (REED) been released until later in 1966; it certainly as the group’s main selling point. Despite the B ‘I’ll Be Your Mirror’ (REED) won’t warrant any press coverage for at least failure – or indeed the virtual non-appearance a couple of months. – of the single, Wilson will continue to push US release July 1966 (Verve

The existence of a handsome picture sleeve, for more Nico-sung songs when it comes time VK-10427) bathing the group in dark shadows – Maureen to finish off The Velvet Underground & Nico.

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JULY 1966 n WHITE LIGHT/WHITE HEAT

the work of Reed and John Cale. While some

of it is in the amelodic style of their recent

improvisations, and makes use of shivery,

shrieking feedback, other passages feature

high, haunting notes. There’s also an assortment of raunchy, bluesy guitar-riffs that chug

along with a despondent near-amateurism.

Unfortunately, the music is mixed murkily

into the soundtrack and often obscured by

dialogue. (Years later, the original tapes have

never entered circulation.)

Monday 11

Delmore Schwartz, Lou Reed’s old mentor

at Syracuse, dies in a New York hotel room,

his downward spiral of mental illness and

substance abuse having accelerated even

before July 6, the date of her letter to Warhol “But it was not. It was just experimental foot-further in the years since Reed’s graduation. from Spain, in which she refers to having been age that was sitting on the shelves. Some of it Reed had maintained correspondence with gone for a month. Shooting of The Chelsea was obviously more interesting than others, Schwartz for a while after finishing college, Girls must almost have wrapped by July 26, but the combination of it to make it look like and made at least one attempt to visit him in however, as Susan Pile recalls seeing Warhol, a hotel gave it some logic and made it seem New York. He is scared off, however, when a Morrissey, and Gerard Malanga filming the like a film narrative. But there was no logic paranoid Schwartz threatens to kill him if he color sequence for the last reel on that day to it to begin with.” comes back, believing his ex-student to be a during a visit to New York. But it’s possible In Factory Days, Morrissey maintains that CIA spy. that Nico shoots her scenes later, since an Nico “seemed like a natural to be put in front Although he’s supposed to stay in hospital entry in Gerard Malanga’s diary dated August of a film camera, but in fact she was extremely for another three weeks, Reed checks him-5, later reproduced in The Coldspring Journal, shy. I managed to find a non-speaking part for self out for good when he’s invited by Gerard refers to her still being in Ibiza. her, basically … her beauty was a real antidote Malanga to attend Schwartz’s wake. Wearing

According to a report in the New York Times, to some of the rest of the stuff that was going black jeans, a black t-shirt, a black jacket, and “Andy Warhol’s girls – Nico, Edie Sedgwick, on on the second screen that played along-boots, Reed accompanies Malanga to the and International Velvet – were all living in side of her.” open-casket wake at the Sigmund Schwartz the Chelsea area last summer. And Andy, just “I never thought she’d be an actress,” he Funeral Home on Second Avenue. An old back from a tour with his Velvet Underground later tells the author. “I could tell immediately Syracuse classmate recognizes Reed and gives electronic rock group, wanted to make this she couldn’t. She was just so self-conscious him a ride to the burial service, where he pays film. So he decided to call it The Chelsea Girls. and shy. She was very childlike and innocent, his final farewell to the writer who has had He had no particular theme for the film, nor and it was only when she sang that this deep such a big influence on his life and work. did he have anything that might be seriously German voice made this wonderful impres-described as a script. The idea was just to show sion.” Tuesday 19 ‘people doing different things.’ So he got the Nico’s two lengthy scenes end up in the first All five members of The Velvet Underground girls together with some of his other friends and last reels of the film. In the first (mostly – with Nico using both her adopted alias and who were around at the time and portrayed silent) scene, she’s seem trimming her bangs her real name, Christa Päffgen – sign a memo them cutting their hair, talking, injecting dope before her son Ari and Eric Emerson appear for MGM Records stipulating that all royalties unhygienically into the seat of their tight blue in the kitchen behind her, with close-ups of be paid to Lou Reed. He might have missed jeans, playing lethargic multi-sex games. They Nico continuing to dominate proceedings. the Chicago gigs with hepatitis, but the docu-spent the month of August on it. Andy put The final reel, which is in color, features more ment appears to confirm his undisputed posi-about $1,500 into the thing, which is at least close-ups, zooming in and out of a pensive, tion as leader of the band, both in art and three times more than what is spent on most weepy Nico as colored lights play across her in business. underground films.” face. The other parts of The Chelsea Girls

Nico is just one of the stars of what ends up present considerably more sordid scenes of Monday 25 as a seven-hour epic, although the running various players in the Factory cast, several of In Massachusetts for a family event, EPI light-time will be cut in half when the reels are whom have actually been living in New York’s man Danny Williams gets in his mother’s car shown in pairs on a split screen. As Warhol famed artist haven Chelsea Hotel during the after dinner and goes missing. The car is later later tells Gerard Malanga, the decision is summer of 1966. found parked near the water at Cape Ann; no made both to cut down the running time Lou Reed is asked to write a theme song body will ever be found. Four decades later, and to avoid the tedium of editing so much for the film, but doesn’t finish it on time. He Williams’s niece Esther Robinson tells his footage. He also claims at one point to have will eventually come up with the excellent story in the 2007 documentary A Walk Into The done it so that audiences can watch another ‘Chelsea Girls,’ which appears on Nico’s 1967 Sea, which also features excerpts of Williams’s screen if they’re bored. debut LP, Chelsea Girl, and is co-credited to work, including several brief, silent snippets

“I assembled different reels in order to Sterling Morrison. The Velvet Underground of around 15–20 minutes of footage Williams make them look like it was some sort of film also contribute incidental music to the film, shot of The Velvet Underground rehearsing about people in hotel rooms,” Morrissey adds. although some reports claim this to be solely in early 1966.

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“There’s a filmmaker friend of mine and Fugs, The Holy Modal Rounders, and Pearls venue – including a few by the Velvets. The John’s, mainly John’s, named Tony Conrad, Before Swine. student newspaper of Vermont’s Middlebury who did a thing called Flicker,” Reed explains The Velvets Underground’s contribution College meanwhile describes Nico as a “stun-to Lenny Kaye in a 1976 New Musical Express is the aptly titled ‘Noise’ – one-and-a-half ning blonde girl in bell-bottoms and safari interview. “Now Flicker was using the [idea minutes of instrumental improvisation heard coat and a richly colored shirt” who strolls of] playing around with strobes. In our show, faintly beneath a radio report of the wedding around “looking decorative” while the event the guy who was doing the lights … Danny of President Lyndon B. Johnson’s daughter, is being set up. Williams [got] into the same idea, which was Luci. It’s a tuneless cacophony even by the According to The Velvet Underground Web combinations of strobe lights. If you didn’t Velvets’ standards, and made all the more Page, the famous color photograph of the do it randomly … people could literally get grating by having to fight it out with a simul-group in action used on the back of The Velvet bowled over. taneous radio broadcast. This might well have Underground & Nico is taken at one of these “Tony showed Flicker, which was exposed been the point if the overall intention of the Chrysler Art Museum performances. The frames and unexposed frames, at the old Cin-LP is to reflect the chaos and turmoil of the shows are set up by Steve Sesnick, who in a ematheque, and the first night he showed it times (and of the Lower East Side in particu-later interview claims to have started working two kids had a heart attack. The next day they lar). But the net result is an unpleasant listen on the group’s bookings during their trip to had to have a disclaimer. People thought they even for hardcore VU fans. California in May. (Sesnick will soon play a far were kidding, but bam! There was an epileptic “I really remember little of the East Vil- more important long-term role in the group’s fit. It worked. … The strobes we were using lage Other event other than they wanted to career when he takes over their management when we were doing the Exploding Plastic have the live radio broadcast of the wedding from Warhol and Morrissey.) Inevitable, [Williams] would sit for hours up playing throughout,” says Richard Alderson, In an unpublished interview with What Goes at the factory, all that aluminum, seven strobe one of the four people credited as having On’s M.C. Kostek and Phil Milstein, Sterling lights, and you can imagine. He used himself ‘edited’ recordings on the LP. “Of course I Morrison will later recall: “That was where we as a test subject. That’s why [John and I] used also ‘recorded’ the whole thing too, but they had our own silkscreen posters that Andy did. to wear sunglasses when we played. We didn’t didn’t want more than a few microphones set I don’t think they were on the poles more want to see it. We knew, and Danny, he was so up and tape rolling for the whole thing. Only than a minute, and the first night of the show far gone he killed himself.” (This, it should be some of the Velvets were present, and Andy there, they sold for $35 apiece. So they were noted, is Reed’s own take on what happened [Warhol] just stood silently watching everyone useless as advertisements. I said, ‘Andy, let’s to Williams. For the record, Paul Morrissey milling about.” (Alderson is also the engineer just pretend like we’re gonna play, and we’ll maintains that Williams “didn’t have do any-of recordings by numerous ESP acts, includ-just sell posters. We sell 50 posters, it’s more thing to do with any lights or the Plastic Inevi-ing The Fugs and The Holy Modal Rounders, money than we’re gonna make.’” table; that was done entirely by me. There was and mixed the live sound on Bob Dylan’s his-In POPism: The Warhol ’60s, Warhol himself no light show other than the five film projec-toric 1966 world tour.) mentions a police raid of one of the shows, tions, five slide projections, and one spotlight The presence of the Johnson wedding claiming that “somebody had tipped them that was used in a mirror ball that revolved. broadcast in the background confirms that off that the Velvets had stolen most of the We didn’t need any other lights, nor could we the recording of ‘Noise’ takes place on August leather braids and whips they were using in afford them; there was no place to put them 6 1966 – the 21st anniversary of the United their act from a local handicrafts store that or anyone to work them.”) States’ bombing of Hiroshima. The date is afternoon. When the police came in, Mary also confirmed by an entry in Gerard Malan- [Woronov] had just strapped Eric [Emerson]

ga’s diary, later published in the Coldspring to a post and was doing the S&M whip-dance

August Journal. around him. They confiscated the whips and

then undid Eric so they could confiscate the

Wednesday 31–Sunday 4 straps he was tied with.”

Chrysler Art Museum, Provincetown, MA The presence of Emerson, Nico’s new boy-After a three-month gap, the full Velvet friend, annoys Gerard Malanga, who is starting Saturday 6 Underground line-up finally returns to to resent having to the share the spotlight in M RECORDING details unknown action as part of this latest series of Explod-the EPI show. Emerson increases the tension The East Village Other is one of the first ing Plastic Inevitable concerts. They perform further by stealing a painting from the Chrys-‘underground’ newspapers in the USA to every night at 9pm and 10:30pm, with an ler as a prank; only some quick-thinking fix-it give a voice to the counterculture. It runs a additional midnight slot on Friday Septem-work by Paul Morrissey stops the authorities few ads for Velvet Underground concerts in ber 2. Posters for the event advertise “the from pressing charges. Also dancing on this 1966, as well as one of the first substantial crashing sound of The Velvet Underground,” trip is teenager Susan Bottomly, aka Interna-stories about the Exploding Plastic Inevitable. “underground movies,” “strobe lighting & tional Velvet, who reportedly causes a further It also toys briefly with the idea of putting mirror balls,” concluding: “It’s where enter-rift when Reed – who, like Malanga, has been out an audio newspaper of sorts, compiling tainment’s going.” having intimate relations with her – catches an album subtitled Electric Newspaper – Hiro- It certainly impresses one youngster in the her in bed with Cale. shima Day – USA Vs. Underground in August audience, Ken Brown, who later describes the Despite the increasingly volatile sexual 1966. The East Village Other LP combines rock, show as “fabulous. The combination of lights and egotistical dramas within the VU and folk, and improvised jazz, as well as spoken and strobes and film, as well as the music, was the EPI, Reed, Cale, and Morrison are still word, audio-verité recordings, and general probably the first experience like that I had close personally as well as musically, sharing weirdness. It ends up being released later in ever had, and a transformative one.” Brown an apartment they dub the Sister Ray House the year on the ESP label, home to numer-will soon find himself working the light shows in honor of the song they’ve been working ous avant-garde jazz musicians as well as The at rock concerts for the Boston Tea Party on there. In the fall Cale and Morrison find a

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place near East 10th Street, while Reed moves most ‘star’ potential, even if she is the group’s won’t help to smooth things over. “The Vel-into an apartment just 50 yards away on the most peripheral musical contributor. vet Underground has released a lousy single same block. The real frustration eating away on Verve Records,” the Navigator announces. at the band is the failure of their debut album Friday 16–Saturday 17 “Andy Warhol produced it, Nico sings (hah-to get released. It continues to linger in the The Balloon Farm, New York, NY hah) on it. It’s the musical equivalent of a can through the summer and into the fall, With the Dom having recently changed hands, painted Brillo box which sells for $400.” losing precious momentum with every pass-The Velvet Underground’s hope of having a ing month. place of their own to play when they want , Late September

to doesn’t seem to be working out. Then Another picture of The Velvet Underground

Charlie Rothschild and Albert Grossman ask appears in an art magazine, this time the fall

September them to play at the new club they have opened issue of Art Voices, which includes a black-and-

upstairs, the Balloon Farm. The Velvets aren’t white Nat Finkelstein shot of the band and

too happy about coming back under these cir-Gerard Malanga. cumstances, but they accept the offer anyway,

perhaps out of an eagerness to play regularly Thursday 22

Thursday 15 again for the first time since their residency The second known VU record review appears

C FILM The Chelsea Girls downstairs ended in April. in the Teen Talk column of the New York Post.

Nico is the only member of the Velvets to “The lease for the fall was taken up by “Rock’n’roll, as we indiscriminately call all appear in The Chelsea Girls, which premieres at someone else that I had employed earlier,” popular music these days, is in such a fertile the FilmMakers’ Cinematheque tonight, but says Paul Morrissey. “It was kind of humiliating estate of growth and expansion that all sorts plenty of Factory alumni with roles to play in to have to go back under those circumstances, of strange things are happening to it,” writes the VU saga star in the film as well, includ-especially for me, but Andy wasn’t going to Susan Szekely. “One is that people from the ing Gerard Malanga, Mary Woronov, Ingrid keep handing [the Velvets] money to pay bills, worlds of art and poetry have chosen it as a Superstar, International Velvet, Eric Emerson, and they needed a job.” medium of expression. An example is a new Brigid Berlin, and Ondine. (According to Paul Although things won’t quite be the same release by The Velvet Underground & Nico, Morrissey, a sequence with Edie Sedgwick is now that someone else has control of the part of the pop-art world of Andy Warhol cut at the actress’s insistence.) lease, the Balloon Farm shows are still simi- … The record features the deathish, dismal,

For such a long, unconventional film, The lar to April’s EPI events. The first probably distinctive voice of beautiful former fashion Chelsea Girls becomes a surprising commercial takes place on September 16 – it’s certainly model Nico singing ‘I’ll Be Your Mirror’ and success, despite – or perhaps because of – a the first to be advertised in the Village Voice. ‘All Tomorrow’s Parties.’ Warhol produced New York Times review that describes it as “a The announcement that “Andy Warhol’s it.” The column also claims “there’s even an travelogue of hell – a grotesque menagerie of Exploding Plastic Inevitable Returns to 23 St underground Velvet Underground fan club lost souls whimpering in a psychedelic moon-Mark’s Place” makes a clear comparison to led by a 16-year-old girl,” but no other evi-scape of neon red and fluorescent blue. At its April’s Dom shows, but this won’t be quite dence exists of such an organization. worst it is a bunch of home movies in which so intense a residency as the Velvets enjoyed Mr Warhol’s friends, asked to do something before. Although some later accounts will give Friday 23–Saturday 24 for the camera, can think of nothing much the impression that the group play at the Bal- The Balloon Farm, New York, NY to do … Seldom has the tedium of life – even loon Farm every night, the Village Voice ads It’s probably one of this weekend’s shows life among the wicked – been documented clearly specify that the shows take place only that’s covered in the September 29 edition so faithfully.” on Friday and Saturday nights. They’re cer-of the Village Voice, and described as contain-

Time magazine decides that there is “a tainly long shows, however, with an advertised ing the usual “dizzying amount of visual stuff: place for this sort of thing, and it is defi-duration of 9pm–3am. psychedelic patterns, strobes, spotlights, bub-nitely underground. Like in a sewer.” But Charlie Rothschild’s role with the band ble machine, and the long, slow blow-ups of Warhol picks up plenty of good pull-quotes is somewhat misinterpreted in a brief note the Beautiful People and their Hershey bars from some other respected publications, with published in the August/September issue of in inscrutable staring contest with the camera. Newsweek calling the film “a fascinating and national folkmusic magazine Sing Out!, as Plus the screeching electronic violin, rock and significant movie event” and “the Iliad of the is the name of the group. “The people who roll, and ear-splitting drums. Nico hovers over underground.” The World Journal Tribune run folkmusic are just beginning to latch onto a microphone, copping her voice into an end-calls it “a landmark in underground filmmak-other scenes,” notes Israel G. Young in his less groan, the sound of an amplified moose.” ing”; the Village Voice notes that “Warhol is Frets And Frails column. “The latest example (As reporter Richard Goldstein later notes, it’s documenting a sub-species of the New York is Charlie Rothschild, who now manages Andy because of comments such as these that Nico sensibility that Paddy Chayevsky only mim-Warhol’s pop art groups, The Velvet Under- “hated anyone associated with the Voice.”) icked, that Clifford Odets only hinted at”; ground & The Plastic Inevitables, along with Because of a brief illness to John Cale, the and the Columbia Spectator concludes that The Fugs.” Velvets are joined for several of these shows by The Chelsea Girls is “one of the greatest films Fluxus composer Henry Flynt, for whom the

ever made.” Sunday 18 La Monte Young piece ‘X For Henry Flynt’

The Chelsea Girls will eventually play in The first known review of a Velvet Under- – performed by Cale at Goldsmiths in July cinemas around the USA, grossing around ground record appears in the San Francisco-1963 – is named. Flynt already knows Cale – as $500,000, according to Nico: The Life & Lies Of based Mojo Navigator, itself perhaps the first well as Tony Conrad and Walter De Maria – An Icon. The film’s success gives further weight rock fanzine of note in the USA. But if the from earlier in the 60s, and took a couple of to the idea that Nico is still thought of as the group’s early impressions of San Francisco guitar lessons from Lou Reed at some point member of The Velvet Underground with the have been sour, the magazine’s comments around late 1965/early 1966, later describing

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SEPTEMBER 1966 n WHITE LIGHT/WHITE HEAT

them as an “extremely streamlined introduc-a very good idea.” Reed, he adds, “occasion-Kate [Heliczer] would have given it to me. I tion to basic rock techniques.” He has also ally danced when he was off the stage, and did think it was a very good tape … but the collaborated closely with La Monte Young, perhaps danced better than anybody I’d ever lyrics were not like pop lyrics.” having recorded an unreleased duet with seen. It made, actually, a bigger impression on Jenner also tells the author, “I think it was him in January 1962 that drew praise from me than the guitar playing.” a primitive recording. I don’t think it was a both Nesuhi Ertegun of Atlantic Records and Later in 1966, Flynt will record an album’s masterpiece, [but] you could certainly hear Earle Brown of the Time label, only for each worth of material as the guitarist and singer in the songs; you could hear the lyrics. I’d just man to suggest that the musicians approach Henry Flynt & The Insurrections. The group’s started managing the [Pink] Floyd with my the other. (Time of course is the label that raw, primitive sound is similar in some respects partner, and I thought, ‘Oh, well, that’s good, put out Lou Reed’s recorded debut with The to that of the Velvets and The Fugs, but has there’s another band we could manage.’ It Shades in 1958.) more of a hillbilly flavor (particularly in the was really stupidly naive. I think Hoppy had “I just substituted for John Cale for four vocals), and is frankly not nearly as impressive a number for John Cale, and I phoned him performances in 1966,” Flynt later tells the VU as the music being produced by their Lower up and said, ‘Oh, would you like me to man-fanzine What Goes On. “[Sterling Morrison] East Side peers. (The recordings won’t be age you?’ called me up at 4am and said that Cale was released until 2004, when Locust Music issues “He told me to fuck off, I think, in a very out and they needed me to substitute for him. I Don’t Wanna.) nice way. ‘That’s all right – we have someone I came in and Reed taught me their pieces. In The drummer on the album is Walter De who does that for us,’ you know. I think Cale about five minutes he taught me their whole Maria, but Flynt remains unaware of the Vel-said something about how they were with repertoire because basically he just wanted vets connection until he is interviewed for Andy Warhol, and I’d heard of Andy Warhol, me to be in the right key. That was about all this book. “The Insurrections were a studio so I was very impressed. ‘Oh wow, they’re okay, that he was interested in. At one point I kind creation made possible by Walter De Maria’s that’s a shame, next please’ … it was a very of got in a fight with him on stage because I generous offer to play rock with me in 1966,” short conversation, ’cause back in those days, was playing a very hillbilly-influenced style on Flynt tells the seventh issue of Dream Magazine Transatlantic phone calls were very expensive. the violin and that upset him very much. He four decades later. “I employed some guitar John Cale was very pleasant to me in a so-wanted a very sophisticated sound, he didn’t techniques learned from Lou Reed, and the slightly patronizing way, which is fine. It’s want rural references in what was supposed songs reflected my politics and my aim of what I deserved. It was a real amateur-hour to be this very decadent S&M image that they superseding the official culture of the official approach.” were projecting … Left. We never performed in public. As with Jenner quickly dashes any hope that a copy “Playing in those things was strange. They everything I ever did, there was no response of the demos is still in his archives. “I lost the would play for an hour at a time and some-that could sustain it.” tape many years ago,” he admits. “The two times I had the feeling that I was in hell. After songs which I really remember were ‘Heroin,’

you began to play for 45 minutes in this thing, Friday 30–Saturday 1 ’cause I’m very sort of middle-class English, everything began to get blurry. Sometimes I The Balloon Farm, New York, NY and you know, my god. ‘Heroin?!’ And then wasn’t even aware of the relationship between This weekend probably marks the midpoint ‘kiss the boots of shiny leather’? ‘What is this?! what I was doing and what was coming out of of the Velvets’ Balloon Farm stint, assuming This is a bit strong!’ Nevertheless, it was obvi-the speakers.” it ends on October 15. ously very avant-garde, and obviously didn’t Flynt later tells the author that Reed “just sound like anything else. It really grabbed reduced everything to a single principle. I the ear. The only thing I’d heard really from

think that the only thing that he may have America probably was things like The Fugs. I October

told us about a piece that might have lasted found The Fugs really interesting, but I really 15 or 30 minutes was just that it had a single didn’t want to listen to them. Whereas I did chord change in the middle from the tonic to like what I heard [on the Velvets demos], the dominant or something. It seemed to me Although some accounts place the incident which is why I phoned him up. It was very like they were just improvisations, and that the in the summer, it’s probably around now that startlingly strong.” only thing that mattered was that you were on Peter Jenner, an assistant sociology lecturer at It’s not clear whether the tapes Jenner hears the right tonic. But I don’t remember any par-the London School Of Economics, first hears are from the Scepter sessions acetate; another ticular structure at all.” Flynt remembers Nico a batch of VU demos. The LSE is a fee-free grouping of studio tracks for a planned album; and Gerard Malanga performing what he calls underground university of sorts, while Jen-those old mid-1965 Ludlow Street demos that “a kind of dance in place,” and describes Reed ner is also the co-founder of an avant-garde have been doing the rounds in the UK; or “exclusively as a lead guitarist,” whom Flynt recording company, DNA Productions, whose something else entirely. But considering Jen-did not see “move to the microphone or start sole release (via Elektra) is by the British free-ner knows Kate Heliczer, it seems likely that singing at all.” jazz group AMM. the tapes come from one of two sets of demos During breaks between the Velvets’ sets, In The Act You’ve Known For All These Years: Cale sent her in an attempt to drum up British records are played on “two turntables; they A Year In The Life Of Sgt Pepper And Friends by interest in the group. would have been running it like a disco.” Flynt Clint Heylin, Jenner recalls, “I was already Jenner has of course already seen another and Tony Conrad mischievously see this as a managing a rock group, so it would have been unsigned band a few months earlier (probably chance to “play two different records at the after September – it all came out of a party in or around June) that – like the Velvets – same time … typical sort of avant-garde, sort at Hoppy’s” – John Hopkins, co-founder of are breaking new ground in rock songwriting, of Cagean. I think that we did it, but Tony was the first British underground newspaper, the incorporation of unusual instrumentation and looking out and watching the audience and International Times. “That [VU] tape was going electronic effects, and the use of films and when it started up, they immediately stopped around, and I remember phoning up, under light shows in performance. Jenner becomes dancing. That indicated that maybe it was not the influence. Someone had Cale’s number. co-manager with Andrew King of The Pink 112

WHITE LIGHT/WHITE HEAT n OCTOBER 1966

Floyd, and will remain with the group until

March 1968 before going on to promote The

Rolling Stones’ famous free concert in London’s Hyde Park in July 1969 and manage acts including Marc Bolan, Roy Harper, Ian Dury,

Robyn Hitchcock, and Billy Bragg. His missed

stab at The Velvet Underground is one of the

first of many major “what if?” moments in the

group’s history.

C FILMING Mary I and Tiger Hop At some point during the autumn, Lou

Reed and John Cale are filmed playing guitar

and viola in the midst of a crowd of Factoryites

for the Warhol shorts Mary I and Tiger Hop.

These reels will later be incorporated into

Andy’s 25-hour epic ****, aka Four Stars.

Early-to-mid October

At some point between October 4 and 16, Lou

Reed, John Cale, and Lynne Tillman check

out The Byrds, who are in the midst of a two-week residency at the Village Gate. Reed is particularly enthralled by the extended solo

guitarist Roger McGuinn takes on the psychedelic classic ‘Eight Miles High.’

Wednesday 5

C FILMING Nico/Antoine In what makes for a weird day even by his

standards, Andy Warhol hosts a one-day visit

to New York by the French folk-rock singer

Antoine, sometimes referred to as the French

Bob Dylan. Antoine has recently had a hit in

France with ‘Les Elucubrations,’ in which he

replies to a letter from the President’s office

asking “what can we do to make the country

richer?” with the instruction “put the pill on

sale in the dime stores.” The record’s success

leads to a mention in Time magazine and a US deal with Warner Bros, but Antoine will

never take off in America, even after coverage

of this visit appears in the New York Times, the Village Voice, and Datebook.

Antoine is met at the airport by Warhol and

Nico, who is holding a bunch of bananas. He

visits Betsey Johnson’s Paraphernalia store,

where he’s fitted with a black velvet suit and

snapped by a New York Times photographer, and attends an evening ‘protest meeting’

with The Fugs. In between times Warhol films

Antoine, Nico, and Susan Bottomly eating Saturday 8 Wednesday 12–Friday 14 bananas under a big, peel-off Banana poster. Billboard, the leading music-industry trade According to various later claims by Ster-This color footage becomes Nico/Antoine but, magazine, cites The Velvet Underground as ling Morrison, The Velvet Underground are like most Warhol films featuring members of an example of a new breed of bands in a story approached to appear in a London rock-club the Velvets, will rarely be screened. about “record companies battling for ‘under-scene in Michelangelo Antonioni’s forthcom— ground’ artists.” The magazine reports sales of ing film Blow-Up. The plan apparently falls Friday 7–Saturday 8 40,000 for debut LPs by two MGM acts, The through because of a combination of visa/

The Balloon Farm, New York, NY Blues Project and The Mothers Of Invention, work-permit problems and the expense of The Velvets continue their weekend residency adding, “The Velvet Underground is another bringing the Velvets and their entourage to at the Balloon Farm. group in the same bag on the label.” Britain, so the role in what ends up being a classic visual document of the Swinging Lon-

Nico with the French singer Antoine in New York, October 1966. 113

OCTOBER 1966 n WHITE LIGHT/WHITE HEAT

don scene goes to another group. that the Velvets are filmed at some point at Dylan and the Marquis De Sade.” Those

If the Velvets really are considered, they’re the Balloon Farm, but no known footage sentences will later surface as perhaps the probably not Antonioni’s first choice, since exists.) most memorable of the sound-bites used on it’s also widely reported that he wants The In a 1993 interview with Pat Thomas for the inner sleeve of The Velvet Underground & Who to do their autodestruct act in the scene. Ptolemaic Terrascope, Cale recalls opening for Nico. The relatively unknown psychedelic group LA-based psychedelic-garage band The Seeds Goldstein, who also writes for the Village Tomorrow, who have yet to release a record, at the Balloon Farm. “I thought, boy these Voice and the New York Times, is one of the first also reportedly audition for the role, and are guys are great,” he says. “They had three critics to treat rock music as serious art. His even asked to write some songs for the film, hits, I think, and they were all in the same piece is also one of the first to treat the Vel-but none of them make the final cut. The chord changes, from the tonic to the second. vets’ music seriously, appropriately enough, role eventually goes to The Yardbirds, who I grabbed one of them, just as he was going but it also gives a lot of space to the other are shot for the film between October 12 and into the Balloon Farm. I said, ‘Yeah, you guys, elements of the Exploding Plastic Inevitable 14 at Elstree Film Studios in North London, you’ve got these three songs’ – I was really show. Goldstein is however the first journalist with Jeff Back smashing his guitar in a scene adamant about it – ‘you’ve got to do a whole to get meaningful quotes from Reed, Morri-obviously inspired by Pete Townshend’s stage set where you just do nothing but’ – and he son, or Cale, who tells him, “There are beauti-act. For the Velvets, this is another incident in looked at me like I had horns in my head. He ful sounds in rock’n’roll. Very lazy, dreamlike a series of a missed opportunities that’s start-was really into the three-minute version, he noises. You can forget about the lyrics in most ing to dishearten the group. They will get a was not into these paeans to Olympic great-songs. Just take the noise and you’ve got our chance to play alongside and even influence ness.” Without wanting to spoil the story, it sound. We’re putting everything together – The Yardbirds in a month’s time, but by then seems that, if this really happened, it probably lights and film and music – and we’re reduc-Jeff Beck will have left the band. (See Novem-wasn’t at the Balloon Farm, or even in New ing it to its lowest common denominator. ber 18–20.) York City. If an advert in the Village Voice is to We’re musical primitives.”

be believed, The Seeds don’t make their New Cale also explains the group’s plan “to try

Friday 14–Saturday 15 York debut until they play at the Scene for a attaching two guitars and playing them as a

The Balloon Farm, New York, NY couple of weeks beginning July 3 1967 – by single instrument. We’re working on an elec-Although the Velvets are advertised to appear which time the Velvets have virtually sworn off tronic drum which would produce sub-sonic at the Balloon Farm until the end of Octo-playing in New York. sounds. That is, you can feel it but can’t hear ber, this weekend probably marks their final it. We’d be able to add it to a piece of music

performances at the venue. In a letter to Saturday 15 and it’d be like underlining the beat.” Ed Walsh, Susan Pile calls the October 15 In a lengthy article about Andy Warhol for “Young people know where everything is performance “definitely the best show ever Art International, Kurt von Meier gives quite a at,” Reed adds. “Let them sing about going done [and] also the last show … Mary did bit of space to the EPI and The Velvet Under-steady on the radio. Let the campus types not show, and Gerard and Ronny [Cutrone ground, even bothering to discuss the group’s run hootenannies. But it’s in holes like this danced during] ‘Venus In Furs.’” Pile and actual music. “Lewis Reed, lead guitarist of – places on the West Coast without cover Walsh became involved in the VU/EPI scene The Velvet Underground, composes all the charges – that the real stuff is being born. The when the group played at Poor Richard’s group’s music,” von Meier notes. “The most University and the radio kill everything, but in Chicago. Pile is now attending Barnard impressive pieces in terms of what happens around here, it’s alive. The kids know that.” College in New York City and working part-with sound are ‘Heroin’ and ‘Black Angel’s Goldstein also asks each of the three Velvets time for Andy Warhol, as well as babysitting Death Song.’ Instrumentation is lead and bass about the relationship between drugs and the for Nico’s son Ari at Paul Morrissey’s Tenth guitars, drums, and alternatively a second gui-kind of music they’re making, to which Mor-Street apartment so that Nico can do her tar, organ, or electrified viola. Feedback and rison responds, “The whole thing is probably second set with the band. Walsh meanwhile controlled electronic distortion are utilized, easier to understand under LSD because you is studying architecture at Cornell University as in the music of some of the more interest-lose your inhibitions. You stop thinking of this in Ithaca. ing contemporary British groups such as The as a series of lights and movies and music and

As for why The Velvet Underground end Who, or in the Stones’ recent work. There you start seeing it as one abstract whole. The their stint at the Balloon Farm, Sterling Mor-is a pervading quality of relentless but curi-whole thing is twice as heady when you can rison will later suggest, in UpTight, that the ously understated deliberate monotony, also really let yourself go, but I’m not sure you group have grown tired of working for the expressed by phrasing of the lyrics – both of have to use LSD to let yourself go.” Reed uses people who have taken over the venue, while which are perfect counterparts stylistically of the question as a launching point for a more Paul Morrissey says that the group don’t want Warhol’s graphic, sculptural, and cinematic finely detailed articulation of the group’s to work at all until their LP comes out and work.” vision: “The whole LSD scene on campus is makes them famous – not realizing that the foreign to our sound. The universities are

record won’t be released until March 1967. Sunday 16 dead; the live music is coming out of peo-Some will later speculate that the organizers In a feature on the Velvets for the Sunday ple like us. And it’s not because we’re on the of the Balloon Farm have borrowed ideas magazine section of the New York World Journal Lower East Side, and it’s not because of junk. from the Velvets and the EPI in its subsequent Tribune entitled ‘A Quiet Night At The Bal-It’s because we’re us.” staging of shows by other acts. Indeed, by early loon Farm,’ Richard Goldstein writes, “The Goldstein also manages to squeeze in a November, performances by the genre-blend- sound is a savage series of atonal thrusts and mention of the Velvets’ barely heard debut 45, ing guitarist Sandy Bull will be billed as taking electronic feedback. The lyrics combine “a restrained performance in the vein of Eng-place in a “live mixed-media environment,” sadomasochistic frenzy with free-association lish groups like The Yardbirds and The Who, with “movies, lightworks, dancing, live, and imagery. The whole sound seems to be the but [which] is still the sound.” The Velvets have electronic music.” (Some reports also claim product of a secret marriage between Bob indeed been influenced by The Yardbirds and

114

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The Who, whose adventurous, distortion-rid- Nico needs the work, particularly since, this evening at the Park Avenue apartment den singles Cale brought back from England unlike the rest of the band, she has a young of Lita Hornick, owner of the Kulchur Press for the rest of the band to check out a year or child to support. “She wanted to work,” says publishing company. “Lita Hornick, garbed so earlier. (Neither ‘All Tomorrow’s Parties’ Charlie Rothschild. “I don’t think [the others in pink satin full-skirted hostess gown, wel-nor ‘I’ll Be Your Mirror’ bears much evidence did]. I don’t know what they wanted to do. comed a veritable cast of thousands to her of these influences, but Goldstein is probably But she was at odds with them. She wanted to tastefully decorated apartment, sporting all of writing with fresh memories of the Velvets in have her own career.” It seems most likely that the currently accepted pop artists hung con-concert.) these shows take place between the end of the spicuously in prominent places around the

Years later, Goldstein recalls writing the Velvets’ run at the Balloon Farm in mid Octo-pad,” writes Pile, who has once again been piece while still studying at Columbia’s jour-ber and their return to live performance in charged with looking after Nico’s unruly son nalism school, from which he graduated in Boston on October 29. (It’s also possible that in the midst of the revelry. “The Velvet Under-June 1966, before revising it for publication they take place later in the fall, in the midst ground & Nico were featured, and try-hards in the fall. “The reason I had access to them, of, or after, the Velvets’ out-of-town shows – or city-wide swarmed to ogle.” even though I had no professional reason to even later, during the first week of February have that access, was that I had a good friend 1967, when a series of Nico solo shows are Thursday 27 who was involved with Lou Reed at the time,” advertised in the Village Voice.) he recalls. “So it was almost a coincidence in In what ends up like a very poor man’s a way that I got to see them early on. There version of the Exploding Plastic Inevitable, were many bands that excited me, but when I Morrissey arranges for an 8mm projector to did see them, I thought they were really inter-show film loops behind Nico as she sings. She esting and terrific. They had the hallmark of doesn’t play an instrument, however, so Mor-important rock musicians at the time, which rissey tries to cajole one of Cale, Reed, or Mor-was an utter seriousness and a desire to make rison into serving as her guitarist. “John and a mass music that also partook of strategies Sterling would have played for her but Lou of what would later be called ‘downtown’ wouldn’t allow anybody to accompany her,” music,” meaning music associated with the Morrissey recalls. “Then finally John did a gui-downtown New York avant-garde. “And their tar recording on a tape recorder, and she had ability to make this fusion was what struck me to sing to a tape recorder and push buttons. It right away about them. Because I was interwas disgraceful what he did to her.” ested in having these things cross over, and Being forced to sing to backing tapes and be sort of mass successes. To me, they were pushing the start and stop buttons herself part of that movement of taking the sensibil-would be embarrassing and humiliating under ity of the underground, and making a mass any circumstances, let alone for somebody culture out of it. used to singing as part of the state-of-the-art

“A lot about the Velvets and their radical-multimedia set-up of the EPI. Morrissey can’t ism comes from sexual ambiguity, and later bear to see Nico embarrass herself like this, became explicit in the work of Lou Reed. It’s and later recalls getting Morrison to help out utterly groundbreaking and immensely radi-on guitar after a couple nights of torture. But Andy Warhol signs a typewritten letter to cal for its time, the idea of somebody writing the humiliation doesn’t end there: as Nico will MGM Records “irrevocably” giving the label about sexual ambiguity or transsexualism in later lament in a mid-70s interview quoted in consent to use his name, likeness, and/ the mid 60s. Those songs are still immensely The Life & Lies Of An Icon, “It wasn’t very easy or biographical material about him on the naturalistic documentaries. Under all the with all the drunks that came in and asked me jacket, liner notes, and advertising of records Warholian surface, there was a naturalism if I wanted a drink while I was singing. Some-released from the master recordings of The about them that was utterly striking, and drew times I had to be very rude. I was singing, you Velvet Underground that the company has me to them.” know, and a person would come up to me and purchased. This indicates that MGM must at

say, ‘Would you like some champagne? Here the time be planning to release the group’s

, Mid October baby, have a drink!’ It was like [her previous debut fairly soon, even though it won’t actu-

Nico, The Dom, New York, NY engagement at] the Blue Angel.” ally come out for another four months. In both UpTight: The Velvet Underground Story

and Nico: The Life & Lies Of An Icon, Paul Mor- Friday 21–Saturday 22 Friday 28–Saturday 29 rissey remembers Nico starting to play some The Balloon Farm, New York, NY The Balloon Farm, New York, NY solo shows in the Dom shortly after the Velvets According to an advert in the Village Voice, Although the Village Voice once again indicates have bailed out of the club upstairs, the Bal-The Velvet Underground are set to play at that the Velvets are set to play at the Balloon loon Farm. “The only place I could find for the Balloon Farm again this weekend but, Farm, it’s doubtful that the first show takes her was the Dom in the basement,” Morrissey as noted above, it seems unlikely that these place, and certain that the second doesn’t, explains. “Stanley [Tolkin, the Dom’s proprie-concerts take place. as the group are in Boston at the Institute Of tor] said, ‘I’d like to use her, because almost Contemporary Arts instead. 100 per cent blacks come into the disco and Wednesday 26 the bar, and they don’t drink much. I’d like Lita Hornick’s apartment, New York, NY Saturday 29 to get some white people in there, and black As Susan Pile writes in another of her let- Institute Of Contemporary Arts, people hate Nico’s music. That’ll get them out ters to Ed Walsh, The Velvet Underground Boston, MA and some white people in there.’” play a “bash for [the] artistic/literary set” After the Balloon Farm debacle, The Velvet

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OCTOBER 1966 n WHITE LIGHT/WHITE HEAT

Underground are perhaps starting to feel the group are by now no longer rehearsing the song on the piano with John Cale at a somewhat unappreciated in their hometown. in the Factory. In an extract from The Secret friend’s apartment on an actual Sunday morn-They won’t play another New York City gig for Diaries Of Gerard Malanga, as reprinted in Up- ing, Reed insists on taking the lead himself, the rest of 1966, and will barely play in the city Tight: The Velvet Underground Story, the dancer even though Nico has already sung the song at all after the spring of 1967, with the excep-reports that “last week the Velvets tried to in concert. According to Morrissey, Reed tion of their legendary stint at Max’s Kansas dump Nico.” Malanga is developing an ego is particularly adamant because he knows City during the summer of 1970. Instead the of his own, and now thinks of himself as “the ‘Sunday Morning’ will be a single; Nico only Velvets go out on the road with the EPI again, irreplaceable part of the show.” (His media appears at all after Wilson calls her back into performing here in a space next to a room profile is indeed high enough that in the the studio to add her background vocals. showing an exhibition of Warhol paintings. March 1967 edition of Pageant he will actu-Morrissey confirms that Wilson definitely Admission is a pricey five dollars, although ally be mistaken for a member of The Velvet has a 45 in mind when ‘Sunday Morning’ is ICA members get a dollar off. Underground.) In another letter to Ed Walsh, recorded. “You couldn’t put an album out According to Archiving Warhol by Gerard Susan Pile enthuses that the Velvets “are get-without having a single,” he says. “[Wilson] Malanga, “Two spotlights are aimed directly ting so much better – their album is done, but said, ‘We have to put something out as a sin-on the rotating mirror ball, giving the audi-everyone is becoming disenchanted with the gle, but there’s nothing on there that could torium a luminous revolving glow … Fifteen idea of touring.” But in fact the album still be a single, and I want Nico to sing it. But minutes into the first number I step out on isn’t done yet … I need a commercial type of song for Nico stage and slowly work my way into a new dance to sing.’ But when we got to the recording routine – a crucifixion attitudinal pose. Rona studio, Lou said ‘Yeah, but I’m gonna sing

[Page, who previously appeared in The Chelsea this.’ Wilson was surprised; Lou was really November

Girls] stands behind me with two flashlights, arrogant in a very nasty sort of way and Tom aiming their beams, through my outstretched Wilson didn’t know what to say. Lou only

arms, at the audience.” allowed Nico to come in as a kind of back-

Jack Bernstein gives the show a largely ground chorus in one verse, [even though]

enthusiastic review in the Massachusetts , Early November Nico singing had been the whole purpose Institute Of Technology’s newspaper, the M RECORDING Mayfair Sound Studios, 701 of the session. [It’s] a terrible song. It was Tech. Like most reviewers of the time he Seventh Avenue, New York, NY. Producer Tom kind of a Simon & Garfunkel doo-dee doo-focuses on the total EPI experience rather Wilson, engineer unknown. dee thing.” than the VU in particular, mentioning only “The only thing I don’t like about the While a Nico-sung recording of ‘Sunday Nico – who sings the opening ‘All Tomorrow’s record is the record is, there’s not enough Morning’ would be a nice thing to hear, Reed’s Parties’ – by name. “The biggest difference Nico,” Tom Wilson tells Paul Morrissey (as decision to commandeer the lead vocal is justi-between this music and the stuff you get on recalled by Morrissey in Nico: The Life & Lies fied by the end result, however ungraciously ‘frantic 40 radio is that you have to see this Of An Icon). “You’ve got to get another song he might have asserted himself in the studio. to believe it,” he notes. “The only aspect of from Nico. And there’s nothing here we can The song is almost sunny and catchy enough the performance which could have been use on the radio, so why don’t we get Nico to be a Mamas & The Papas tune, its seduc-improved upon was the group’s tendency to to sing another song that would be right for tive, yearning beauty – and Reed’s effectively rely on the background material for too long radio play?” breathy singing – masking an ambiguous between numbers, but once the music started, That’s why, at the last minute, one last track unease and uncertainty. (In the June 1993 all was forgiven.” is recorded for The Velvet Underground & Nico issue of Q magazine, Sterling Morrison will Susan Pile paints a rather less positive pic- – and fortunately so, as it turns out to be a claim that the bass slide that starts off the ture in her weekly letter to Ed Walsh, however. classic that makes a great album even better. track has been deliberately lifted from The “Boston’s reaction was an incredible rejec-Like ‘I’ll Be Your Mirror’ and ‘Femme Fatale,’ Mamas & The Papas’ ‘Monday, Monday,’ “like tion,” she writes. “The thing is, those who do ‘Sunday Morning’ helps balance the aggres-an elbow in the ribs – here comes a song about not get involved with the show tend to react sive, avant-garde tracks with a softer melodic paranoia, ha ha.”) Cale, the song’s co-author, in loud objection; those who do get involved sweetness – albeit one that has a double-edged enhances the luminous setting with subliminal are too overcome with the experience (capital bite, courtesy of Andy Warhol’s thematic sug-viola and, at the very beginning, an almost E) to do much of anything. And the show gestion. childlike riff played on a celeste that just hap-in Boston was beautiful – it was a stage show “Andy said to me, ‘Whyn’t you write a song pened to be lying unused in the studio. in the auditorium – no dancing by scum on about paranoia?’” Reed recalls in an inter-Although the credits in the 2002 deluxe the floor.” view with Mick Rock for the October 26 1972 edition of The Velvet Underground & Nico date edition of Rolling Stone. “John and I didn’t ‘Sunday Morning’ as having been recorded in Sunday 30 have any words for it yet, just the melody. I November, it’s possible that it’s recorded some Leicester Airport, Leicester, MA said, what a great thing to write about. All of time earlier. A tape box reproduced on the Tonight’s show is at a weird venue even by EPI us are so paranoid anyway. It’s like the Great front of the second disc of the Peel Slowly And standards: a Halloween Mod Happening in a Subject. So I came up with the line, ‘Watch See boxed set indicates that the final master converted airplane hangar off Route 56. Both out, the world’s behind you.’ I figure that’s of the Velvets’ debut is assembled on October the 3pm and 8:30pm shows are performed in the ultimate paranoid statement, that you’re 25. The title ‘Sunday Morning’ might be a front of young and evidently unappreciative being watched all the time. When actually no handwritten addition at the top of a typed list teenagers. But more serious problems are one gives a damn.” of the songs on the first side of the LP, but so developing in the Velvets/EPI camp than Ironically, ‘Sunday Morning’ won’t be sung too is the date “10–25–66,” indicating perhaps that of an unimpressed audience. Feeling by Nico after all, although she can be heard that the song is completed and added to the less and less a part of Andy Warhol’s world, moaning faintly near the end. Having written final running order on that date.

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If indeed ‘Sunday Morning’ is recorded no smoking gun has yet been found to sub-Another more mundane cause of the delay in November (or even late October) at Wil-stantiate this charge. And as to hints sub-to The Velvet Underground & Nico could be that son’s insistence, it explains to some degree sequently dropped that the Mothers are Wilson wants to test the singles market – still the interminable delay of the release of an determined to have their album out first the primary vehicle for rock music – with a album that has probably been virtually com-even if it means pushing the Velvets’ debut second VU 45 before committing to an LP. plete since the end of May. Even so, some back, there’s a simple reason why Freak Out! And indeed he will, with ‘Sunday Morning,’ members of the Velvets and their associates is ready for release before The Velvet Under- before the year is out. will later accuse MGM/Verve of pushing the ground & Nico: it is recorded first (from album back so that it doesn’t interfere with March 9–12 1966, with Wilson producing), ALSO … the promotion of the debut album by another and goes on sale on June 27 – long before Nico’s face dominates the cover of the fourth of the label’s new groups – their old nemeses, Wilson’s wish to make the Velvets’ debut issue of the forgotten Montreal monthly The Mothers Of Invention, and their dou-more commercial is fulfilled by the addition magazine Pop-See-Cul, although John Cale, ble LP, Freak Out! In his autobiography, John of ‘Sunday Morning.’ his viola, and other images from the Explod-Cale speculates that Verve’s promotional Much of the promotional push behind ing Plastic Inevitable can also be seen. While department takes the attitude “zero bucks Freak Out! takes place on its initial release in pictures of the full band are used inside the for VU, because they’ve got Andy Warhol; June, with several Verve executives – includ-magazine, the accompanying text emphasizes let’s give all the bucks to Zappa.” And in ing Tom Wilson – visiting distributors across Nico and Warhol – as usual – at the expense his April 1981 New Musical Express interview the country to give salesmen a presentation of the other Velvets. “Warhol has formed a with Mary Harron, Sterling Morrison suggests on the album. The label also organizes givea-frantic rock’n’roll group called The Velvet that “the problem [was] Frank Zappa and ways of the LP on radio stations in most major Underground,” the magazine states inaccu-his manager, Herb Cohen. They sabotaged American markets. This does admittedly rately. “They are a group to see and become us in a number of ways, because they wanted seem like more than MGM will ever do for involved in – even if you might be a little to be the first with a freak release. And we the Velvets, but it happens long before the apprehensive over their screeching electric were totally naive. We didn’t have a manager Velvets’ album is completed, casting doubt violin.” Similarly inaccurate is the magazine’s who would to go the record company every upon whether the two records would ever description of Nico as the “lead singer with day and just drag the whole thing through really have been in competition for the same the Underground,” although, to be fair, that production.” advertising dollars. much could logically be assumed by anyone This is not just something that will grow “My supposition is that the Velvets might who has heard the group’s debut single, which out of decades of bitter hindsight: even in have felt a little competitive,” says Charlie features Nico singing lead on both sides. The November 1968, in an interview with Open Rothschild when asked about the peculiar article also includes a full-page shot of Nico City, Lou Reed sees fit to complain that “our rivalry between the two groups, which he wit-in a fashionable double-breasted, striped mod first album was released six months late … nessed firsthand in California in May 1966. “I suit. The caption, taken from ArtNews, reads: because the record company was afraid of think that The Mothers Of Invention [were] “Nico, astonishing – the macabre face – so ‘Heroin’ and, two, because the manager of a lot tighter at that stage, a lot more profes-beautifully resembles a memento mori, the mar-the Mothers didn’t want Frank’s album to be sional. Frank Zappa was a brilliant mind, and velous deathlike voice coming from the lovely like our first one – there were no psychedelic [the Mothers had] a much more polished blond head.” albums [or] hip albums, then, and theirs was show than The Velvet Underground. The coming out first … I’m not saying anything Velvet Underground was a ‘happening.’ I’m Thursday 3 evil toward anybody, but there was panic, and not saying that Lou Reed wasn’t talented, and Topper Club, Cincinnati, OH ours came out six months later.” John Cale wasn’t talented, and Nico wasn’t The Exploding Plastic Inevitable’s irregular In Nigel Trevena’s book Lou Reed & The talented, and that they didn’t put on a good autumn tour of the Midwest starts tonight at Velvets, Reed is quoted as calling Zappa “prob-show. But they were basking in the aura of a club below the Cincinnati Music Hall. Andy ably the single most untalented person I’ve Andy. I think that, back in the beginning, they Warhol is not present, perhaps taking the heard in my life. He’s two-bit, pretentious, had limited appeal. time instead to oversee the numerous other academic, and he can’t play his way out of “I do not think that MGM Records was projects that demand his attention. Accord-anything. He can’t play rock’n’roll, because favoring The Mothers Of Invention over ing to an entry in Gerard Malanga’s diary, the he’s a loser. And that’s why he dressed up The Velvet Underground. In that era of the Velvets quit playing at one point, and won’t let funny. He’s not happy with himself and I think record business, the record companies would Nico sing at all. They’ve always been critical of he’s right.” (Ironically, when Zappa is posthu-sign a whole bunch of artists, and they would her singing, particularly her tendency to go mously inducted into the Rock And Roll Hall toss them out in the hopes that some of them off-key or hit the wrong pitch when they play Of Fame in 1995, the speech is given by none would happen. If they hit more often than back rehearsal tapes. In his autobiography, other than Lou Reed.) not, then they’d be successful.” And for all Cale claims that she is in deaf in one ear due “The way I heard it, it was not the Moth-the attention the Andy Warhol association to a perforated eardrum, which might explain ers, it was the record company that made a might be bringing the group, it should be her difficulties. decision to suppress [the Velvets’ debut] for noted that neither he nor anyone else in his Things get worse: with Nico thinking of a while,” says Doug Yule, who adds that the organization has the same level of experience leaving the group, and Gerard Malanga also issue is still being discussed when he joins or savvy as a full-time professional music man-apparently considering quitting the EPI, Lou the Velvets in late 1968. “They didn’t feel ager. “Herbie Cohen was a very good business-Reed and John Cale’s eyes have begun to yel-that two groups that far on the fringe could man,” Rothschild adds. “Albert Grossman was low, a warning sign suggesting that both might be released even close to each other and not a very good businessman. If you beat up on have hepatitis. Nico and Cale have been hav-interfere with each other’s sales.” the record companies, then you get them to ing a brief affair, too, which sparks tension It should in fairness be pointed out that do more for you.” between him and Reed; Cale briefly moves in

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“Unlike a traditional rock concert,” Snyder whom he will later cover ‘Heroin,’ ‘I’m

adds, “when the band stopped playing, the Waiting For The Man,’ and ‘Venus In Furs.’

‘event’ continued. Besides the sounds of tun- (Long after the Velvets have split up, Snyder

ing – and the crowd – what you heard between will come to New York to play no-wave with

songs was the recorded sound of the band Sick Dick & The Volkswagens at Max’s Kansas

on the film soundtracks. After the drone-and- City.) sway of the first number, known to legend as After the show, Snyder and his friends talk ‘Melody Laughter,’ the band followed up with to the band and Malanga. According to his

a pop tune, ‘Femme Fatale.’ It was a revela- What Goes On article, “We asked Sterling if tion.” this show was about art. He said it was about Two months later, the event is belatedly money. We asked Maureen Tucker who the

covered in the January 8 1967 edition of most decadent member of the band was. She

the Cincinnati Pictorial Enquirer, which said Lou. We helped them carry their instru-characterizes the Velvets’ sound as “the ments; these were not the instruments of rock amplified throb of single, disconnected stars, but included Sterling’s inexpensive Kay

guitar-notes. Thirty minutes later these have electric guitar and Sears Silvertone amp.”

been resolved to a rhythm. Soon after come One of Snyder’s friends, Dick Felton,

drummer, guitarist, singer, and violinist, and tapes the show on his mono recorder with

the result is a resounding folk-rock.” Once the knowledge and help of the Velvets’

again, that’s all the space that’s allotted to equipment manager, Dave Faison, who tells

the music in a story that gives more cover- them that maybe the VU will put it out as

age to the film projections and Malanga’s their debut album – perhaps suggesting that

dancing. they are losing faith in Verve to ever put an

LP out. A few months later, Felton and his

Friday 4 friend Bernd Baierschmidt are bold enough Valleydale Ballroom, Columbus, OH to visit the Factory and give the tape to Andy with Nico, but soon moves out again. Columbus, Ohio is not known as a hotspot Warhol, who makes a copy for himself. This If any of this turmoil affects the group’s of the arts, and in fact is one of least cosmo-is probably the source of the bootleg that will performance, it’s not terribly evident from politan towns the Exploding Plastic Inevitable appear years later, but it appears to circulate the account written three decades later for visits in 1966. But tonight’s show turns out much earlier: in the February 18 1971 edition What Goes On by Doug Snyder, who in 1966 unexpectedly to be one of the most well-doc- of Rolling Stone, John Cale recalls playing in is a 19-year-old graphic and industrial design umented shows The Velvet Underground play Columbus at “a huge place filled with people student at the University Of Cincinnati: “A this year, as much of it is recorded in unpro-drinking and talking. We tuned up for about guitarist (Lou Reed, as it turns out) came fessional but listenable quality. ten minutes, tuning, fa-da-da, up, da-da-da, out on the stage, and began producing what Doug Snyder and his friends were so down. There’s a tape of it. Played a whole set struck me at the time as church organ-like impressed by last night’s Cincinnati gig to no applause, just silences.” (Cale gives the tones from his white Gretsch guitar and Vox that they travel 100 miles to Columbus for venue’s name as the Masonic Hall, but has Super Beatle amp. One by one, the other tonight’s show without even knowing the probably confused this show with the one on band members came out to add to the din. name of the venue. “Even though the show November 6.) A mirrored ball slowly turned on the floor, was much like the one from the night before,” The Valleydale Ballroom tape begins with a sending fragments of light swirling around Snyder later writes in What Goes On, “I was 28-minute rendition of the mostly instrumen-the room. Eventually, the drummer brought surprised how familiar the songs were becom-tal jam of sorts known as ‘Melody Laughter.’ all the sound into focus with his (or her?) ing. I really thought that this was the future Here the Velvets are at their most avant-garde steady drum beat. A beautiful blond woman of rock music, and was surprised how tame extreme, beginning with five minutes of drum-in flowing lavender pants and dark blue pea-the music was coming out of San Francisco free, feedback-ridden squalling and scraping jacket played piano and sang some kind of the next year. Until the night before, I had before Maureen Tucker starts to establish a primordial folk music. This went on for 30 never heard guitar feedback … I had never tribal, trance-like beat. There are some rough minutes. The focus of the event was never seen drums casually set up on folding chairs similarities to the instrumental passages of on the band. They were merely a part – an and played by a woman standing up. I had ‘I’m Waiting For The Man’ and ‘Sister Ray’ in important part – of something bigger.” never heard an electric viola. I had never seen the sections that follow, but nothing as tuneful Snyder’s is the only eyewitness report of anything like Gerard’s dances, or the visual as either of those VU standards. Piano patter a VU concert to mention Nico playing the bombardment of the ‘Inevitable’ itself. At one can be heard occasionally, and there are some piano, and one wonders what ‘primordial point, Lou announced, ‘If it’s too loud … for sardonic vocal adlibs at the end. The best part folk’ songs she might have been singing – you … move back!’ Lou scolded the audience comes when Nico steps up to the plate with ‘I’ll Keep It With Mine,’ her longtime Bob for not getting up to dance and generally ‘do about six minutes of improvised, hypnotic, Dylan favorite, is one possibility. It could be things on the floor.’” wordless vocals, half moaned and half sung that Nico isn’t exactly playing the piano in It’s with shows such as these that the Vel-and sometimes climbing surprisingly close to the conventional sense: Maureen Tucker later vets, perhaps without realizing it themselves, a falsetto. (Ten minutes from this recording tells What Goes On that the Velvets would some-are slowly beginning to find their audience. are later included on the 1995 Peel Slowly And times “play two real songs, and then play one Snyder is one of the first musicians inspired See boxed set, two years after an eight-minute of these half-hour things with Nico banging by the VU to form a band of his own, Cooger edit appears on the Australian What Goes On on a piano or something.” & Dark’s Pandemonium Shadow Show, with collection.)

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“I thought it was atrocious,” says Tucker in only Cale-era live recording of ‘The Black Thursday 10 the fourth issue of the What Goes On fanzine. Angel’s Death Song’; and the only known Kenneth Pitt, manager of several British rock “But at least it was different. That would go live recording of ‘Femme Fatale’ with Nico acts – the biggest of whom is Manfred Mann – anywhere from two minutes to 42 … It used on vocals. is visiting New York. His friend and colleague to drive me crazy, because it started off with a Marian Fenn arranges for him to meet Denis

certain beat, and Lou would just do what he Saturday 5 Deegan, who has previously tried unsuccess-wanted, and the next thing you know, John University Of West Virginia, fully to get Andy Warhol to bring the Explod-would be doing what he wanted, and I had Morgantown, WV ing Plastic Inevitable to Europe. Deegan asks to stay at the same beat, and you’re hearing The EPI makes its deepest incursion yet into if Pitt can help bring Warhol to London, and this definite other beat. I used to close my the American heartland with this university when Pitt expresses an immediate interest, eyes and count to myself. Really, it was like gig, for which the entourage is paid the mag-Deegan arranges for him to meet Warhol at torture. ‘You’ve got to stop soon,’ I’d think nificent sum of $900. the Factory later in the day. There Pitt meets … Cale would play the viola, put it down and not only Warhol, but also Nico – whom he

pick up the bass, put it down, and if we had Sunday 6 has already encountered in London in 1965 an organ or something he’d play that. It just Masonic Auditorium, Cleveland, OH – and Lou Reed. went on and on.” Tonight’s show is the Velvets’ first in a city that Sadly, despite Pitt’s enthusiasm, nothing

‘Melody Laughter’ is followed by seven of will become one of their major strongholds comes of the meeting, and the Velvets never the 11 songs from The Velvet Underground & over the next few years. Lou Reed’s sister Eliz-make it to Europe before Lou Reed’s depar-Nico: ‘Femme Fatale,’ ‘Venus In Furs,’ ‘The abeth, a college student, is in the audience, ture from the group in 1970. “I’ve always Black Angel’s Death Song,’ ‘All Tomorrow’s and immediately reminds Gerard Malanga of wished we did, but we never got the chance,” Parties,’ ‘I’m Waiting For The Man,’ ‘Heroin,’ the actress Suzanne Pleshette. he tells the Metropolitan Review in 1971. “I and ‘Run Run Run.’ The main surprise, if even went and got a passport because once

there is one, is that the songs are played in Wednesday 9 I thought we were going but we never got to arrangements that fairly faithfully replicate Abraham & Straus Department Store, go … I think England would have been a lot the studio versions in spite of the group’s Brooklyn, NY more receptive.” reputation for delivering the unexpected Nico today participates in a bizarre promo-The meeting between Pitt and Warhol does when it comes to live performance. The only tion at the Abraham & Straus Department have one unexpected consequence with long-major variation comes when ‘Run Run Run’ is Store in Brooklyn for a two-dollar disposable term repercussions that nobody can envision performed in a higher key and stretched out dress, meant to be worn once and thrown in the fall of 1966. While at the Factory, Pitt to nine minutes with some extended guitar-away. The store is giving away a free paint is given an acetate copy of The Velvet Under-breaks. box with each dress, which is presumably to ground’s still-unreleased debut album, which

It’s back to unstructured improv for the be used to paint the dress for its one-time he will soon pass on to another of his clients, final track on the tape, ‘The Nothing Song,’ use. Dressed entirely in white, Nico lies a struggling 19-year-old singer-songwriter which rambles on for a good half-hour. It’s down in front of silver-foiled screens set up named David Bowie … another trance-like jam bereft of a tune, albeit to mimic the Factory as Andy Warhol and one that’s a little gentler and less abrasive Gerard Malanga stuff paper underneath her. Saturday 12 than ‘Melody Laughter.’ Nico scats along for Warhol and Malanga then silkscreen the McMaster University, Hamilton, Ontario, much of the song with a fishbowl tone that word ‘FRAGILE’ on her dress seven times. Canada suggests her voice might be filtered through A photo of an uncomfortable looking-Nico, The Velvet Underground play their first show some sort of mild distortion. It’s possible that with her son Ari – who has sprayed green outside the United States, opening an arts fes-she’s singing actual lyrics this time, but the paint on her stockings – at her feet, later tival in a town about 40 miles from Toronto. quality of the recording is too poor for the appears in a French magazine. Barry Lord’s report of the EPI show, pub-words to be deciphered. According to another Factory alumni, Ultra lished in February 1967 issue of Artscanada,

For reasons that remain unclear, for many Violet, Nico also sings ‘All Tomorrow’s Par-is yet another article that only mentions the years the only material from this tape to ties’ at the event – on which grounds it quali-Velvets in passing. “The final half-hour song appear on bootlegs is the hour of largely fies, however loosely, as a ‘concert’ of sorts. created an environment in time as well as instrumental jamming that starts and ends Warhol introduces Nico as “the first psych-place, so that it began to seem to at least some the set, originally issued in 1981 by the late edelic singer with The Velvet Underground,” of the McMaster audience as if life had always Bernd Baierschmidt on the LP simply titled who, he says, “do two hours of songs with only been this way,” he writes. “To others, it had Velvet Underground 1966. (The writhing woman the buzzing of a burglar alarm in between.” In been a confusing, noisy, probably frighten-on the jacket is not an EPI dancer, as many her autobiography, Famous For 15 Minutes: My ing experience, and when the lights went up assume, but Baierschmidt’s girlfriend.) Life With Andy Warhol, Ultra Violet adds, “The it was found that a good number had left.

Although the fidelity of the tape is rough, spectators look baffled … Shyly, Andy takes The ones who stayed had been a little more and the vocals are often buried and indistinct, out of the pocket of his leather jacket some than an audience; like the newspaper photo-the Valleydale Ballroom tape offers the best larger-than-life stick-on-paper bananas and graphs and Brillo boxes that Andy formerly known aural snapshot of the VU live in 1966, pastes them on Nico’s dress. A thin woman used, they had become part of a Warhol art and the only fairly representative indication calls out, ‘I thought he was going to paint work.” of how the songs from The Velvet Underground something by hand. That’s what I came for.’ Interestingly, the article is accompanied by & Nico sounded on stage around the time A store employee takes the mic: ‘It’s to show a photograph of Nico at the piano – the only they were recorded. Imperfect as it is, it also you how you can do it yourself. The dress Mr known picture of her playing the instrument includes the only contemporary live version Warhol has just executed will be donated to at a Velvet Underground show. It might per-of ‘All Tomorrow’s Parties’ in circulation; the the Brooklyn Museum Of Art.’” haps have been taken when, in Lord’s words,

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the musicians quietly take the stage, one by the Velvets, are one of the greatest and most ceremony to pulsating rhythms from drums one, “and begin to improvise to the recorded boldly experimental bands of the era – and and guitars.” According to La Marre, at one sound of their own music.” probably among the VU’s favorite groups as point Nico is heard groaning the words “if

With her position in the Velvets already well; one of them, Jimmy Page, met Nico a I take to love, will I find you gone,” but the tenuous, Nico causes more grief when she year earlier when he played on and produced phrase is not from any known VU song. leaves her (expired) passport in New York the B-side to her debut single in London. But The Detroit Free Press is clearly not impressed and so has to be smuggled back across the if all of this sounds like a dream combina-with Nico, “Warhol’s ‘superstar,’ [who] sang a border. It’s later reported that she ‘forgets’ tion, the teen-orientated venue is not too well bizarre and totally unintelligible song accom-the passport because she doesn’t want anyone suited to the Velvets, even if it does offer the panied by the electronic tones of The Velvet to discover her real age. She’s 28 but, like group their greatest exposure yet to a main-Underground, a rock’n’roll band. Nico, a tall, many pop singers of the time, is often passed stream audience. lanky girl with straight blonde hair, began to off as being several years younger for fear of At least one of these shows (Sunday’s) is sing just as the microphones went haywire. As seeming too old for the youth-obsessed rock billed as being part of a Carnaby Street Fun a result, she sounded like a Bedouin woman audience and media. Festival on posters that list Andy Warhol, singing a funeral dirge in Arabic while accom—

Nico (“girl of the year”), and Gerard Malanga panied by an off-key air raid siren.”

Friday 18–Sunday 20 above the Velvets. It evidently doesn’t mat-Sterling Morrison’s 1981 interview with the

ter that Carnaby Street is in London, or that New Musical Express includes the claim that, the Velvets are from New York; British music in Detroit, “Jeff Beck was flipping out … he

and mod fashions are in style in 1966, even in had a gun in his guitar case,” but if somebody

the American Midwest. The whole shebang is really is carrying a gun it’s probably not Beck,

priced at an eminently reasonable $2.10 – or who left The Yardbirds at the start of the Dick

$1.10 if tickets are purchased in advance. Clark tour at the end of October. Those Yard-

The posters also promise “the world’s birds still present are fast becoming the first

first mod wedding happening.” The Velvet major band to become fans of the Velvets;

Underground’s role in this, according to a they will hear The Velvet Underground & Nico piece that runs in local underground news- shortly after it comes out in 1967 and even

paper the Fifth Estate just prior to the shows, add ‘I’m Waiting For The Man’ to their live

is to play “the traditional wedding songs, repertoire. which will be sung by Nico. Superstar Ger- “We heard it and thought, ‘This is quite

ard Malanga will then dance as The Velvet a good song, isn’t it?’” Yardbirds drummer

Underground improvises a ‘happening’ Jim McCarty later explains to Will Shade of

comprised of instrumental sound-effects and Ugly Things magazine. “We probably did it psychedelic music.” The article also indicates because we were low on ideas and were look-

that at least part of the event might be cap- ing around for material. We played it with the

tured on celluloid, as Warhol “will bring his Jimmy [Page] line-up.” In the same interview,

movie camera to Detroit to film the wedding. bassist/guitarist Chris Dreja adds, “We did that

Michigan State Fair Coliseum, Detroit, MI The newlywed mod couple will also receive very occasionally, when odd bits of material by In what somehow manages to be both their a screen test for Underground Movies from other artists showed up in our set. That actu-most conventional and yet also their strang-Warhol during their honeymoon trip to New ally might have been Jimmy who wanted to do est series of concerts to date, The Velvet York City.” it. Good call on his part.” Dreja also dismisses Underground & Nico temporarily join Dick A report in the following day’s Detroit News Morrison’s claim about Beck carrying a gun Clark’s Caravan Of Stars tour for some shows by Linda La Marre confirms that a wedding as “rubbish … that’s so ridiculous. He’s never in Detroit. The touring package also includes really does take place between 25-year-old been into guns. He’s into cars!” such distinctly un-underground acts as Sam unemployed artist Gary Norris and Randy McCarty then offers up another quirky The Sham & The Pharaohs, Bobby Hebb, Rossi, a go-go dancer seven years his junior, memory of a series of quirky gigs. “I remem-Jimmy Clanton, Brian Hyland, and Gary Lewis in the midst of the EPI and an audience of ber coming out of the hotel one day and there & The Playboys, whose leader is about to be 4,500. “Electronic devices screamed, guitars was Andy Warhol in his limo,” he recalls. “And drafted into the army. and drums throbbed, and a fiddle added to the guy who was sort of his tour manager says,

Also on the bill are The Yardbirds who, like the din as purple and orange lights splashed ‘Do you want to come along with Andy to the

dots and squares across the stage,” La Marre gig?’ So we sat there and Andy didn’t speak.”

writes. “Nico, clad in a lavender pantsuit, The Yardbirds had recently issued their clas-

cupped the mic in both hands and began sic psychedelic single, ‘Happenings Ten Years

THE VELVET UNDERGROUND moaning some song” – later reported in POP- Time Ago,’ their only 45 to feature both Jeff

‘Sunday Morning’ ism: The Warhol ’60s to be ‘Here Comes The Beck and Jimmy Page on guitar. “And the guy

Bride.’ says, ‘Andy likes your new single.’ It was weird!

Warhol himself gives the bride away before Andy was sitting right there and this guy was

A ‘Sunday Morning’ (REED/CALE) sitting “serenely upon a box of tomato soup, speaking for him, which was really strange.”

B ‘Femme Fatale’ (REED) autographing cans. A color film of Nico’s face Record Mirror later publishes a photograph

flickered on and off the back curtains as she taken by Dreja of Warhol, with a caption cor-

US release December 1966 (Verve read a few appropriate but indistinguishable roborating the artist’s eccentric behavior:

VK-10466) sentences from a yellow book. Judge David “Andy came to see us. He said he wanted

L. Golden, of Highland Park, conducted the to be in the presence of The Yardbirds. He

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a flexidisc included with the third issue of

the arts magazine Aspen. ‘Loop’ is credited to The Velvet Underground, but is in fact wholly

written and performed by Cale; the A-side,

‘White Wind’ by folk guitarist Peter Walker,

has no connection to the group.

‘Loop’ probably finds a place on the Aspen disc

because of the magazine’s decision to produce

a “Fab!” pop-art special, co-designed by Andy

hardly ever talks in public, and communicates receives a vaguely positive review in the Decem-Warhol and David Dalton, who will later write through an interpreter.” ber 17 issue of Cashbox: “The Velvet Underground books about The Rolling Stones, Jim Morrison,

According to a story in the Jersey City State & Nico have been zooming the length and Marianne Faithfull, The Grateful Dead, Sid College student newspaper the Gothic Times, breadth of the land making a name for them-Vicious, and Meatloaf. It’s not so much a maga-the Detroit shows are supposed to be followed selves and now follow the personal stuff with zine as a customized box housing a collection of by a two-week stint in Montreal, but there is a potential-filled deck. The top side, ‘Sunday works in various mediums. In addition to more or no evidence of such an event taking place. Morning,’ is a haunting, lyrical emotion-stir- less conventional magazine articles, these include

ring chant. Listen very closely. Eerie, unusual a detergent box, inside of which is wittily printed

number back here.” Even so, when curious an ad for Verve Records, the Velvets’ fumbling

December Californian rock fan Aral Sezen tries to order record label; 12 cards with reproductions of art-

a copy of the 45 after seeing an advert for it, works from Thomas Powers’s collection; and a

as he later explains to What Goes On, he is told Ten Trip Ticket Book containing reprinted excerpts that his record store can’t get hold of it. from 14 papers presented at the Berkeley Confer-

The second Velvet Underground single, like If the hope is that ‘Sunday Morning’ will ence On LSD. the first, creates barely a ripple on its initial help to build an audience for the still-unre- ‘Loop’ itself is a hellacious seven-minute release. It also seems once again to reflect leased Velvet Underground LP, then it fails. As rumble of circular, primitive riffs and distor-Tom Wilson’s belief that Nico should be the Paul Morrissey later recalls, Tom Wilson “felt tion, described simply as “guitar and feed-focus of the band. He originally intended for that there was no market for [the LP], and back” on the label. The label also calls it the the A-side, ‘Sunday Morning,’ to be another nothing could get on the radio to promote “first half of a 15-minute recording made Nico showcase, until Reed managed to snag the album. Obviously he hoped those singles with two monaural tape recorders,” its “final the lead vocal. The appearance of ‘Femme would do something to help the album, but Fatale’ on the B-side means that the Velvets’ I don’t think they did. He was wonderful, but first two 45s feature all three of the songs the label itself didn’t know where to go with THE VELVET UNDERGROUND

she sings lead, and the only track (‘Sunday anything that was going on, even the Nico ‘Loop’ from The Velvet Underground & Nico on which this stuff. But it was also totally unlike mostly Morning’) on which she can be heard on songs.” (The rare mono 45 versions of ‘Sun- A ‘White Wind’ by Peter Walker background vocals. day Morning’ and ‘Femme Fatale’ will later (PETER WALKER)

As with the ‘All Tomorrow’s Parties’ 45, the be made available on the 2002 deluxe edition B ‘Loop’ by The Velvet ‘Sunday Morning’ single is so rare that some of The Velvet Underground & Nico.) Underground (J.CALE) commentators suspect that very few copies Although the Velvets are largely focused are ever pressed. But there are indications, on group efforts in 1966, the band-members US release December 1966 (A-1632 however slight, that Verve takes the promo- – John Cale in particular – haven’t entirely B, seven-inch flexidisc included with tion of the Velvets a bit more seriously this given up on their taped excursions into the the December 1966 issue of Aspen time around. For one thing, the single is also deep recesses of the avant-garde. One such magazine, Vol. 1, No. 3) released in Canada and Australia, and it also adventure by Cale features on the B-side of

Four of the Velvets with co-manager Paul Morrissey (left) and the EPI’s Danny Williams (second left), 1966. 121

DECEMBER 1966 n WHITE LIGHT/WHITE HEAT

groove purposely left open” so that the groove unheralded genius of our time, who developed endlessly repeats. In these respects it’s in keep-guitar techniques and sounds that just now are ing with the numerous 60s recordings by Cale being appropriated … It’s the music that kept that won’t be released until decades later. And us all intact. It’s the music that kept us from yet ‘Loop’ is somehow more interesting than going crazy … We all made love to the music. those, in part because its fierce guitar makes And the word love was used and used and used it both more ‘rock’ than most of Cale’s other in all the music. Over used, again and again, experimental tracks of the period, and also because that’s where it was at.” much more similar to the guitar heard in Making sure that his readers know he’s recordings by The Velvet Underground. Not up with the latest cutting-edge underground that Lou Reed thinks much of it: “I have to rock as well, Reed also manages to sneak in make myself perfectly clear on this,” he tells a reference to his own group when he crows, Open City in November 1968. “That was some- “Rock’n’roll gobbled up all influences. Better thing John did, and I’m not interested in that blues musicians than the folk-blues people. Bet-kind of thing, per se, very much.” ter electronic music than the electronic people

The third issue of Aspen also features contri- (i.e. England’s The Who; NY’s Velvet Under-butions by several other members of the VU’s ground).” There’s also a nod to his manager, inner circle, including ‘The View From The Andy Warhol, whose “movies are so repetitious Bandstand,’ an impressionistic four-page essay sometimes, so, so beautiful. Probably the only It’s not quite on their old stomping ground, by Reed on what rock’n’roll means to him. It interesting films made in the USA. Rock-and- but tonight The Velvet Underground might makes for fascinating reading, not just for its roll films. Over and over and over. Reducing well play their first gig in the New York met-glimpse into a stream-of-consciousness prose things to their final joke. Which is so pretty.” ropolitan area since the Balloon Farm shows style that might still be lingering from Reed’s And there’s an eerie premonition of the prob-in Long Island as part of a 7.30pm–2am event days under Delmore Schwartz, but also for its lems he and the Velvets will later have getting dubbed Freak-Out ’66 and presented by Night insights into the rock’n’rollers he finds most airplay in their own hometown: “The NY radio Beat magazine. At least they’re listed on one inspirational. “How can they give Robert Low-scene is so awful. A record won’t be played of the handbills, which promises appear-ell a poetry prize. It’s a joke. What about [doo-unless it’s already Number Seven all over. All ances by Timothy Leary, Andy Warhol, Nico, wop group] The EXCELLENTS, Martha & The over has phenomenal records no one in NY gets The Fugs, The Seventh Sons, The Godz, The Vandellas,” he asks, before reeling of a list of to hear. There’s great music in the hills.” Ronettes, The Shangri-Las, The Left Banke, the great songwriters of the era, including Hol-Some of The Velvet Underground’s asso-Lenny Welch, Terry Knight & The Pack, Brian land/Dozier/Holland, Bacharach & David, ciates make their presence felt elsewhere in Hyland, The Vagrants – so many acts, in fact, Goffin & King, and Jeff Barry. “Will none of Aspen. There an ‘Underground Movie Flip that one wonders whether all of them could the powers that be realize what Brian Wilson Book’ by Jack Smith, an old friend and collab-really be playing at the same concert, or did with THE CHORDS. Phil Spector being orator of Warhol and Cale’s; a one-time-only whether some of them are represented only made out to be some kind of aberration when underground newspaper called the Plastic by records played at some point during the he put out the best record ever made … Have Exploding Inevitable, which includes pieces by evening. (Another poster for the event implies you ever listened to ‘You’ve Lost That Lovin’ Gerard Malanga (‘Hustling For Army Health that The Mothers Of Invention – who are not Feelin’,’ where the girls are saying ‘oohhhh’ Razor Blades & Bomb Drop Yuk Yuk,’ which even listed on the handbill – are the starring and suddenly, naturally, just right, come in with is actually a discourse on “what’s happening attraction by putting their name in a larger, ‘baby,’ against Bill Medley’s building vocal line. in modern poetry”), and a reprint of Jonas bolder typeface than the rest.) Repetition. Every head in America must know Mekas’s thoughts on The Chelsea Girls from the last three drum choruses of ‘Dawn’ by The the Village Voice. ALSO … Four Seasons … There is no god and Brian Original copies of Aspen issue three will In separate previews of upcoming EPI shows, Wilson is his son. Brian Wilson stirred up the eventually become highly sought-after; in both the Philadelphia Inquirer and the city’s other chords. Deftly taking from all sources, old rock, 2007, a copy will be listed for sale by the Brit-major daily newspaper, the Bulletin, indicate that Four Freshman, he got in his later records a ish bookseller Maggs Bros Ltd with an asking Edie Sedgwick will be among the attractions, beautiful hybrid sound, (‘Let Him Run Wild,’ price of £1,000 (about $2,000 at the time). although both could be based on outdated ‘Don’t Worry Baby,’ ‘I Get Around,’ ‘Fun, Fun, Cale’s ‘Loop’ has however been available on information, since most other accounts suggest Fun’ – and she had fun, fun, fun till her daddy various bootlegs since the early 80s. that she left the Factory circle at the beginning took her t-bird away).” of the year. Amusingly, the Bulletin piece also

Reed also gives kudos to his old doo-wop faves , Early December claims that Nico is “sometimes referred to as the The Jesters, The Diablos, The Elchords, The Two photographs of Nico in “super-mod outfits ‘Julie Christie of the Underground.’” Harptones, and Alicia – here misspelled ‘Elica’ by New York’s flipped-out Paraphernalia” – a – & The Rockaways, as well as Ritchie Valens. blue blazer and double-breasted jacket with Tuesday 6 “The only decent poetry of this century was that a tie-silk shirt designed by Betsey Johnson – A primitive, hand-scrawled advertisement recorded on rock-and-roll records,” he writes, in appear in the Christmas issue of Hullabaloo in the December 5 issue of an Austin, Texas what develops into a manifesto of sorts for his magazine. This will be one of her last modeling underground paper, the Rag, promises an passion for the music. “Everybody knew that. assignments, as in 1967 she becomes more seri-event at 7:30pm this evening at the Methodist Who you going to rap with. Little Bobby Lowell ous about establishing a musical solo career. Student Center featuring The Velvet Under-or Richard Penniman alias Little Richard, our ground in some capacity. Billed as “an evening

thrice-retired preacher. The incomparable E. Sunday 4 of expanded cinema” with “Gerard Malanga McDaniels, otherwise known as Bo Diddley … Action House, Island Park, NY direct from Andy Warhol’s Erupting Plastic

122 Nico on stage at the Action House, December 4 1966

WHITE LIGHT/WHITE HEAT n DECEMBER 1966

Inevitable,” the event is also set to include

music by the Velvets “via closed circuit,” as

well as a “whip dance,” “International Velvet

Underground Girl Of The Year,” a “5-D light

show,” and a screening of Warhol’s Vinyl, all

for $1.25.

As it turns out, this is not a Velvets concert

– not even via closed-circuit television – but an

evening of Warhol films presented by Malanga.

“I wanted to have the first Andy Warhol film festival in the world,” University Of Texas student

film society head Gregg Barrios later recalls with

a laugh. “I wrote him a letter, and of course

at that time Andy would not answer anything.

Instead Gerard Malanga called me and said,

‘What I can do is I can set up a bunch of new

films [to show]. In fact, we shot some films last

night, and we’ll have a world premiere.’ It was

that easy back then! We had money in the film

society, and I got together with the art department and student association, and we were able

to get a ticket for Gerard to fly in.”

One of the films shown, Barros adds, is “a

film with a young woman that [Malanga] was

dating, Susan Bottomly, called International

Velvet Debutante. He brought in a reel-to-reel

tape of The Velvet Underground that was just

a rehearsal tape and stuff that they did for

him for the soundtrack for this film. What he

did was basically recreate an evening as if The

Velvet Underground were there. He did the

whip dance, and all of that stuff that he used to

do with whichever of the superstars were available, from Ingrid Superstar to Mary Woronov.

It looked like the back cover of the first Velvet

album, where you’ve got the light show in the

background.” Forty years on, Barrios is uncertain about exactly which Velvet Underground

songs were played on the reel-to-reel tape, but

thinks “it probably was songs that weren’t on

the [first] album. I almost want to say that it

was ‘Lady Godiva’s Operation’ or ‘Sister Ray.’ It Nico. Then they flash lights on you and eve-entourage – also including Jonas Mekas, Paul was a long piece with that type of music.” rything and turn you into wallpaper. Then Morrissey, The Velvet Underground, and Nico

While in Austin, Malanga also gives a copy you’re supposed to go out of your mind. The – spend the night in six double rooms at the of the first VU single to Barrios, who in turn critics aren’t wild about this but only the Arts St James hotel in downtown Philadelphia. The will give the record one of its first print reviews Council has the nerve to do it.” (Another format is the same for the following evening’s a few weeks later (see January 9 1967). promotional ad serves only to perpetuate show, except that the films are Mekas’s Award

the ongoing confusion as to whether this is Presentation, Paul Sharits’s Ray Gun Virus, George

Saturday 10–Sunday 11 a Warhol or VU performance by referring Kuchar’s Hold Me While I’m Naked, Naomi Lev-

YMHA Auditorium, Philadelphia, PA to a “mixed-media show conducted by Andy ine’s Yes, and Kenneth Anger’s Scorpio Rising, As part of the Philadelphia Art Festival, The Warhol and his Plastic Inevitables, one of the perhaps the most famous underground film of Velvet Underground play their first concerts most dynamic, influential, exciting of all the the era. A two-dollar admission fee covers the in another of the cities that will become par-groups working in mixed media today.”) full four-and-a-half hour program of entertain-ticularly supportive and sympathetic toward These are indeed multimedia events. The ment each night. the group’s live performances. These are first night’s program begins with one-and-a-Plans for the event began when Joan Kron also the Velvets’ final shows of 1966; they half hours of films at 8:30pm: Harry Smith’s – the chair of the Philadelphia Arts Council in take place, according to an advertisement, Early Abstractions, Bruce Conner’s A Movie, 1966, and later the first chief reporter of the New in “a mixed-media discotheque complete Peter Kubelka’s Schwechater, Robert Nelson’s York Times Home section – asked Jonas Mekas with Andy Warhol and underground films. Oh Dem Watermelons, and two Stan Brakhage for help in putting together a film event at the First there’ll be different underground films works, Thigh Line Lyre Triangular, and Prelude. YMHA, with Mekas suggesting bringing along each night, then Andy Warhol, himself, and The auditorium is then converted into a ‘disco-some of Andy Warhol’s underground films. “I his rock group, The Velvet Underground & theque’ until 1am. After the show the Warhol said, ‘Oh, that’s great,’” Kron recalls. “They

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decided to bring with them The Velvet Under-Altman in the December 12 editions of the he sat down. The show was nearing its end. All ground, which I had never heard of. He said, Philadelphia Daily News, both nights’ perform-the kids who were supposed to be dancing to ‘Bring The Velvet Underground, we’ll have a ances draw “droves” to check out the EPI, with the strange, Indian-like beat were still looking, discotheque.’ Seemed innocuous enough. the audience spilling out from the auditorium looking, and the lights were slowing down. A

“So come the night of the event, they put and into the hall. “Let’s not forget the noise,” small blonde woman came around and told on the films. Well, that was the first problem. Altman writes after running down the open-everyone who was smoking to cut it out. That Phyllis Yusem, who was a former president of ing segments of the program. “No one else did it, what spell there was, was broken.” the Arts Council, was on the board of the Y, and could. Loud drums, electronic screeches, For Joan Kron, the story doesn’t end when a very upstanding Main Line lady, left [one of zinged through the room. the Velvets return to New York. “The next day, the] film[s] in the middle weeping, crying in “‘Maybe they’re tuning up,’ said one boy hope-the phone starts ringing and I hear that I’m the parking lot with shame for the Arts Council fully to a neighbor. ‘No, that’s how it sounds,’ said in terrible trouble,” she recalls. “I am being that we had done this to the Y. I was beginning his friend. The Thing – whatever it was – went impeached as the president! They called a spe-to know I was in trouble then. It was like a on and on. People drifted in and out, pressing cial meeting of the Arts Council. Phyllis Yusem big ballroom, our auditorium on the second their hands to their heads. ‘I’m getting one of called me on the carpet and said it was terrible, floor, and they must have quickly put the chairs my migraines,’ said a girl. Periodically one man she was ashamed, she was crying, it was a terrible aside. And then The Velvet Underground set jumped up from his seat and called, ‘Author, thing, we should never have invited children. up, and they had with them strobe lights. author,’ and the people around him laughed. Paul Chalfin was mad at me. So I called all the

“So the place is mobbed. People drove their ‘This is the best argument against taking LSD important people I could think of – Andre Gre-children, because it was a discotheque,” Kron I’ve ever seen, if that is what it’s supposed to be gory, who was the head of the Theater Of The laughs. “There’s film projections on the back-like,’ said a man under his breath. ‘I think it was Living Arts in Philadelphia [and later the star ground, on the walls, there’s strobes going, sponsored by the narcotics squad,’ someone of My Dinner With Andre]; the head of the Phila-there’s loud music. I’m standing at the back answered. ‘I mean, when you get out of here, you delphia Museum Of Art; the art critic of the of the auditorium with my husband, who was don’t want LSD – you want an Excedrin’ … Philadelphia Inquirer; Tom Armstrong, who was a doctor, a very respected member of the com- “The Velvet Underground, which was born the head of the Philadelphia Academy Of Fine munity. And Paul Chalfin, who at the time was in New York City, has since spread like radio-Arts, who later became the head of the Warhol the Assistant District Attorney of Philadelphia, activity throughout the country. It was bound Museum. I said, ‘Did I do something terrible?’ comes up to me and he says, ‘You’ve got to stop to hit Philadelphia. Only the private eardrum And they said, ‘No, no, no, you did something this performance right now!’ I said, ‘Why?’ He could determine whether it was a direct smash wonderful.’ They all wrote letters and telegrams said, ‘Those lights! They’re making the chil-or a dull thud.” The most sensitive eardrums at to the Y supporting me.” dren crazy, they’re going to do bad things!’ I the show might belong to Nico’s son Ari, who One such letter, written by Kneeland McNulty, said, ‘How do you know?’ He said, ‘I know! I is attendance and appears with his mother in a Staunton B. Peck Curator Of Prints And Draw-can tell you, they’re going to drive them crazy.’ photograph accompanying Altman’s article. ings at the Philadelphia Museum Of Art, begins: I said to my husband, who was a very sensible “Each artist was supposed to bring some- “I was gratified to see the tremendous turnout man and a surgeon, ‘Sam, what are we gonna thing representing his art,” Maureen Tucker at the performance on Saturday. The ‘Velvet do?’ ‘Don’t stop it, Joan. Don’t stop it!’ I said, recalls on The Velvet Underground Web Page. Underground’ was a perplexing entertainment. ‘Okay Paul, I’m not stopping it.’ “Everybody brought their two little pictures I confess I did not understand what was being

“So the night went on, and everybody was except Andy – he brought us, these 13 freaks.” accomplished, and an article in the [New York] gyrating or else kind of flabbergasted ’cause What’s clear is that not everybody is there to Times the other day” – a December 11 piece they couldn’t dance. And that upset them very see the Velvets. In What Goes On, Tucker notes, about Warhol and his films that makes only pass-much! Because to them, the ‘discotheque’ “I’d be beating the shit out of those drums, and ing reference to the Velvets – “did not make it meant ‘dance.’ But this was not music you I’d look up and see – ugh! – it was, like, 50-year- any clearer. I was more intrigued by the ‘why’ could dance to. So they were just standing olds, people who came to see a soup can, and of it all than by any intrinsic merit it might pos-around. We always had a lot of students come this is what they got. And Gerard swooping sess. However, if this is what many people ‘go to our events – the Philadelphia College Of around in his bikini with the American flag.” for’ these days, I am interested to learn in what Art was across the street – and we always had a Across the Delaware River, John Lom-direction we may be headed.” Gerald S. Bern-lot of young people. And of course, they were bardi gives the impression that the Sunday stein, a student pursuing his doctorate in phi-loving it. So this was like young Philadelphia night show is something of a letdown in his losophy at the University Of Pennsylvania, adds, loving it, older Philadelphia horrified.” review for the following day’s Camden, New “I am proud that Philadelphia, and especially

According to a review titled ‘Warhol “Hap-Jersey newspaper, the Courier-Post. “The danc-the Y, has an art group interested enough and pening” Hits Like A Noise Bomb’ by Judy ers came on, the lights started, there were courageous enough to face the future. Andy

three different films being shown on three Warhol’s ‘The Velvet Underground’ may not

overlapping screens at the same time, then be the ‘expression of our time,’ but I hope

VARIOUS ARTISTS all the sounds, starting at once,” he writes. that its suppression will not be what our time

The East Village “The older people left long before the two-is remembered for.” hour ‘assault’ could lull them, numb them, Picking up the story, Kron recalls, “The Y had

Other then perhaps speak to them … The younger a board meeting [later in December], and I was people stayed and looked, then a girl or two invited. Everybody got up and made speeches

Includes ‘Noise’ by The Velvet began to dance a little after a while. One guy against me. And finally one person got up and

Underground up in the balcony was dancing too, by himself, said, ‘Well you know, Joan’s done so many won—

and the red light from the stage played on derful things for us and she’s been such a hard

US release 1966 (ESP-Disk 1034) him as if to encourage him. Nico, the super-worker, we should cut her a little slack.’ So I

star, sang almost right to him. But after a time got up and said, ‘Well, I’m so sorry if I’ve hurt

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WHITE LIGHT/WHITE HEAT n DECEMBER 1966

the image of the Y. I only wanted to help,’ and Undergroundniks are showing brand new fash-Scepter sessions disc. This would also confirm I apologized – ‘we’ll screen these things more ion faces – trading in all that black leather for that the final sequencing of The Velvet Under-carefully in the future.’ So they forgave me. military uniforms, any war but preferably the ground & Nico is complete by November 10, Because who wanted my job? Nobody!” Civil one. Uniformed, they arrived for their the day Pitt is given the acetate, at the latest.

The minutes of the board meeting make Philadelphia weekend – looking a little like a Within the next few months, Bowie will mention of a motion by a couple of attendees group of strolling vagabonds, toting duffle bags add ‘I’m Waiting For The Man’ to his live “to congratulate the Arts Council for daring – were met at the station by unbelieving stares set, although it takes a while for the Velvets’ to bring this program to the public.” And yet and chauffeured limousines, Andy’s preferred influence to show up on his own records. He in an extraordinary rebuttal, indicative of just modus operandi in ‘strange’ cities. Judging by will eventually record a version of ‘I’m Waiting how shocking Warhol and the Velvets seem to attendance, the Warhol Underground’s show For The Man’ as well, but it seems doubtful the more conservative guardians of cultural – sponsored by the Arts Council of the Y – was that he cuts one in December (as is claimed morality, Paul Chalfin says that he is “horrified an unqualified smash. Those attending either in at least one book about Bowie), since he and ashamed that this program was presented hated or loved it – there was no in-between.” would have had to have learnt the song and under the auspices of the Arts Council and at decided to record it very quickly in order to fit the ‘Y.’ It would have been more appropriate , Mid-to-late December in a session between Pitt’s return to the UK on for a private showing in some basement. The Shortly after returning to London from his December 16 and the end of the month. films were in poor taste and the second part trip to the USA, Australia, and Singapore on

of the program, the Discotheque, was even in December 16, Kenneth Pitt gives an acetate of Also in poorer taste. The electronic noise under the The Velvet Underground’s first LP to David aegis of music was ear shattering. By the end of Bowie. While he’s at it, Pitt also gives the young

the program very few adults were left in the ‘Y’ singer-songwriter an official album by the Vel- 1966 … auditorium. Saturday night, he said, that there vets’ Lower East Side peers, The Fugs. “He said, were 2,000 people in the audience, but Sunday ‘Well, I don’t know why Warhol is doing music. night the auditorium was only half filled.” This music’s as bad as his painting,’” Bowie It’s unclear exactly when the East Village Other Chalfin’s outburst takes a nastier turn when recalls with amusement, 30 years later, in the – sometimes listed as Electronic Newspaper, Hiro-he fumes that “by the end of the program a documentary Lou Reed: Rock And Roll Heart. “[I shima Day, or USA Vs. Underground, in refer-couple of hundred people were crowded up thought], ‘Hmm, I’m gonna like this!’” ence to the slogans appearing on the cover front – these people were beatniks – the Rit-Bowie himself has released a half-dozen sin- – is released, but it’s probably in late 1966; tenhouse Square group, college people, many gles during 1964–66 – in bands and as a solo it’s certainly after August 6, the date The homosexuals, unkempt, dirty. They seemed artist – without coming too close to a hit. He’s Velvet Underground’s contribution, ‘Noise,’ to be in a trance. Some were shaking their bowled over by what he hears. Recalling the two is recorded. Among the other VU associates heads – some dancing. A few were throwing LPs he’s given by Pitt in a review of the deluxe who contribute to the avant-garde LP are Ger-themselves on the floor, some were doing edition of The Velvet Underground & Nico for Mojo ard Malanga and Ingrid Superstar, who offer push-ups, etc. This was frightening, Mr Chal-in July 2002, Bowie writes, “The first was a great, up some largely incomprehensible ‘Gossip,’ fin said, because this was taking place under rollicking noisy affair by anarchist-hippies The and Andy Warhol, who donates a brief, self-the auspices of people who intended to bring Fugs entitled The Virgin Fugs. More fun than was descriptive conceptual piece, ‘Silence.’ The art to Philadelphia and under the auspices strictly healthy and great music for drinking and Holy Modal Rounders’ Steve Weber, Tuli of the ‘Y.’ This may represent a sick part of getting stoned to. But the second, a demo with Kupferberg of The Fugs, poets Allen Ginsberg our society but it has no place in the ‘Y,’ and the signature Warhol scrawled on it, was shat-and Peter Orlovsky, and avant-garde jazzman served no legitimate purpose. The people who tering. Everything I both felt and didn’t know Marion Brown all appear too, but the end unwittingly brought teenagers were horrified. about rock music was opened to me on one result is an instantly dated LP that’s extremely Mr Chalfin said that he would not like to see unreleased disc. hard to play all the way through. this sort of thing happen again.” “With the opening, throbbing, sarcastic bass Four decades later, at the age of 80, Joan and guitar of ‘I’m Waiting For The Man,’ the M RECORDING exact location unknown, Kron stills works as a contributing editor-at- linchpin, the keystone of my ambition was driven New York, NY. large covering plastic and cosmetic surgery home. This music was savagely indifferent to my At some point in 1966 The Velvet Under-for Allure magazine. Of the Velvets’ gig at the feelings. It didn’t care if I liked it or not. It could ground supply the soundtrack for Gerard YMHA, she concludes, “I was so under the give a fuck. It was completely preoccupied with a Malanga’s 16-minute film Mary For Mary, gun that night. We didn’t know what we were world as yet unseen by my suburban eyes … which features a whip-wielding Mary Woronov doing was important, because everybody was “This was a degree of cool that I had no but is screened so rarely that the accompa-telling us that we were out of our minds! Peo-idea was humanly sustainable and it was rav-nying music won’t ever appear on bootlegs. ple were telling us that we were crazy, had no ishing … By the time ‘European Son’ was There’s certainly enough unreleased VU taste. I was constantly attacked, so I thought done, I was so excited I couldn’t move. I sat music made for Warhol-related films to fit what I was doing was probably not of much transfixed, unable to comprehend what I’d on a CD or three, should the original tapes cultural value. But it was fun.” just heard. It was late in the evening and I ever be found. This would admittedly make couldn’t think of anyone to call so I played it for a highly uncommercial set, but no less Tuesday 13 again and then again and then …” commercial than the John Cale tapes later Over the next year or two, Women’s Wear Daily If Bowie’s memory is accurate, his mention compiled as New York In The 1960s. will become an unlikely source of news and of an opening track that passes by “innocu-fashion items about The Velvet Underground, ously enough without really registering” – pre- M RECORDING JohN caLe exact location including today’s brief report: “THE LOST sumably ‘Sunday Morning’ – suggests that he unknown, New York, NY. BATTALION: Andy Warhol and The Velvet has an acetate of the finished album, not the John Cale really could play the piano, but

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ALSO IN 1966 n WHITE LIGHT/WHITE HEAT

judging by some of his early compositions he’s while above a firehouse. start of the year – some are subsequently used not always interested in ‘playing’ in the usual Cale plays viola on ‘Big Apple Express,’ as projections during the EPI shows – but the sense. (As Tony Conrad writes in the inner albeit one instrument tape-manipulated to exact dates are unknown. sleeve of Inside The Dream Syndicate Volume 1, create an industrial-strength throb. His play-Warhol does no less than 11 screen tests “What I had learned first about John Cale was ing does come through clearly at some points, with Lou Reed. Some focus on parts of Reed’s that he had written a piece which pushed a however, and its circular riffs seem more in face; others show him eating (an apple and a piano down a mineshaft.”) Cale’s 12-and-a-keeping with his early-VU work than his previ-Hershey chocolate bar), drinking (Coke), and half minute ‘(untitled) for piano’ might be ous collaborations with La Monte Young. After smoking. He does seven with John Cale, some the most violent of his keyboard assaults ever about five minutes of tumultuous sound, one of which likewise focus on the musician’s eyes committed to tape. This is not so much the of the firemen from downstairs can be heard and lips. Reflecting her higher position in the sound of someone playing the piano as attack-ordering Cale to cut it out. “I don’t want to Velvets’ pecking order at the time, there are ing the instrument’s inner strings. hear this bullshit!” he yells. “Knock it off! This eleven Nico screen tests, the earliest of which According to David Fricke’s liner notes is going on and on and on … If you’re gonna might have been shot in late 1965 during for the Cale compilation on which it later do something, do it far, far away, out in the her first visit to the Factory. She is sometimes surfaces – 2002’s Dream Interpretation: Inside country. I don’t wanna hear another peep!” shown drinking beer and Coke, and at other The Dream Syndicate Volume II – the track is (The liner notes waggishly credit the New points unwrapping and eating Hershey bars. recorded with “a primitive contact micro-York Fire Department with a ‘vocal.’) Only three are made with Sterling Morrison, phone … then filtered through an equally One question that will probably never be with one of them featuring him smoking, and abused reverb unit in a Vox Super Beatle amp, answered is this: how exactly could even the only two with Maureen Tucker, in which no a device [Tony] Conrad christened a ‘thun-most avant-garde of dancers have danced to drinking, eating, or smoking takes place at der machine.’” Cale reportedly wants to haul either of these pieces? all. this deconstructed piano around to Velvets Rarely if ever screened in public, these gigs, but the instrument is too cumbersome M RECORDING aNguS MacLiSe details tests are primarily of historical interest, so to make that notion practical. (A piece of the unknown mundane is whatever ‘action’ takes place. frame is however used by Cale to make some Angus MacLise might have left The Velvet Those interested in the finer details of noise in The Velvet Underground: A Symphony Of Underground in late 1965 – and only man-each test should check out Screen Tests: The Sound.) As with several of Cale’s avant-garde aged to get back in for a two-week stint because Films Of Andy Warhol Catalogue Raisonné Vol-60s constructions, the piece contains no riffs of Lou Reed’s hospitalization with hepatitis – ume 1 by Callie Angell, which meticulously or lyrics, just creepy mounds of sound, and but he continues to make music, recordings documents every one of these films. Among the kind of rumbles kids gleefully pound out of which exist without exception far outside Warhol’s other screen-test subjects are Gerard on pianos with the pedals down to simulate a the world of rock. One such endeavor from Malanga, Paul Morrissey, Barbara Rubin, Mary thunderstorm. No kids horsing around in the 1966, the two-minute instrumental ‘Cloud Woronov, Ronnie Cutrone, Piero and Kate den would be able to simulate the apocalyptic, Asylum,’ will finally see release in 1999 on Heliczer, Marian Zazeela, Ingrid Superstar, distorted, circular scrapes that bring the piece the Sub Rosa compilation Gerard Malanga Jack Smith, Billy Linich, Susanne De Maria, to a close, however. – Up From The Archives, having earlier been Denis Deegan, and Susan Bottomly.

While ‘(untitled) for piano’ is dated as hav-used on the soundtrack to Malanga’s 1969 For most Velvets fans, it will be enough to ing been recorded during the early-to-mid 60s film The Children. MacLise plays cimbalom on gaze at the many photos of the EPI that show in the liner notes, several clues suggest that it the track, managing if anything to make the projections of film clips with images of the was probably done in 1965 at the earliest, and instrument sound even less melodious than band-members as backdrops; the extremely more likely in 1966. The year of copyright is on his other recordings with it. committed can rent some of the screen tests 1965, and the piano used resides in an apart-Lou Reed mentions another MacLise from the Circulating Film Library of the ment shared by Reed and Cale, who don’t recording from around this time in a con-Museum Of Modern Art in New York City. live together until 1965. More crucially, the versation with Nat Finkelstein taped during For the record, screen tests of Nico are used liner notes suggest that the piece was writ-the fall. “On the album [the Velvets] had out during the Velvets’ performances on March ten for a ballet suite commissioned by Andy we wanted to have one professional record 12, throughout their Dom residency in April, Warhol, who didn’t definitely meet The Velvet and one unprofessional record and then one on May 3–5 and 27–29, June 21–26, October Underground until the very tail end of the backward record,” Reed says. “No beginning, 29, and November 3 and 12; screen tests of year. In his Sedition And Alchemy: A Biography no middle, no end. Angus’s ‘Crystal’ tape was John Cale are shown during the Dom resi-Of John Cale, author Tim Mitchell notes that sent back from a record company for that dency; and the screen test of Lou Reed eat-the piece is something Warhol suggests Cale reason; they said they couldn’t differentiate ing a Hershey bar is definitely shown at the should submit “as part of a proposal to the between the beginning, the middle, and the May 3–5 shows. (A February 1967 article in Harkness Ballet Foundation shortly after The end.” It’s not known what record company Night Owl also notes that projections of Reed Velvet Underground had arrived at the Fac-MacLise would have sent such an uncommer-eating an apple and Hershey bar are shown tory.” cial item to for consideration – ESP Records, behind Nico at one of her gigs at the Dom, Another of Cale’s avant-garde solo record-perhaps? – but, years later, the tape in ques-during which Jackson Browne accompanies ings, ‘Big Apple Express,’ might well be writ-tion remains unreleased. her on guitar.) ten and recorded for the same ballet suite. It too is probably from 1966 because the liner C FILMING screen tests C FILMING Sunday Morning notes to the album on which it features, Stain- At some point in 1966, each member of The At some point during the year, Rosalind Ste-less Gamelan: Inside The Dream Syndicate Volume Velvet Underground shoots multiple ‘screen venson shoots a two-minute silent film, Sunday III, reveal that is recorded at the loft on West tests’ of three-to-fives minutes’ duration with Morning, of Lou Reed, John Cale, and Sterling 3rd Street where Cale and Reed live for a Andy Warhol. These are probably shot at the Morrison rehearsing in her apartment. Reed

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WHITE LIGHT/WHITE HEAT n ALSO IN 1966

and Morrison play acoustic guitars, and Cale is Although The Velvet Underground appear C FILMING Ari And Mario at the piano; Reed sings occasionally. The Vel-in a number of Warhol films in 1966, details An obscure 66-minute film in which Nico vets are filmed many times during 1966–67, start getting progressively murkier when you hires drag queen Mario Montez to babysit but this remains the best clip of the musicians venture beyond the only one – The Velvet her son. actually playing a song. Underground: A Symphony Of Sound – that’s

“[It’s] strange that I don’t have a lot of relatively easy to find, and downright scarce C FILMING Police Car footage of them,” Stevenson recalls, “because once you get beyond the screen tests and The Here for a nice change is a film not of The we were close friends at that time. I knew Velvet Underground. No more is known about Velvet Underground but directed by one of Lou from college, and we continued being this one than the title itself. the band-members. John Cale’s Police Car is a friends when we were both in the city right C FILMING The Velvet Underground In Bos- Fluxfilm – that is, a film made following the after college. They used to come to my apart- ton Fluxus aesthetic. It consists of nothing more ment a lot, often in the wee hours of the Wouldn’t it be great if this really did turn than blinking police-car lights – sometimes morning after [playing at] the Dom. They out to be a film of The Velvet Underground one, sometimes a pair – against a pitch-black would play music, and I was a filmmaker, so in concert? Sadly, little is known about this backdrop, and lasts a mere one-and-a-half min-one night, I just decided to turn the camera particularly film, although history would sug-utes. It’s similar, in its minimalist approach, on them.” gest that it probably shows more of the EPI to Tony Conrad’s more renowned – and

The film is called Sunday Morning, Steven-than the Velvets. much longer – Flicker, made during the same son explains, because she is fairly certain that year. In Tim Mitchell’s Sedition And Alchemy, the sequence shows the group composing the C FILMING Exploding Plastic Inevitable Back- Cale recalls Police Car being filmed with an song of the same name. (A studio version of ground 8mm camera borrowed from Kate Heliczer the song plays on the soundtrack.) “It may The title of this film suggests that it is to in London, where “I was interested in get-have been something they had been already be projected as a background at EPI events. ting dim pictures with flashing lights from a in the process of creating, and it was being According to Callie Angell’s The Films Of Andy street repair trench near the Chelsea Bridge. worked out,” she adds, before noting that she Warhol: Part II, Warhol shoots about two dozen The film was left with someone in Fluxus who might somewhere have an audio reel-to-reel (silent) 100-foot rolls of EPI performances, then included it in a box of Flux-stuff, which tape of the song being composed. “including the UpTight show at the Cinemath-I totally forgot about until I got a call from

eque as well as later concerts at Rutgers Uni- someone saying my ‘movie’ was mentioned in

C FILMING The Velvet Underground versity and the University Of Michigan.” the New York Times review of the box.”

This 33-minute mini-feature, directed

by Warhol, is also known on some bootleg C FILMING Velvet Underground Eats Supper DVDs as Moe Tucker In Bondage. There’s little At some point in 1966, early EPI lightman ALSO … to be gained from watching this excruciat-Danny Williams films the Velvets at the Fac-Lou Reed and John Cale are honored with the ingly eventless split-screen footage, in which tory for this unscreened work. A very brief first overseas cover of one of their songs when Moe Tucker is tied to a chair wearing round silent clip showing John Cale lifting weights the Pickwick-era relic ‘Why Don’t You Smile dark glasses, sitting motionless as, on one while Lou Reed chats with other Factoryites Now,’ previously recorded in 1965 by The All screen, Sterling Morrison, Lou Reed, and can be seen in the documentary Factory Days: Night Workers, somehow finds a place on an John Cale eat, drink, talk, and horse around Paul Morrissey Remembers The Sixties. album by The Downliners Sect. The song, with their food. On the other screen, Reed credited to Reed, Cale, Jerry Vance, and Terry

and Morrison halfheartedly torment Tucker C FILMING The Bob Dylan Story Philips, is included on the punky British group’s with whips and a police spotlight; for a while, John Cale has an unspecified role in this third album, The Rock Sect’s In (Columbia 33SX Morrison taps out a beat on a box as Reed Warhol film, which – according to Sterling 6028), in a tough, snarling rendition that utterly dances. Morrison’s recollection in UpTight: The Velvet outclasses The All Night Workers’ far tamer

This, as unexciting as it sounds, might be Underground Story – is never shown. The Bob attempt. Had it been arranged like this, with the the highlight of the film. As for the rest, the Dylan Story stars Paul Caruso, who will later emphasis on a brutal fuzz-guitar riff, you could dialogue is mostly inaudible, and the camera play harmonica on a few Jimi Hendrix ses-even see the song fitting into the Velvets’ early occasionally swirls around in circles and diz-sions, in the title role; Marlowe Duport as live repertoire, even if the lyrics are too basic to zying in-out zooms. There’s no music, either Albert Grossman; and Ingrid Superstar and demand a place on an actual VU album. on camera or on the soundtrack, and even Susan Pile who, in Pile’s words, “were sup-Years later, Downliners Sect guitarist Terry the camp value is minimal. posed to play folk-rock groupies, and not say Gibson explains how the song made its

Some will later wonder why Warhol’s films anything.” unlikely journey to the group in an interview of the period have such poor sound. Accord-with Ugly Things: “There’s no great story … I ing to Gregg Barrios, who will spend the C FILMING **** (aka Four Stars) know it’s a Lou Reed song and all the rest of summer of 1967 at the Factory as a young According to Andy Warhol Screen Tests by it, [but music publisher] Campbell Connelly filmmaker: “Andy had an Auricon that Callie Angell, John Cale has several roles in gave us the demo and said, ‘You fancy doing recorded the sound on the film and printed a few reels of what will later become Warhol’s this?’ and it just turned out to be a good song, a soundtrack at the same time it was record-25-hour ****. He plays a masked, Western-and we didn’t get many songs out of them, ing. That’s why on the early films, the sound style villain in Philadelphia Stable, and also I tell you.” Gibson also notes that there was is bad, because it really was done that way. It features in Barbara And Ivy and Ivy And Don once a plan to release ‘Why Don’t You Smile wasn’t done with a separate machine.” McNeil. Cale and Reed are also shown playing Now’ as a single, but that it was scuppered

music in two reels shot during the fall of 1966, by “some kind of under-dealing going on.”

C FILMING The Velvet Underground Tarot Mary I and Tiger Hop. (Weirdly, this won’t be the last time the song Cards is covered in the 60s.)

127

The Velvet Underground & Nico is finally released in March,

complete with a jacket designed by Andy Warhol. The Velvets

gradually establish themselves as a viable live act independent

of the Exploding Plastic Inevitable, and finally begin to play as

a standalone rock band by the middle of the year. But it’s also

around then that they lose Nico (who has already recorded her

1967 solo debut, Chelsea Girl ) and managers Andy Warhol and Paul Morrissey (who are replaced by Steve Sesnick). The Velvets’ debut album is not a critical or commercial success,

and receives little in the way of label promotion or radio

airplay. The band virtually stop playing in New York, deciding

instead to perform in other cities, where they’re slowly starting

to build a cult following. They also continue to write and

perform great music, recording a second album, White Light/

White Heat, that’s quite different to their glorious first LP, but

almost equally impressive.

JANUARY 1967 n WHITE LIGHT/WHITE HEAT

January ‘I’m Not Too Sorry (Now That You’ve attempting to sell a generic folk-rock tune Gone)’ is simply a fine Reed/Cale co-write. to their old buddies at Pickwick. The record-Its achingly romantic verses contrast neatly ing almost breaks down into some guitar M RECORDING John Cale’s loft, Ludlow with a defiant and almost jubilant chorus, diddling after about 80 seconds; 25 seconds Street, New York, NY. the verses’ palpable sense of loss and long-later, Reed’s vocals are interrupted by a fit

The Velvet Underground might not have ing purposefully undermining the chorus’s of giggles. done much recording since the spring of triumphant boasts, making them sound like These demos are all billed in the Peel Slowly 1966, but they’ve continued to write new mate-a hollow attempt to paper over the hurt of And See liner notes as having been “recorded rial and add songs to their repertoire. These a failed love affair. The song doesn’t quite in early 1967 at John Cale’s Ludlow Street loft include five songs recorded here somewhat sound finished, but should still absolutely in Lower Manhattan,” but this seems more primitively and in mostly drum-free arrange-have found a place on a Velvet Underground than a little curious. While Cale lives in a ments for a demo acetate that indicates a album. The demo recording is, like the oth-number of different places in New York dur-widening of the group’s vision to encompass ers on this acetate, on the skeletal, lo-fi side, ing 1966–67, most accounts suggest that he softer, gentler sensibilities. It’s unclear exactly but it benefits from a strong Lou Reed vocal hasn’t lived in Ludlow Street since late 1965. when these recordings are made, but when that runs from tender to aggressive, and some The variable audio fidelity of the songs also many of them are later included on the Peel swooping, eerie foot-pedal Vox-guitar by Ster-makes it doubtful that they are recorded at Slowly And See boxed set, they are dated “early ling Morrison. the same time and place; ‘There Is No Rea-1967.” It’s possible that they are intended pri- ‘It’s All Right (The Way That You Live)’ is son’ is certainly much clearer than the others, marily as songwriting demos, but the group another Reed/Cale tune that shows a more but also seems appreciably and incongruously still puts a fair amount of heart and effort into mature and even compassionate side of the less sophisticated and ambitious than the rest. the performances. (Nico is still a member of Velvets. It’s blander melodically than ‘I’m Not Some commentators wonder whether these The Velvet Underground at this point, but is Too Sorry,’ but feels more finished, and gets demos stem in fact from the winter of 1965–66 not involved in these recordings.) more interesting when it drifts into a bridge – in which case they really might have been

The most impressive of these songs are that’s bittersweet yet uplifting. It might well recorded at Ludlow Street. But whatever their ‘Here She Comes Now’ – the only one of have found a place on the group’s third origins, these tracks serve as fascinating and the five to be re-recorded later for an offi-album, The Velvet Underground, but there’s worthwhile insights into the different direc-cial release – and ‘I’m Not Too Sorry (Now no evidence to suggest that it’s ever given a tions The Velvet Underground might soon That You’re Gone).’ ‘Here She Comes Now’ proper studio reworking. pursue, even if all but one of them will be is performed here in a lower key than on the The only song among this batch written passed over when it comes to recording White version recorded for White Light/White Heat solely by Lou Reed is ‘Sheltered Life,’ which Light/White Heat, an album that largely ignores in September 1967; it also has a slightly more reveals a more humorous, playful side of the the sweeter, poppier side of the band revealed lethargic feel, and a more wistful melody, but group. There’s an almost vaudevillian feel to here. still works as an effectively tense ballad. Half both the jaunty, bouncy tune and its wry lyric romantic ode and half disillusioned longing, about big-city life from a hick – or perhaps Monday 2–Saturday 14 it ends in a dizzying, circular swirl of John suburbanite – perspective. Morrison’s effects- Steve Paul’s Scene, New York, NY Cale’s viola. pedal guitar makes another appearance on It’s unclear whether all of The Velvet Under—

On the take included on Peel Slowly And See, this track; less wise is the decision to add ground’s concerts during their time with the lyrics are entirely different to how they kazoo to the instrumental break and coda, a Andy Warhol are played under the Exploding will end up on White Light/White Heat. The nod perhaps to the brief vogue for jug-band Plastic Inevitable umbrella, or whether some words are so inchoate, in fact, as to be almost rock in 1966–67. simply feature the band on their own. What is meaningless, suggesting that they might just There are two known takes of ‘Sheltered certain however is that posters for these first be stream-of-consciousness placeholders. In Life’: the one featured on Peel Slowly And See, concerts of the year make no mention of the this form, the song clearly needs a lot more where it’s identified as take two, and a sec-EPI, even if the group are still billed as Andy work before it will be ready for release. And ond, available only on bootlegs, that has more Warhol’s Velvet Underground & Nico, with a yet oddly a second take, subsequently boot-of a thumping, rock beat. The percussion is much smaller line of type identifying them as legged, shows the words to be much more barely audible on the Peel Slowly version, but “Verve Recording Artists.” The posters also fully developed. Reed clearly announces the still marks the only point on the demo acetate imply a happening of sorts by advertising title as ‘Here She Comes Now’ at the start, on which drums are heard at all. Reed will a Steve Paul & Andy Warhol Underground even though this precise phrase still fails to later cut a frivolous and almost music hall-style Amateur Hour featuring “stars of The Chelsea appear in the song. The lyrics are still dif-version of the song on his 1976 solo album Girls” as well as “gurus, creative people, pop ferent: ‘If She Ever Comes Now’ might be a Rock And Roll Heart. celebrities, [and] society submergers.” The more appropriate title, given how many times The least typical of the songs featured shows are mentioned in passing by Richard Reed sings those words, with their faint whiff on the demo, and the one that seems most Goldstein in his Pop Eye column in the Janu-of sexual innuendo; he occasionally switches in need of more work, is ‘There Is No Rea-ary 19 edition of the Village Voice, in which the line to “if she never comes now” and “if son,’ the very existence of which will remain he describes the Velvets as “biting spectral she comes it’s all right.” There’s also a more unknown until the release of Peel Slowly And atonality while Andy Warhol programs an forceful bite to the electric-guitar parts, par- See. Another Reed/Cale composition, it has ‘amateur hour.’” ticularly when the tension rises at the end of an earnest, minor-key melody reminiscent of As Steve Paul recalls, “We always had mul-the verses. Quite why this take will be passed early folk-rock, and in fact could almost be a tiple amusements and mixed it up any which over in favor of the more tentative and less Beau Brummels demo. The lyrics are unchar-way we thought would be best. Each and every articulate version selected for Peel Slowly And acteristically straightforward, if not clichéd, member of the group … and Nico had both a See remains a mystery. and sound almost as if Reed and Cale are musical capacity and an edge that fused into

130

WHITE LIGHT/WHITE HEAT n JANUARY 1967

and kind of a concept thing. But I perceived

it as kind of rhythm boredom. I went over

and started playing [Free Spirits drummer

Bob] Moses’s drums, playing free around

what they were doing. I wasn’t ignoring the

beat by any means, but I was doing sort of

like Moses does when he would keep track of

the time and play with all these polyrhythms

around it, and come down on the downbeat

in important places and so forth. Actually the

drummer, she seemed to enjoy it, and Moses

said it sounded great.”

Decades later, Maureen Tucker’s unusual

set-up still seems faintly astonishing to Moses,

who in the intervening decades goes on to

play on numerous respected jazz records.

“Where the snare drum was supposed to

be, she had an anvil,” he recalls with some

amazement. “She had a mic right on the anvil,

and she used to play these quarter notes, just

BANG! BANG! BANG!”

Moses’s overall view of the Velvets, however,

is rather less favorable, but serves as notable

evidence that not everyone was impressed

by the group – even among their ‘underground’ peers. “They had a singer who I

would describe [as] an anorexic junkie vam—

pire who looked like she’d never seen the sun

in her life, and sang in a complete monotone

with no emotion, no rhythm, no soul, nothing,” he says. “She was a scary chick. And they

were loud as hell. They didn’t seem to have

any ability to play their instruments at all. It’s

a mythic group that deserves every bit of its The Velvet Underground is [of the] scene kind of like maybe in one way [the] punk fine reputation.” around Andy and the Factory,” Chip adds. [that] came later, but at least with the punk

A line on the posters promising “two gen- “These guys were a circus, let me tell you! His era, I felt there was some energy, even if it uinely great groups nightly” suggests that scene came in with a huge box of aluminum was anger, even if it was some ugly shit, they other bands might be performing alongside foil. I mean, a big industrial box; it must have were at least trying to tear it down or destroy the Velvets during this engagement. It seems had hundreds of rolls. The afternoon they it or bust it up. These people, [it] seemed to likely that, for a few nights at least, one of arrived, they started tacking up the foil inside me, just had this bored junkie ennui, kind of them is the pioneering jazz-rock band The this miserable dressing room we had behind almost existential. ‘It’s all fucked and there’s Free Spirits, featuring young guitarist Larry the stage. By the time they left, they had cov-nothing we can do about it, and we’re just Coryell. Rhythm guitarist Chip Baker defi-ered something like a third of the club with gonna get high’ – that was the vibe.” nitely remembers sharing a bill with the VU aluminum foil. Andy never talked to anybody. Years after the fact, Moses remains dumb-for a few shows at the Scene around this time; He would take a table midway back in the club founded by the sheer volume generated by manager Ted Gehrke thinks the concerts and, surrounded by a modest entourage, he The Velvet Underground. “I’ve heard lots might have been in early 1966, but there is would sit there.” of loud music,” he says, “but that was like an no other documentation to suggest that the As for the gigs themselves, Chip notes, instant migraine – 30 seconds of that and your Velvets played at the Scene then. “They would play a set, and we would play a head just was killing in pain. I remember all of

“The Scene was on the north side of 46th set, I think. They played very long songs, and us waiting outside freezing in sub-zero weather Street, in the first block west of Broadway,” their harmonic courses were kind of unclear till they were finished, it was so painful to hear Baker recalls. “The steps went down into to me at the time. Maybe they weren’t clear them. We’d be outside just huddling in the Times Square hell in this little club. If you to them. But these folks were definitely a part cold, and we opened the door, we’d hear a didn’t know about it, you wouldn’t walk in.” of something special around Warhol and the few notes – BANG! Oh god! And we’d stay Despite its modest, unimposing entrance, Factory.” out there rather than hear them, if we could Steve Paul’s Scene is fast becoming one of Free Spirits bassist Chris Hills also recalls avoid hearing them.” the top rock clubs in the USA, putting on playing on the same bill as the Velvets on Moses has little affection for the onlook-shows by acts such as The Doors, The Young occasion – as well as sitting in on drums. “A ers at gigs such as these, either. “The whole Rascals, and Traffic, while also hosting jams lot of their tunes [had] very simple drum Warhol crowd would come in – lizard people, with Jimi Hendrix. (The Velvets will return to parts,” he recalls. “There would really be no man!” he laughs. “I didn’t see any emotion the venue for at least one show in May.) change throughout the whole tune, a drone out of these people. They all seemed pasty

“I must confess that my largest memory of – which was probably a new thing, actually, and never seen the sun and never smiled,

An early Velvet Underground demo, with song titles handwritten by Sterling Morrison. 131

JANUARY 1967 n WHITE LIGHT/WHITE HEAT

didn’t dance, had no rhythm, no joy. There In issue 33 of the Psychotronic fanzine, how-Parties,’ as “another fairy tale [that] ‘rocks out was a weirdness about ’em that I found very ever, Cleveland resident Jamie Klimek – who with fantastic audiodelic guitar interplay à la hard to take. There was like a force-field of will later play in the heavily VU-influenced The Byrds, and a tambourine heavily punctu-darkness. group Mirrors – recalls seeing the group ating Nico’s phrasing.”

“Just as a freak show, it was an interesting appear twice on Upbeat. He specifically Barrios accurately predicts that, “with the place to be. But that was true about the Scene remembers them playing ‘Guess I’m Falling profusion of rock groups at the present time, in general. That was the place where people In Love,’ which won’t appear on an official it is probable this record will never be heard could really get their freak on. I remember Velvets release until the mid 80s, in early 1967. in this area,” but still feels that “the VUG one time going in the men’s room, and Allen This is later confirmed in a 1987 Sterling Mor-is essentially a very versatile and good rock Ginsberg was teaching Tiny Tim how to sing rison interview with Creem magazine, but no group.” The group will at least get to play ‘Hare Krishna.’ And I’m stoned on acid. I’m exact date is given for the broadcast; it’s also some well-received shows in Austin in late thinking, am I hallucinating this or what?” speculated that the Velvets appear on Upbeat 1969, around the time that the same Gregg

“The Velvets in those days were almost again on July 15, and a third time after Doug Barrios is granted an interview with Sterling unlistenable sonically,” adds Free Spirits Yule replaces John Cale in late 1968. Morrison for Fusion magazine. manager Ted Gehrke, albeit in a more chari-There appears to be no surviving foot-In the intervening period, Barrios’s enthu-table tone. “The songs were, or seemed to be, age of this or any other Upbeat appearance siasm for Warhol’s films and The Velvet truly cool, and well done. But they didn’t have by The Velvet Underground. This is a real Underground’s music leads to him being much of an idea about how to SOUND good. shame, because the group appear not to have invited to spend the summer of 1967 in New At the Scene, the first couple of nights, they performed in this guise on any other televi-York at the Factory. There he will make the put the amps in each corner of the Scene. sion program, so there is no such footage documentary Boys Of New York, which concerns Primitive sound-surround! Of course all the of this type at all. As Morrison will later tell “Gerard Malanga and a day in the life of the amps were at 11, all pointed at each other, Creem, “We almost never went on those shows Warhol superstars.” The film also features and all pointed at the mics. And the Scene because you had to be a pop success, which René Ricard (one of the stars of The Chelsea was incredibly small. Chaos and a severe lack we never were. I always dreaded the day we Girls) and Leonard Cohen, a resident at the of return customers! The day of the first gig, might have to be on one. The playing would time of the Chelsea Hotel, where much of Boys as I was moving The Free Spirits’ stuff into the have been okay, but what if they asked us to Of New York is shot. club, I saw Sterling Morrison busy at work on do some comedy?” Nico’s electric piano. He was duct-taping five Tuesday 10 or six of the notes down, and, when I asked Monday 9 Perhaps realizing that the release of their first him what the fuck he was doing, he said that Perhaps the final review of The Velvet Under-LP really is finally, truly imminent, the Vel-Nico couldn’t play much or stay in tune, so ground’s first single appears today in the Aus-vets register the three songs from the album ‘this would make sure she was in tune with tin underground newspaper the Rag, which that have yet to be copyrighted – ‘Run Run someone.’” devotes no less than a full page to the ‘I’ll Run,’ ‘There She Goes Again,’ and ‘European

As for Lou Reed, Gehrke notes, “He was Be Your Mirror’/‘All Tomorrow’s Parties’ 45. Son’ – with the Library Of Congress. (‘There hardly the wasted smack-freak he is/was The review appears as a direct result of Gerard She Goes Again’ is simply titled ‘There She made out to be. I was involved with several Malanga giving a copy to Gregg Barrios after Goes.’) exploratory meetings with Reed and Barbara presenting a simulation of an Exploding Plastic Rubin, among others, to try to take over an Inevitable show in Austin on December 6 1966. Wednesday 11 old school on Fifth Street to form an artists’ That event in turn had been set in motion by a Denis Deegan meets with British rock man-colony, which didn’t work out. He was kinda request by Barrios to Andy Warhol; Malanga, ager Kenneth Pitt in London to discuss again nervous, and jumpy, and smoked one hell of knowing that Barrios writes for several local the idea of bringing the Exploding Plastic a lot. But he was very intelligent, well-spoken, publications, has passed the single on to him in Inevitable to the UK. (The idea previously reasonable, and prompt. He was the realist as the hope of getting some further media cover-came up when Deegan brought Pitt to the opposed to Barbara’s flights of fancy.” age for Warhol and the Velvets. Factory in November 1966). Despite Pitt’s

As with so many early reviews of the Velvets, interest, nothing will ever come of the idea.

Sunday 8 Barrios seems to view the single more as an

I TV WEWS Studios, Cleveland, OH. Andy Warhol production than anything else,

Upbeat and focuses on Nico almost to the exclusion February Despite what it says on the posters, the Vel-of the rest of the band. But he does at least

vets might not really be spending every night like the record. “I’ve listened to Nico’s husky from January 2–14 at Steve Paul’s Scene. voice with the groovy five-piece rock bands, According to TV Guide, the group are tonight electric amps and all over 25 times now and booked to appear on the pop-music program it’s amazing,” he writes. “Warhol has produced , February–April Upbeat alongside Marvin Gaye & Tammi Ter-an authentic pop record.” Nico, The Dom, New York, NY rell, The Music Explosion, The Fifth Estate, Barrios goes on to note that, on ‘I’ll Be Your By February, Nico has begun to take advan-and Donna Sears. Then again, it seems like Mirror,’ Nico murmurs “in a sexy Dietrich tage of The Velvet Underground’s sporadic a long way to travel for a local TV broadcast, tone … the words of this ballad along with the gigging schedule and started to play solo so perhaps it’s been planned in conjunction intonation strongly suggest the necrophilic shows at the Dom. She’s joined by a rotating with a concert appearance that falls through, queen in Snow White. An incongruous yet per-cast of top-notch guitar-accompanists includ-or is taped in advance of its broadcast date. sistent image with an innocuous, cadaver-like ing, according to various reports, Lou Reed, Or maybe the Velvets don’t appear on the backing by the VUG in a neo-50s manner.” He John Cale, and Sterling Morrison; up-and-program at all, despite what TV Guide says. then describes the flipside, ‘All Tomorrow’s coming folk-rockers Tim Buckley, Tim Har-

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WHITE LIGHT/WHITE HEAT n FEBRUARY 1967

din, Jackson Browne, and Steve Noonan; and whatever he felt like doing, and after a week folk legend Ramblin’ Jack Elliott. With the … he was out of there.” exception perhaps of Browne, however, none Eighteen-year-old Browne is a recent of the musicians seem particularly enthusi-arrival in New York but has already attracted astic about the gig; they’re doing it out of the interest of Elektra Records, with which charity, a sense of obligation, or, in Buckley’s he has already signed a publishing contract. case, because he’s already working as Nico’s He drove on impulse from Southern Cali-opening act anyway. According to Martha fornia with Adam Saylor and fellow singer-Morrison, Nico’s fellow Velvets are “taking songwriter Greg Copeland at the beginning turns, and not wanting to do it, because it of the year to check out the New York City was folk music. We loved to make fun of the scene and hang out with friends such as Steve folk singers downstairs at the Dom.” Noonan and Buckley. Like Browne, both are

Advertisements for Nico’s shows at the singer-songwriters who have done time on Dom appear in the Village Voice during virtu-the Orange County folk circuit. Buckley has ally every week in February, March, and April. already released an Elektra LP, while Noonan The first, printed in the February 2 edition, will make an album for the same label in 1968. implies that the Velvets will be appearing too: (About five years will pass before Browne him-“Andy Warhol presents Nico singing to the self has an album out.) sounds of The Velvet Underground at the Shortly after arriving in New York, Browne underground bar at the new Mod-Dom.” The finds himself working as the latest of Nico’s same line also appears in the next couple of guitar accompanists. “Tim Buckley got me issues, but after that the billing is modified the job,” he recalls in an October 15 2005 to “Andy Warhol presents Nico singing the interview with Jody Denberg on KGSR, a radio songs of The Velvet Underground,” with all station from Austin, Texas. “He was doing this mentions of the VU disappearing from the gig with Nico. The night I went, Sterling Mor-March 30 issue onward. rison of the Velvets was playing guitar and

An article in the World Journal Tribune also accompanying her. And another night, it suggests that the Velvets are backing Nico would be Lou Reed … But she needed her at the Dom, curiously referring to them as own accompanist. And they were all trying to “Warhol’s rock-and-raga group.” But it’s get her squared away so she could have her doubtful that the full band ever appears at own career, because she wasn’t going to stay any of these Dom gigs, and indeed the VU in the Velvets.

connection is probably limited to the fact that “So Tim called me a couple of days after Nico sings a few of the group’s songs, some-I saw the show and said, ‘Do you think you times accompanied by one of her band-mates. would want a job as an accompanist?’ … I Whatever the exact circumstances, these are a had just gotten to New York and everybody second act when Tim Buckley leaves and do demanding three months, with Nico perform-knew I was out of money. I mean, we spent your own songs.’ He had never performed in ing almost every night. my 50 bucks getting there. I was just living on public before and was only 18. He was great

In a letter to his friend and collabora-Mrs Paul’s fish cakes and mooching off my and very nice. I should have signed him to a tor Larry Beckett, Tim Buckley reveals how friends … there was snow on the ground and recording contract.” uncomfortable it might have been to play at I was wearing penny loafers. I’m from Orange Morrissey asks Browne to play an electric the Dom – not just for Nico, but for anyone. County. So I started being her accompanist. guitar, not an acoustic, as he doesn’t want “All of a sudden a blonde European chick And it was really an interesting thing, for the Nico to be perceived as a folk artist. And called Nico offered him a gig,” Buckley writes, first time, to try to make up an arrangement while these shows aren’t exactly the Exploding curiously referring to himself in the third in a key and to figure out how best to repre-Plastic Inevitable, Warhol films are sometimes person. “He was scared at first. But within sent a song for somebody else who didn’t play projected in the background while Nico sings the next two weeks he accepted – he made an instrument.” – and perhaps shown separately too, as one $200 a week and nobody listened to what In Nico: The Life & Lies Of An Icon, however, Village Voice ad lists Warhol’s Vinyl as an attrac-he sang. When he sang loud the talking got Paul Morrissey claims that he asked Browne tion alongside Nico and Browne. loud – when he sang soft he couldn’t hear to take over from Buckley – who had himself “On the nights that Andy had the bar, there himself. So he would become very irritated been recommended by publicist Danny Fields were these films being projected,” Browne and wished himself in some other situation. – and that Browne responded by saying that later explains to KGSR. “They were loops. So But after the first weeks more people came he was afraid of playing in public. “He came to there was a skydiver that was just sort of fall-and he grew more used to the utter confu-hear his idol Tim Buckley, whom I had hired ing through the air eternally. I mean, if you sion as he sang.” as a second act with Nico,” Morrissey adds in looked really carefully, you could see where

Jackson Browne confirms Buckley’s discom-an interview for this book. “I asked him to the loop jumped. Another loop was a loop fort in Follow The Music, the autobiography of play me some songs, and they were wonder-of Lou Reed sort of glowering at the cam-Elektra Records president Jac Holzman. “Tim ful with beautiful melodies and lyrics, maybe era, eating a candy bar … Playing these sets would back up Nico and play a set of his own the best songs he ever wrote. I said, ‘Listen, was for people who were in there sort of to and not take it very seriously,” he recalls. “He Nico could sing some of these songs, and you observe that scene. They were sort of voyeur-didn’t like this place or any of the people in it. can play the guitar with her. She won’t need istic … it would be a bunch of people from He would sing a lot of Johnny Cash songs or the tape recorder, and then you could be the uptown, hoping to catch a glimpse of Andy

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Warhol and his wild entourage of freaks. You lying in bed for ten hours smoking cigarettes pretension, or on posturing, or something know, a bunch of lawyers and society people or something like that.” like that. It didn’t make for a whole bunch or wherever.” The Dom, Talbot notes, is “smoky [and] of interchange.”

There is one notable admirer in the audi-noisy, [with] the bar to the immediate left Warhol it seems is still involved with and ence, however: the respected Canadian poet of the stage from the performer’s point of invested in Nico’s solo career, whether or and novelist Leonard Cohen, who has moved view. This was not a house that particularly not she’s singing with the Velvets. As Talbot to New York in an attempt to forge a career respected art. It wasn’t like playing at Folk recalls, he sometimes come in with his entou-as a singer-songwriter. Although a few of his City, where the bar was on the opposite side rage and sits at a round table near the stage. songs have been covered by other acts, most of the room from the stage, separated by a Interestingly, Talbot also remembers Nico notably Judy Collins, he has yet to make a partition; where the public was much more being joined at some points by more than record of his own. He writes a few things down interested in paying attention to the perform-one accompanist, perhaps from The Velvet in his notebook while watching Nico at the ers. The Dom was a hard house to work. You Underground. It’s certainly possible that at Dom, perhaps taking inspiration for his own just didn’t expect much attention, and you least some of the band might accompany work. (Through Nico, Cohen is introduced didn’t get it. I don’t think she was playing Nico, formally or informally, at the Dom when to Lou Reed, whom Cohen is pleasantly sur-for the people there. She was just doing her they’re not otherwise engaged elsewhere. prised to discover has read his poetry collec-thing and leaving.” Despite the ten-year age-difference, Nico tion Flowers To Hitler, which has not yet been Nico, Talbot says, “certainly got more atten-and Jackson Browne quickly become lovers as published in the USA. Reed asks Cohen to tion than I did. And I believe she got more well as musical collaborators. The affair won’t sign his copy of the book, and then plays some attention than Jackson Browne did. It varied last long; nor, in fact, will Browne’s stay in of his songs, which Cohen likes very much.) from night to night. I think sometimes they New York. But he is in town long enough to

In a July 1971 article for Screw magazine, paid good attention and they liked her, and contribute both songs and guitar-playing to Richard Meltzer notes that Nico “never sometimes she couldn’t get that audience’s Nico’s debut solo album when it’s recorded noticed the crowd at the Dom … all those attention for anything. It was real hard with later in the spring. cats sitting around at ringside drawing unflat-all the audio-visuals going on around.” Tal-tering pictures of her on their napkins in ball-bot nonetheless catches a break when ESP Saturday 4 point. Pictures of Nico with a bony face with Records boss Bernard Stollman sees him and Phi Epsilon Pi Fraternity, Tufts University, tears streaming down her face and fragile his band-mates playing a piece by Bach and Medford, MA wings at her shoulders. And spiders crawling ends up recruiting the musicians to record The Velvet Underground evidently aren’t across her forehead and they used to pass the an entire album of classical music arranged above taking gigs at college fraternities, as drawings around and giggle. But she never for rock’n’roll instruments as The New York demonstrated by a December 2 1966 contract noticed, because the people talking at other Electric String Ensemble. (The group carries with the American Federation Of Musicians, tables were even louder than the laughter. on until the end of the 60s, serving, as Talbot which reveals that, for tonight’s two 50-minute Nobody ever used to listen but once in a while puts it, as “sort of a non-threatening opener shows at this university near Boston, the group they used to yell out requests. ‘Ruby Tuesday’ for everybody.”) are to be paid $1,500. and ‘The Ballad Of Ira Hayes’ and stuff like As for Nico’s performances, Talbot notes that … once somebody even asked for some that with “some people, the lyrics and the Friday 17 raga-rock. Jackson usually protected her from [singing] sound they produce … go together. Baxter Hall, Williams College, such swill and he once said ‘We know it but But with Nico, I almost felt that she was pro- Williamstown, MA we’re not gonna do it.’” ducing this tone, and the tone had melody The Velvets’ two Friday-night shows at this elite

In Nico: The Life & Lies Of An Icon, Browne as well. But she was producing it somewhere Massachusetts college, performed without Nico notes, “They originally wanted Nico to sing deeper in her chest or in her throat, and then between 8:30pm and 12:30am, are not particu-inside a plexiglass box. She flatly refused; she as it came out she would wrap some words larly well received – or at least not according to often grumbled about this novelty stuff they around it. So it almost sounded like a cello a review in the student newspaper, the Williams tried to make her do. We would sit up on the that somebody had modified.” Record. “Andy Warhol’s Exploding Plastic Inevita-bar and play the same set twice nightly. She As impressed as Talbot might be by Nico, ble evoked the most extreme reactions of all the would do the Lou Reed songs, which sounded he hasn’t found it easy to strike up the usual performing groups,” writes Kevan Hartshorn. so hypnotic the way she sang them, a Tim loose friendship he’s come to expect among “One view said, ‘Warhol’s thing was a degen-Hardin song, a Bob Dylan song – all of them performers on the Village folk scene. “She erate, bacchanalic debauchery … but that’s all unreleased; it was an exceptional repertoire cut a very stunning figure,” he recalls. “She right because that’s what it’s supposed to be.’ to hear, basically the songs we later recorded carried herself with a certain air of hauteur. Another felt that Warhol’s show was a complete on Chelsea Girl. They were all simple songs I was coming from a much more folky place, waste of time. Most of the viewers questioned to play, and none of us guitarists saw it as and I knew that she was coming from some felt that the Exploding Plastic Inevitable was demanding work.” other place. The camaraderie which had been interesting, but difficult to get involved in. Many

Another musician who plays at the Dom on part of many different musical situations for thought Nico’s failure to appear detracted from the same bill as Nico is Jonathan Talbot, who me did not exist at the Dom. I found Nico the show” – another indication that, more than will later lead The New York Electric String to be standoffish. I was the low guy on the a year after joining the band, she’s still consid-Ensemble before becoming an internation-totem pole there, except I was the low guy ered the star attraction. ally acclaimed painter and collage artist. “At on the totem pole at the Village Gate too, The group’s contract with the Ameri-the end of the room, they had nonstop films and backstage there wasn’t a totem pole. It can Federation Of Musicians reveals that of Andy Warhol’s projected on the wall,” he was a little more relaxed. The Warhol scene the Velvets receive the sum of $1,100 for recalls. “Of course, in those films nothing ever and the scene that surrounded Nico … from these two performances, with Lou Reed happened. It would usually be two people my experience there, a lot of it was built on clearly specified as the bandleader. The

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contract also stipulates that five musicians it’s considered to be something of an anti-get off the ground, and even some of these should appear, suggesting that Nico was still climax even by followers and associates of new stations might feel queasy about the pros-expected to be part of the show at the time the band. Furthermore, it’s virtually ignored pect of spinning ‘Heroin’ or ‘Venus In Furs.’ it was booked. The extensive rider mean-by the critics, and is nothing short of a dud Perhaps then Verve saw no rush in getting while proves the EPI to be pretty exacting commercially. the album out into the marketplace, given in their production and lighting require-Within the band and their management, the limited airplay options and the lack of a ments, with specific instructions for stage much of the excitement surrounding the single around which to build. dimensions, power sources, light stands, and release of The Velvet Underground & Nico has On a more functional level, The Velvet projection facilities. regrettably dissipated during the interminable Underground & Nico is, by the standards of

delay between recording and release. Years the era, an elaborate and expensive prod-

Saturday 18 later, it might seem incomprehensible that uct. There’s the gatefold sleeve – still quite a

FilmMakers’ Cinematheque, a work of such brilliance could be left to sit novel concept for rock LPs, despite Bob Dylan New York, NY on the shelf for so long. The obvious time to and The Mothers Of Invention having used According to a program sheet, both The Velvet release the album would surely have been at it in 1966, and The Beatles and The Rolling Underground and Angus MacLise are sched-some point in mid 1966, when the novelty of Stones before them. Then there are the half-uled to appear tonight as part of a mixed-and media attention received by the Explod-dozen striking, black-and-white photographs media event, but it’s not clear whether either ing Plastic Inevitable was at its peak. of the band in the inner gatefold, taken by act actually performs; it’s possible that they are It’s not easy to untangle the reasons behind Factory alumni Billy Name and Nat Finkel-represented only by the music they have previ-the album’s belated release; and, with the sub-stein. These are accompanied by a handful of ously contributed to the soundtracks of some sequent death of several of the principal char-press quotes – some of which, like the album of the films being screened. Other figures acters involved, the actual causes might never itself, are almost a year old – chosen more for of note listed on the handbill include Andy be determined. But perhaps the best place their sensationalism than their glowing praise, Warhol; folklorist Harry Smith; Bob Dylan to begin is with The Velvet Underground’s and proving, if nothing else, that the band has road-manager turned singer-songwriter Bob record label, Verve. been generating a strong reaction from the Neuwirth; and documentary filmmaker D.A. Although the Velvets have received a lot start. In his excellent liner notes for the Peel Pennebaker. Free Sprits guitarist Chip Baker of exposure as part of the EPI, and have a Slowly And See boxed set, David Fricke claims later confirms that both his band and a quintet very famous manager in Andy Warhol, their that the Velvets deliberately chose only nega-led by jazz saxophonist Gato Barbieri perform debut album contains music that is in many tive quotes, and that Verve ameliorated the as part of the event, but is not sure whether respects entirely uncommercial, and lyrics vibe by inserting a few more positive notices Warhol or the Velvets are present. that are often highly controversial. Verve without telling them. There’s actually noth—

The press release for another multimedia deserves a certain amount of credit just for ing in the way of out-and-out criticism of the event at the same venue called New York’s releasing the thing in the first place, given group among the final assortment of quotes; First United Acidheadspeed Relief Fun that so many other labels are put off by the and there are certainly plenty of far more Ball & Glitter Parade, scheduled for Febru-record’s contents. There are no obvious hit negative reviews that could have been used. ary 2–March 2, also mentions The Velvet singles, either, and while ‘Sunday Morning’ The back cover contains an assortment of Underground. But since the group’s role is might have become one, had it been given arresting color photographs – one large shot specified as part of the “dental destruction the right sort of push, it wasn’t, and it didn’t. of the band on stage, and five smaller por-of the chairs [in] a mass mental concentra-Album-oriented FM radio sympathetic to traits of each band-member by Paul Morrissey tion against furniture instigated … by Angus ‘underground’ rock is only just starting to – over which the EPI’s multimedia projections MacLise and The Velvet Underground with

the contributions of their movies, slides,

loops, projectors,” it’s likely that neither

they nor MacLise are actually present for THE VELVET UNDERGROUND this freewheeling happening. & NICO

The Velvet Underground & Nico

March A1 ‘Sunday Morning’ (REED/CALE) A2 ‘I’m Waiting For The Man’ (REED) A3 ‘Femme Fatale’ (REED) At last, the long-awaited event: the first Velvet A4 ‘Venus In Furs’ (REED) Underground album is finally released, nearly A5 ‘All Tomorrow’s Parties’ (REED) a year after most of it was recorded. The exact B1 ‘Heroin’ (REED) date remains uncertain, but the appearance B2 ‘There She Goes Again’ (REED) in the March 9 edition of the Village Voice of B3 ‘I’ll Be Your Mirror’ (REED) a notorious advert that claims the record is B4 ‘The Black Angel’s Death Song’ (REED/CALE) “so far underground, you get the bends!” sug- B5 ‘European Son’ (REED/CALE/MORRISON/TUCKER) gests that the album is on sale by that date at

the latest. US release March 1967 (Verve V-5008 mono, Verve V6-5008 stereo)

Over the years, The Velvet Underground & UK release November 1967 (Verve VLP 9184 mono, Verve SVLP 9184 stereo) Nico will grow to enjoy unquestioned all-time Chart high US Number 171 classic status, but when it first goes on sale

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MARCH 1967 n WHITE LIGHT/WHITE HEAT

are superimposed. “I always did the publicity widely thought of as something of a freak-show gone very far in the first place, peaking at a photos for the group, along with everything adjunct to an Andy Warhol multimedia event. lowly Number 171 on Billboard. This is inci-else,” Morrissey recalls. “I wanted portraits of Impressions such as these might inadvertently dentally as high up the charts as the band them on the album, so people could see what be reinforced by the album’s jacket, on which will ever climb during their initial lifetime, they looked like, especially Nico. They were Warhol’s signature appears in inch-high black but the album does do somewhat better in all very good-looking, especially John and lettering just below and to the right of the another music-trade magazine, Cashbox, where Maureen, and even Lou took a good picture banana. It’s certainly a striking trademark, but it reaches Number 102. in those days. So it didn’t make sense to not it won’t be uncommon for those unfamiliar When the album finally reappears, Emer-show what they looked like.” with the group to mistakenly assume that The son’s image has been airbrushed out, leav— The album’s biggest extravagance is the Velvet Underground & Nico is an Andy Warhol ing a murky, yellow glow where his face once illustration on the front by Andy Warhol – a album – particularly since the name of the was. What’s even worse is that some copies silkscreened banana rendered with the art-group doesn’t appear anywhere on the front. simply have an ugly, black-and-white sticker ist’s trademark near-realism. It’s not just any But as Lou Reed puts it in a 1972 interview with the album title and Warhol’s production banana, mind you, but one that can be peeled with Rolling Stone, “We thought it would seem credit pasted over where Emerson’s face had off, with the start of the peel marked by the better with his name on it. We were all having been. There are no winners in this battle. On words “Peel Slowly And See” in tiny lettering. fun and didn’t care about credits, and things May 1, Emerson agrees to a settlement of a Those who take up the dare find a naked-like that. ‘Produced by Andy Warhol.’ It was mere $1,000 from Andy Warhol Films; his pink, unpeeled banana underneath. Warhol like being a soup can.” other complaints are dismissed when he fails apparently decides to place the banana However, the most crippling blow to the to appear when given a final chance to be against a stark white backdrop after a trip to album’s launch comes from a direction that examined in court in October. Verve mean-a record store convinces him that minimalist no one would ever have anticipated. The band while loses sales and momentum it will never LP designs with as little typography as pos-photo on the back of the album shows The regain, as do The Velvet Underground. In sible work best. Velvet Underground performing at an EPI one of rock’s most exciting years, The Velvet The Velvet Underground & Nico will subse-show at the Chrysler Art Museum in Province- Underground & Nico deserves to be as widely quently become known colloquially as the town, Massachusetts, with a still from Warhol’s heard as the other landmark records of 1967 ‘banana album’ in much the same way that The Chelsea Girls projected behind them – a – Sgt Pepper, The Doors, Are You Experienced?, The Beatles’ eponymous two-LP set from still of the upside-down head of Factoryite Surrealistic Pillow – but ends up falling so far 1968 is often called The White Album. Such is Eric Emerson, who misguidedly sees this as underground that it gets buried. the iconic status of the Velvets’ debut that it his window of opportunity. It doesn’t help that only a few magazines will later be listed in tenth place in a survey “Seeing how no one asked him about run print ads for the album, and that one of by Rolling Stone magazine of the greatest LP putting his picture on the jacket, he asked these is the Evergreen Review, which might be jackets of all time. It’s certainly an audacious Verve for a lot of money,” Morrison will later a respected literary publication, but is hardly graphic – particularly in these pre-CD days, tell M.C. Kostek and Phil Milstein. “Verve the most effective outlet for the overwhelm-when the banana is actually full-size – but is got scared and airbrushed it out.” According ingly young audience by which most rock devilishly complicated and expensive to mass-to Gregg Barrios, who will come to know a records are bought. Verve’s press kit, which produce as part of a nationally distributed LP number of Factory alumni while staying in simply announces that “bananas are in season” record. This alone might have caused consid-New York over the summer of 1967, Emer-before giving the name of the record and its erable delays; the design was certainly initi-son does not mean the band harm: “It wasn’t producer, seems unlikely to generate airplay ated months before the release, as Lou Reed done in any kind of malicious way. It was to or media coverage. It is at least in keeping refers to a Warhol photograph of a banana in get money out of the record company, basi-with Warhol’s primal, minimalist aesthetic – a conversation taped by Nat Finkelstein at the cally, from my understanding of it.” (He something that can’t be said of the promo Factory during the fall of 1966. needs money to fight an acid-possession bust, copies sent out with a banana-stickered front— Among the various other theories as to why according to Sterling Morrison, or as Ronnie page Wall Street Journal article from March 30 the album has been delayed for so long is Cutrone recalls, to fund a trip to the UK.) entitled ‘Light Up A Banana: Students Bake the previously mentioned claim that The Velvet Emerson’s unrealistically mercenary ambi-Peels To Kick Up Their Heels.” As Sterling Underground & Nico has been held back so tions are not directed solely at the album, Morrison will later lament in M.C. Kostek’s that it doesn’t distract attention from Freak either: he also tries to prevent Warhol from Velvet Underground Handbook, “We were horri-Out!, the debut album by the Velvets’ label-exhibiting The Chelsea Girls, claiming that he fied at being topical. We had the entire pack-mates, The Mothers Of Invention. But this never consented to the use of his likeness in age ready a year earlier, before any of this had – like Sterling Morrison’s subsequent claim the film. He seeks compensation of $500,000 come about, and now it looked as if we were that the loss of tapes containing some of the for the damages he claims to have suffered trying to cash in on this.” songs from the album led to its delay – is hard from the use of his image on the VU album It’s just possible that The Velvet Underground to substantiate. sleeve – an extraordinary sum by 1967 stand- & Nico might be even harder to come by than The Velvets might still be holding out ards, and one totally out of line with his con-other ‘underground’ records of a time, since hope that, regardless of the delays, their tentions – and a further $750,000 with regard controversial records can sometimes only be debut album will help to establish them on to The Chelsea Girls. purchased by specific request, and are even a national level now that it’s finally ready for The immediate effect of all this is that The hidden in brown paper bags concealing the release. But when The Velvet Underground & Velvet Underground & Nico – which has only sleeves by some stores. Stuart Churchill, a Nico finally hits the shelves in March 1967, just entered distribution – has to be pulled teenager from Ann Arbor, Michigan, later the glowing acclaim that will eventually be from stores while Verve/MGM alters the art-confirms that his hippest local retailer kept heaped upon the record is still a long way work. The delay effectively kills the record’s albums by bands such as The Fugs “under the off. For now, both band and album are still chances of rising up the charts – not that it’s counter” – possibly out of a fear of getting in

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record sold 30,000 copies in the first five years,”

Eno will tell Kristine McKenna in a 1984 interview later included in her Book Of Changes. “The sales have picked up a bit in recent years, but nonetheless, that record was such

an important one for so many people! I think

everyone who bought one of those 30,000 copies started a band.” An offhand comment in a review of the Velvets 1970 album Loaded in the leading British underground newspaper, IT (formerly the International Times), claims that “most everyone knew, loved, and probably had their first album,” suggesting that the record found a wider British audience than is often

assumed.

The Velvet Underground even gain a following in small Midwestern towns their tours never reach. “That was one of our five or ten

staple albums that we had to have at all of our parties and stuff back in the 60s in Milwaukee,” says Bob Reitman, who as a radio deejay for the University Of Wisconsin’s WUWM-FM

– and then at larger commercial stations – will often play VU records over the next few years

– even ‘Heroin,’ he says, which “we used to

play all the time.”

In a strange way the enigmatic packaging of

the Velvets’ debut works in the group’s favor – even among teenagers who have no idea who

The Velvet Underground are. “I’d discovered

the band in 1967 in Santa Barbara, where I

was going to school,” recalls Ken Barnes, who

will go on to become a rock critic and the

music editor of USA Today. “I was attracted by the weird cover and liked the name of the band, and that was usually good enough in a

day when there weren’t nearly the number of

record releases to plow through [that] there

are now. It became my favorite record for a

while. I turned on friends and roommates –

including the members of the unrecorded

Northridge, California, band It’s Id, whose

singer went nuts for ‘Heroin’ in particular –

with a vengeance.

“Certainly my roommates in the garage

band were very ordinary college kids who were

just rabidly interested in fresh new music. I

think they loved the songs and couldn’t give

a damn about the sordid subject matter. Lou

Reed was a commercially minded, catchy-riff

kinda songwriter at heart.”

Barnes and his friends notwithstanding,

however, it will take some time for The Velvet Underground & Nico to reach most of its audi— trouble for selling such ‘nasty’ items to minors. the record in stock because “they didn’t really ence. In fact, four decades later, it could be Churchill is unable to find the banana album know what things were.” said that the record is still finding its audi-at Discount Records, which is managed by local The Velvet Underground & Nico isn’t totally ence, and continually being discovered by rock impresario Jeep Holland and renowned ignored. In Britain it has already been heard new generations of listeners who weren’t alive as a hip hangout for emerging local musicians, by David Bowie, of course, and an 18-year-old when the album was initially unveiled. including Iggy Pop, who works in the store Brian Eno buys a copy shortly after it goes on The rather haphazard state of Verve/ for a time. He ends up buying the album at sale. “I was talking to Lou Reed the other day MGM’s administrative affairs makes it doubt-a campus bookstore, which probably only has and he said that the first Velvet Underground ful that there will ever be an accurate count

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the Spin magazine’s Alternative Record Guide; 17th on the same magazine’s 1989 list of the

greatest albums of all time; and 14th in the

1979 volume Rock Critics’ Choice: The Top 200 Albums, the first widely distributed book of its type. (It was in fact in this book that this then

17-year-old writer first learnt of the reverence

in which The Velvet Underground & Nico is held, leading to the purchase of a copy that somehow remained on the shelf of a Sam Goody store in a Philadelphia suburb.) Also in 1979, the original Rolling Stone Album Guide belied its parent magazine’s reputation for ignoring edgy proto-punk bands by giving the album a

five-star rating.

And yet, in the end, what matters most is

not sales charts or accolades, but the music

itself. And in that regard, with its mix of heartbreaking ballads, scarifying sex-and-drugs narratives, avant-garde sonic mayhem, and that dazzling balance of timbres rarely

if ever heard in pre-1966 rock’n’roll, all tied together by Lou Reed’s unflinching, slice-of-life songwriting, The Velvet Underground & Nico could scarcely be bettered.

ALSO …

A year after joining the group, Nico is still getting more media coverage than anyone else in The Velvet Underground. According to Nico: The Life & Lies Of An Icon, her horoscope is told in an unspecified New York magazine this month by one Madame Svetlana. The article

lists her date of birth incorrectly as August 8

1942, suggesting that Nico is still pretending

to be a few years younger than she really is.

Andy Warhol’s scrapbook also includes a clipping from another unknown publication that details one of her appearances at the Dom

and intriguingly quotes some lyrics – “Could

you stop my mirror store an’ not be afraid

of what you are? / Look around; you’ve got

so much more to pay … I tell you all these

of how many copies the album has sold. But very hard to find beyond North America, and pretty things” – that are not found in any of given that an MGM royalty statement shown the release in 2002 of an expanded “deluxe the songs she sings with the Velvets, or on to the author by rock memorabilia dealer edition” that presents the album in mono her debut LP. Jeff Gold of Recordmecca.com shows sales and stereo mixes alongside single edits of Some of these words might come from a of 58,476 copies through February 14 1969 – the group’s two 1966 45s and five tracks from Lou Reed song called ‘If I Tell You,’ which not a bad figure for a late-60s LP, even if it’s Nico’s Chelsea Girl. (According to Sterling Mor-Susan Pile, who got to know the Velvets in far less than Warhol or the Velvets would have rison, the album was recorded and mixed in 1966 and has been working at the Factory for hoped – it seems reasonable to assume that mono, making this the truest representation a while, later recalls hearing Nico singing. Pile the album passed the six-figure sales barrier of the sound The Velvet Underground were is unsure whether Nico sang it with the Velvets at some point in the early-to-mid 70s, even if aiming for; in any case, the stereo mix is not or during her early solo performances, but is Andy Warhol will famously complain to have drastically different.) able to remember several lines of the lyric: never seen a cent from the record’s sales. Few albums have been showered with so “If I tell you all those pretty things / If I give The Velvet Underground & Nico is certainly much posthumous acclaim as The Velvet Under- you what tomorrow brings / Would you stop the best-selling of all of the group’s albums. It ground & Nico. Indeed, listing all of the critical being mean to you / Stop those things that seems fair to assume that sales of it have, in the all-time best-of lists on which the album has hurt only you That is all that you have to do four decades since its first release, exceeded appeared over the years might well take up a To make you / Fall in love with you.” one million – particularly when taking into whole book in itself. Here’s just a sample of “It was one of my favorite songs,” Pile adds. account the exponentially ballooning sales some of its more prominent placings: ninth “It was just a beautiful little song, in the vein across the globe for an album that was once on a Mojo list compiled by 76 critics; third in of ‘I’ll Be Your Mirror.’” Why then is it not 138 John Cale at the Rhode Island School Of Design, early spring 1967.

WHITE LIGHT/WHITE HEAT n MARCH 1967

released by The Velvet Underground, Nico, of her own. Finally, in the Leonard Cohen Under able distance away from the Lower East Side/ or anyone else? “I think that sometimes Lou Review 1934–1977 DVD, rock critic Johnny Village base in which the Velvets’ small local would speculate about making the greatest Rogan cites Nico as the inspiration behind following is concentrated. But the group will song, but having it stamped with a scratch on ‘Joan Of Arc,’ from Cohen’s 1971 album Songs nonetheless make it their prime venue for the the disc that prevents the needle from playing Of Love And Hate. next month or so. it,” Pile says. “This sort of duality was really typical – ‘I’ve written the greatest song ever Friday 24 Sunday 26 written, and no one can hear it!’” The Gymnasium, New York, NY The Velvet Underground will be thought of Perhaps dispirited by the slow and anticlimac- as the ultimate anti-peace-and-love group,

AND … tic release of their debut album, The Velvet but today Lou Reed is among the 10,000 or David Bowie, soon to release his self-titled Underground seem to have taken a somewhat so who gather in Central Park for an Easter debut album, adds a song from The Velvet laissez-faire – or even lackadaisical – approach Sunday Be-In. “Oh, that was so good,” Reed Underground & Nico to his live set. Although to live performance in early 1967. They have later enthuses in a conversation transcribed the Velvets’ LP won’t be issued in the UK until undertaken relatively few gigs, while the whole for Andy Warhol’s 1968 book a, A Novel. November, Bowie is besotted with the acetate Exploding Plastic Inevitable concept seems to “No one wanted to leave. Nobody should copy of it given to him in December by his be running out of steam. Andy Warhol tries have left. We should have just camped there manager, Kenneth Pitt. “By March of the next to rev things up again by arranging for some forever and stayed there.” Later the same year,” he recalls in a review of the deluxe edi-early spring shows at the Gymnasium, an day, Reed and Jackson Browne meet at a tion of The Velvet Underground & Nico for Mojo actual gym in Sokol Hall on 71st Street. The rehearsal session for Nico’s upcoming album, magazine in 2002, “I had convinced the band I booking is arranged with the help of the son Chelsea Girl. was with, The Riot Squad, to put ‘I’m Waiting of the Dom’s owner, but the Velvets are unable For The Man’ in our live setlist, making this to secure an exclusive lease on the facility, as Friday 31–Saturday 1 the first time (the album, remember, was still had been the case at the Dom in April 1966. Rhode Island School Of Design, in unreleased demo form) that a Velvets song Although some reports suggest that The Providence, RI had been covered by anyone, anywhere in the Velvet Underground only play at the Gymna-This weekend The Velvet Underground play world. Lucky me. Looking back through that sium in April, an advertisement in the Village four shows with the Exploding Plastic Inevita-month’s set list, I’d like to note that we also Voice lists the opening night as March 24. The ble, at 7pm and 9pm each night, with screen included Zappa’s ‘It Can’t Happen Here’ and shows are billed as Andy Warhol Presents The tests of John Cale showing as part of the film The Fugs’ ‘Dirty Old Man.’” Velvet Underground, which implies that Nico part of the event. Nico’s name is still on the It should be noted here that Bowie might might no longer be singing with the band; cer-posters – in a typeface four times the size of not quite be the very first artist to cover a tainly, ads for her Dom appearances in March the Velvets’, in fact – but according to Ronn Velvet Underground song. In his autobiog-and April make reference to a Sunday Night Spencer, who is in attendance, she definitely raphy, Mick Farren of The Deviants specifi-Folk Music/Happening, which clashes with doesn’t appear, “much to my and many other cally claims to have been performing ‘I’m the Velvets’ run of six Sunday shows. people’s disappointment. Even those who’d Waiting For The Man’ before “every half- “The Gymnasium was the ultimate 60s never heard the band were familiar with her arsed, pre-punk, three-chord band – includ-place for me, because, we left it exactly as it iconic beauty.” ing David Bowie – started playing it.” Bowie was, with the mats, the parallel bars, weights, These are the shows John Cale has in mind however is indisputably the first major rock straps, and barbells,” Warhol later writes in when he tells the February 18 1971 issue of artist to be heavily influenced by The Velvet POPism. “When you look again [at] some- Rolling Stone, “We needed someone like Andy. Underground, even if it will take a few years thing you’ve always taken for granted, you He was a genius for getting publicity. Once for him to become an international star, and see it fresh, and it’s a good Pop experience.” we were in Providence to play at the Rhode even longer for the Velvets to be recognized (Warhol also claims to have seen black power Island School Of Design and they sent a TV as a major rock band. activist Stokely Carmichael “dancing with a newsman to talk to us. Andy did the interview tall blonde girl” at the venue.) lying on the ground with his head propped

Wednesday 15 “It was fabulous, because it had the balcony up on one arm. There were some studded Leonard Cohen, who is currently living in that you could project [from], and it created balls with lights shining on them and when New York’s famous Chelsea Hotel, is becom-many ridiculous stunts by the audience,” says the interviewer asked him why he was on the ing increasingly infatuated with Nico. “Terri-Susan Pile. “People used to jump off the bal-ground, Andy said, ‘So I can see the stars ble day, hopeless thoughts of Nico,” he writes cony to the side of the stage onto the tram-better.’ The interview ended with the TV guy today in his journal. “The guitar dead, voice poline, or just dive into the crowd. I used to lying flat on his back saying, ‘Yeah, I see what dead, tunes old and fake … Nico in terrible run a follow spotlight up on the balcony and you mean.’” mood. Tried to reach her, tried to make her back. I’m sure no one asked me to, but I took This weekend’s shows have been arranged stay beside me for a second, impossible.” it upon myself. And because it was an Upper at least in part as a result of the enthusiasm of Although Cohen’s affections aren’t ever fully East Side venue, all of these kind of poseurs Spencer, the editor of the school’s newspaper, reciprocated, the two do become friends, with were showing up. I would spot them wherever the Blockprint. “In the spring of ’66 I was visit-Nico inspiring part of Cohen’s song ‘Memo-they went, get them so angry that they’d come ing a friend who lived on the Lower East Side ries,’ as featured on his 1977 album Death Of A upstairs and try and punch me out, and see when, purely by chance, I stumbled into the Ladies’ Man. Nico also inspires his song ‘Take that I was just an innocent teenaged girl and Dom,” he recalls. “I attended the gig solely on This Longing,’ which Cohen will eventually they couldn’t do it!” the basis of Andy’s name and the chance I’d record for his 1974 album New Skin For The The Gymnasium seems like a strange and get to see Warhol in the flesh. In all candor, Old Ceremony. But while Nico sings it to him on perhaps too cavernous place to hold an EPI I’d never heard of The Velvet Underground several occasions, she never records a version show, and also somewhere that’s a consider-and I had no idea what an Exploding Plastic

139

140

Lou Reed and Andy Warhol at the Rhode Island School Of Design, early spring 1967. 141

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Inevitable might be. I was completely unpre-despite its impeccable credentials as a bastion and indifferent, Andy pretended to look at pared for what I saw and heard. It was one of of hipness, had purchased or ever heard. Most each one exclaiming, ‘Wow, these are … uh those defining moments where your conven-people thought it was unlistenable. There was … wonderful, Ronn.’ It was clear he didn’t tional sensibilities are challenged but, at the simply no point of reference for the people remember me or give a flying rat’s tuchus same time, you’re willing to eagerly stuff them in the audience.” about the images. At the same time he was in a sack, throw them in the river, and gladly This is certainly the view put forward by Bill shuffling through my stack of pictures, jour-watch them drown. What seemed unorthodox Dunning in his review of the show for the Block- nalists were sticking microphones in his face at the beginning of that show seemed oddly print. “To those of you who spent incredible asking him the same tedious questions he’d familiar to me by the finale. To tell you the amounts of money on the ‘Warhol’ show … I been asked a million nauseating times. truth, I left that gig thinking that, by compari-can only commiserate with you,” he writes. “I “Exasperated and, I assume, feeling some-son, any other music that was passing itself off just can’t resign myself to the price charged what claustrophobic, Andy turned to one as ‘hip’ was utterly trite and irrelevant.” [$2.50!] and the general lack of merit exhib-reporter and said, ‘Why don’t you ask …

Almost a year later, Spencer recalls, “the ited by The Velvet Underground. I can go and uh ... Ronn the questions. He knows more school itself had invited Warhol’s troupe to get bagged, and listen to better for much less. I about me than I do.’ The reporter, unable to Providence” – as confirmed by an editorial in just thought the show generally lost from begin-comprehend that Andy was giving him and the October 24 1966 edition of the Blockprint, ning to end. When they did hit on something me the brush-off, started peppering me with in which students are urged to confirm that a good they kept it up to the verge of insanity … questions. ‘You’re one of Warhol’s assistants?’ Warhol show will be attended, as the school It was a poor band, a few lights, a few straight he asked. ‘Uh, yeah,’ I said, playing along with “will not bring him here unless we show we people, a few bombed people, a spectacular the gag. ‘How long have you worked with care.” “Some people thought it was a waste name, an exorbitant price, and a rather boring Andy?’ ‘Fifteen years.’ It was the most absurd of money,” Spencer continues. “I remember evening to say the least.” thing I could think of – I was 19 years old!” having an argument with the Student Activi- “I also recollect getting a music theory lesson “Undeterred and obviously bad with math, ties Organization director – some crusty old from Professor Lewis Reed while we peed in the reporter continued to ask me questions square who controlled my newspaper’s purse adjoining urinals,” Spencer adds with amuse-and I responded with one ridiculous fabrica-strings as well as every other student organiza-ment. “Something about manipulating the tion after the next. The guy never knew he was tion. I told him I’d seen the Velvets and was harmonics or overtones that result from high being conned. He was clearly in over his head, very enthusiastic about them – that I intended decibel music – it’s difficult to remember. That oblivious and adrift. At the end of my ‘inter-to lobby for their appearance. He cautioned lecture continued outside the men’s room for view,’ I looked over my shoulder and noticed me, in no uncertain terms, not to stick my some time. I just nodded in agreement, pre-Andy had taken refuge inside his retinue, safe neck out. I immediately ran a bold print ad tending that I understood the profundity and from the press and the annoying jackasses, in the paper the very next week that simply incisiveness of his commentary when, in reality, myself included, who wanted to meet him, said ‘ANDY WARHOL IS COMING.’ Our rela-I didn’t understand one damned word. There glad-hand him, or caress his rump.” tionship remained prickly for the rest of my was no evidence of the hostile, adversarial Lou tenure at the paper.” Reed that would emerge shortly afterward –

Unfortunately, it’s at one of these shows none of that withering, lacerating disdain that April that the Velvets “had no sound,” as Sterling he justifiably unleashed on scores of oblivious Morrison will later put it in an interview journalists in the future. He was just a very quoted in Diana Clapton’s Lou Reed & The enthusiastic guy, speed-rapping about some-Velvet Underground. “We did all our songs with-thing that genuinely flipped his switch. Lou, out the vocals. That upset me a whole lot. Andy, and the rest of the band were all very Undated April Those people were real fans.” approachable.” At some point this spring, the San Francisco

“The sound system was pathetically inad-In fact, Spencer is even granted an inter-rock fanzine Electric Frog gives The Velvet Under-equate, and I do recall them playing their first view with Warhol for the Blockprint. Warhol’s ground & Nico one of its first reviews, but it’s set sans vocals,” confirms Spencer. “The subse-responses are typically unrevealing, but there’s not a very good one. “The album is generally quent show was more impressive.” Spencer is an indication of his waning interest in the Vel-as worthless as anything … connected with not on the same page as Morrison, however, vets when Spencer asks him whether he wants Andy Warhol, but there are some interest-when it comes to whether or not the crowd to continue staging these shows. “Well, we just ing things on the album. A few cuts, such as is full of ‘real’ fans. “My recollection is that opened another nightclub in New York called ‘Sunday Morning’ and ‘Heroin,’ are good, but most people were appalled,” he says. “Many the Gymnasium,” Warhol says, “but I’m more the rest is not very good. Basically The Vel-people were genuinely enthused about Andy’s interested in just making movies.” As far as vet Underground are a dance band that play visit to the campus but the Velvets themselves Spencer can tell, “backstage, Paul Morrissey lots of drug and sex songs but have very little got a lukewarm reception. They made no and Gerard Malanga actually seemed more imagination. Most of the instrumentals are lit-attempt to relate to the audience, were pain-high profile than the band or Andy. It seemed tle more than a beat. It’s nice to dance to, but fully loud, and played long, atonal numbers to me that they were responsible for keeping musically it has little value. The lead singer, that seemed to be intentionally fashioned to things on track and running smoothly.” Lou Reed, has a good voice, though, sort of alienate the crowd. On stage they seemed A couple of months later, when Spencer sees Dylanish, and quite effective. It’s a shame he as if they were one entity, perfectly suited to the Velvets perform at the Boston Tea Party, has no room to develop it with The Velvet each other. I was mesmerized – many were he brings along some pictures he took at the Underground.” not. This was decidedly not in the spirit of the Rhode Island shows to show Warhol. Spencer’s times. I do remember [them playing] many retelling of the story serves as an obscure but ALSO … of the songs from the first album – a record humorously typical illustration of Warhol’s skill As Danny Fields notes in No One Waved Good-I assure you, that very few people at RISD, at deflecting unwanted attention. “Detached Bye: A Casualty Report On Rock And Roll, it’s

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around now that Brian Epstein develops an According to an ad in the March 30 edition Again,’ and shortly thereafter commit it and interest in The Velvet Underground. “One of the Village Voice, The Velvet Underground a Kohler original to tape with a reel-to-reel night at Max’s I was there with Brian and Lou are scheduled to appear at the Gymnasium on recorder. The group’s ‘studio’ is a pitched Reed was there and I ran back and said, ‘Pre-Friday March 31 and Sunday April 2. It seems tent “between a rice paddy and a cemetery,” as tend you have to go uptown and I’ll get you a doubtful that the March 31 show could have Kohler later recalls in Ugly Things, with a gas-ride with Brian Epstein,’” Fields recalls. “Prior taken place, however, as the Velvets were in powered generator supplying the electricity. to this, when I had first told Brian about The Rhode Island, and there’s no other evidence The group manages to produce a raw but Velvet Underground, he had gone out and to suggest that tonight’s show goes ahead, faithful garage-band version of ‘There She bought their record and then he left for either. Goes Again,’ adding Farfisa organ to the Acapulco for a week and it was the only record arrangement. Kohler then sends the tape he had with him – the banana album – he Wednesday 5 to a company he’s read about in Hit Parader, lived with it for a week. So I ran back up and David Bowie isn’t just the first major artist to asking for ten acetates to be manufactured said to Brian, ‘Could you drop me at Ondine’s cover a Velvet Underground song live: he’s for the band and a couple friends. With a and Lou Reed as well?’ and he said sure.” also the first major artist to imitate them with mechanical drawing kit, he then puts song Reed dutifully tags along; as he recalls in one of his own compositions, ‘Little Toy Sol-titles on the labels, which credit the cuts sim-Yvonne Sewall-Ruskin’s High On Rebellion: dier,’ recorded today at Decca Studios with ply to The Banana. Inside The Underground At Max’s Kansas City, The Riot Squad. The song is a chipper tale of It might all sound stranger than fiction, but “I was sitting in the back room and Danny a little girl named Sadie who takes her clothes this acetate of ‘There She Goes Again,’ cut by Fields comes in and walks over to me. ‘Lou,’ off nightly for a beating from her wind-up toy a group of US soldiers in Vietnam, is the first he says, ‘you have to come out and meet Brian soldier. It’s obviously inspired by ‘Venus In known Velvet Underground cover. Few will get Epstein, he’s The Beatles’ manager and he Furs,’ to the extent that the chorus lifts the to hear it, however, until it’s reissued as part of wants to meet you. He’s thinking about man-line about tasting the whip from the Velvets the Virginia garage-rock compilation Aliens, aging The Velvet Underground.’ So we got classic word-for-word. As a songwriter, Bowie Psychos & Wild Things, Vol. 1 in 2001. outside in front of Max’s where his limousine is not yet on Lou Reed’s level; several years is parked. He sticks his head out the window, will pass before he releases his first British AND … introduces himself, and says, ‘Get in,’ and hit, ‘Space Oddity.’ This uneasy mix of kinky, A third version of that most-covered of pre-VU offers me a joint.” macabre sex and Anthony Newley-like theat-Lou Reed songs is released this month when Picking up the story in No One Waved Good- ricality is not released, but later appears on Donnie Burks puts out ‘Why Don’t You Smile Bye, Fields adds, “In the car Brian said, ‘Well, various bootlegs. Now’ on a Decca single (catalog number I’ve certainly been listening to your record Bowie also records a cover of ‘I’m Waiting 32134). This version has a more upbeat, a great deal. In fact, it was the only record For The Man’ around now, and perhaps even soul-pop arrangement than the original, by I had with me in Acapulco this past week’ at this same session. Although Bowie’s version The All Night Workers, and includes a wail-and Louis said, ‘Oh?’ and Brian said, ‘Well I – also heavily bootlegged – is variously dated ing, bluesy harmonica. It’s produced by Terry liked it very much,’ and Lou said, ‘Why, thank as having been recorded anywhere between Philips, Reed’s old collaborator at Pickwick. you’ … I wanted Brian to manage them or December 1966 and 1969, the production For so obscure a song, ‘Why Don’t You promote them or get them to Europe or just is similar enough to suggest that it might Smile Now’ certainly generates its fair share something. It was high time Europe heard be recorded at the same time as ‘Little Toy of covers. Later in 1967, Philips produces yet them. In fact, he did go back, I understand, Soldier,’ with The Riot Squad and producer another version of the song, in a blue-eyed and when people asked him what was hap-Gus Dudgeon. It’s a rather clunky, mid-tempo soul arrangement, for Brian Lyford. This one pening in America he would say, ‘You should reading of the song, complete with asthmatic is not released, however, and won’t become go listen to that album.’” saxophone and harmonica. Bowie’s emulation widely available for almost four decades. The Reed doesn’t have much else to say to of Reed’s leering phrasing is fairly accurate, song will also be recorded by Maureen Tucker, Epstein, however, beyond thanking him, and but pretty blatantly unoriginal. on her 1987 EP MoeJadKateBarry, and on a nothing comes of the meeting. It’s possible, It will take a while for the Lou Reed influ-1991 single by Spiritualized. incidentally, that Epstein had already heard ence to resurface in Bowie’s music. But when of the Velvets. As noted elsewhere, John Cale it does come back in the early 70s, it’s with a April–May had asked Kate Heliczer to get a demo of the vengeance. Even then, Bowie hasn’t forgot-It’s probably around now that Nico’s son Ari group to Epstein in October 1965; Epstein ten about the songs that first inspired him, comes down with jaundice. Living in New York might also have heard about them via the as proven by several early-70s recordings of with a single mother who’s preoccupied with folksinger Julie Felix, whom he books for him singing ‘I’m Waiting For The Man’ – in her musical career – and one who, it is later several gigs at the London venue he runs, a rather more confident, personal interpreta-alleged, coats his gums with heroin powder to the Saville Theatre, and for whose manager tion – live and on the BBC. make him easier to manage, and allows him to Heliczer works. run free at the Dom and drink alcohol from Other reports seem to make more of the ALSO … other patrons’ filthy glasses – isn’t the best Epstein/Velvets connection than there actu-In Vietnam this spring, Virginian MP and gui-environment for a four-year-old boy. (Years ally is. But Epstein will be approached again tarist Dean Kohler puts together a band called later, journalist Richard Goldstein describes later in the year about becoming involved with The Electrical Banana. The wife of one band-Nico’s son as “the worst-behaved child I have the Velvets after the group end their profes-member has been sending over LPs from a ever seen in my life; he just went around kick-sional relationship with Andy Warhol. record club, and, as is appropriate for a group ing people!”) And so the boy is sent to live with such a name, ships a copy of the ‘banana with Alain Delon’s mother, Edith Boulogne, Sunday 2 album’ over shortly after it’s released. They near Paris, and will see his mother only spo-The Gymnasium, New York, NY learn one of the numbers, ‘There She Goes radically over the next 15 years. In his short

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time in New York, Ari has managed to appear him for that thing … that nothing is wrong to “This record was basically made [in] … I in a few Warhol films, attend a number of VU do or to say or to take … he really destroyed would say, probably two sessions,” Browne concerts, and even jam with the band, in a himself in the end.” Nico will shortly record tells Jody Denberg of KGSR in October 2005. limited fashion, in the January 1966 film The Tim Hardin’s ‘Eulogy To Lenny Bruce’ as the “The day I went in and played the songs of Velvet Underground: A Symphony Of Sound. closing track on her upcoming solo album, mine that she sang, Lou Reed also came in

It’s around the same time that Nico’s affair Chelsea Girl. and accompanied her on the songs that he with Jackson Browne winds up; he has also had written. And after [that] we went to go

had enough of playing guitar behind her, M RECORDING Nico Mayfair Sound Studios, see this show at the RKO, the Murray The K too. “One night in April ’67 at the Dom, Nico 701 Seventh Avenue, New York, NY. Producer Show, with Cream, The Blues Project, Jim & started bothering him right on the mic about Tom Wilson, engineer Gary Kellgren. Jean, and Wilson Pickett. I mean, it was like a a threatening phone call she had received, Since Nico has spent the past few months rock revue. You know, it was the most amazing claiming him to have been the nasty, horrible establishing herself – albeit rather shakily – as thing I ever saw.” caller,” Richard Meltzer recalls in a June 1972 a solo performer, making a solo album seems If Browne’s recollections are right, the day profile of Browne for Rolling Stone. “Their rela-like the natural next step. Verve duly gives the in question must fall between March 25 and tionship had been deteriorating anyway, hav-go-ahead for several sessions in April and May, April 2, when the Murray The K revue takes ing tottered from the level where Jackson had produced by Tom Wilson, the A&R man who place, but the Peel Slowly And See liner notes been exultant to boast that he … was ‘the lover signed the Velvets primarily because of Nico’s offer a time-span of April–May for the record-of the most beautiful girl in the world.’ She presence in the group. Both Wilson and Verve ings. It’s unlikely that the sessions could have upset him so much that he just up and walked probably still think Nico has more commercial taken place on March 31 or April 1, since off in mid-performance, being replaced by a potential than her band-mates, as she contin-the Velvets are otherwise engaged in Rhode willing Bobby Neuwirth, who just happened ues to receive more media attention than the Island. So they must either have taken place to be sitting right there out front.” rest of the group combined. in late March, or a little later in April than

Browne will soon decide to go back to Cali-Nico’s maiden LP turns out to be unlike Browne remembers. Either way, it seems likely fornia, but not before participating in the ses-both her work with The Velvet Underground that the basic tracks are taped in just a few sions for Nico’s debut album. The bittersweet and her subsequent solo recordings. Chelsea sessions, with the orchestral overdubs being lyrics to an untitled and unrecorded five-verse Girl is a folk-pop record of sorts, with light and added a little later. song Browne writes about Nico around now almost chamber-like orchestration. Wilson It’s likely too that the three Jackson Browne are printed in Richard Witts’s Nico: The Life might be trying to fit Nico into the brief vogue compositions that appear on the album are & Lies of an Icon. for what the music press is calling ‘baroque recorded on the day he plays guitar with Nico

folk’ – a combination of folk music, folk- on the studio. ‘The Fairest Of The Seasons’

ALSO … rock songwriting, and almost artily classical (co-written with Greg Copeland), ‘These

A profile of Nico appears around now in the arrangements. Probably the most successful Days,’ and ‘Somewhere There’s A Feather’ magazine IN New York, and is later reprinted exponent of the sound is Judy Collins, but are among the first Jackson Browne songs on the back of her Chelsea Girl LP. Nico’s own Nico is not too similar a singer, either vocally recorded by anyone, although his Southern remarks in the article serve to reinforce her or in terms of her overall musical aesthetic. Californian friends The Nitty Gritty Dirt Band mysterious, enigmatic image. “I don’t even Nico has not yet started to write her own – with whom he briefly played – have already see that it makes a difference,” she says when songs, either, so Chelsea Girl won’t quite fit cut a couple of his tunes for their debut asked how long she’s been singing. “Because into the ‘singer-songwriter’ bag – although album. Browne himself has already recorded everyday I feel that the day before doesn’t that might not matter so much, as the phrase tentative, frail-sounding versions of all of these count … so much happens … I don’t sing for has not yet been coined. As Jackson Browne songs as publishing demos for Elektra (for the audience, I try to remain as much alone as recalls, Nico has, with all of her connections which ‘These Days’ is still titled ‘I’ve Been I can [and] not to make contact at all. (Except to the Velvets and beyond, been able to assem-Out Walking’). Nico’s readings of these three for the people who come every night.)” ble a very interesting repertoire of songs by songs are far more graceful and effective,

Of Andy Warhol, she says, “He would rather top-notch writers that have either not yet bringing out the fragile beauty in Browne’s be me or someone else sometimes … like the been released by anyone or are still largely melodies and giving the wistful, naive roman-radio interview when I couldn’t show up … unknown even if they have sneaked out in ticism of the lyrics a wider scope. Much of he went on and took my part – said the things vinyl. And while her relationship with the the credit should be given to the unusual, I would say. It’s part of pop art, I guess, that Velvets has grown strained in some respects, dainty-yet-dignified arrangements by Larry everybody can impersonate somebody else Lou Reed, John Cale, and Sterling Morrison Fallon, who will become more renowned in [and] that you don’t always have to be you are still willing to help Nico out not just by a year’s time for his work on Van Morrison’s to be you. If tomorrow I find somebody who giving her some of the songs they don’t intend Astral Weeks. is pretty much like me and I put her here to to record for future VU releases, but also by By far the most famous of these songs is sing, she can be Nico while I go to do some-playing on her album sessions. ‘These Days,’ although this has less to do with thing else.” One thing they are not afforded, how-Nico’s reading of it than subsequent versions

Nico does at least pay some passing atten-ever, is a strong voice in the production. As by Gregg Allman, on his 1973 album Laid Back, tion to her emerging musical sensibility when Lou Reed later tells Zigzag magazine in an and by Browne himself, on the same year’s For she declares “I like sad songs, tragic ones … unpublished 1972 interview, “I didn’t go for Everyman. “I finger-picked it,” Browne explains I like to improvise with notes, with the feel-the arrangements on that album too much, of the Chelsea Girl version in his KGSR intering I have at the time about the song.” She all the strings and all that. I didn’t think they view. “And it wound up being the way it was also expressed admiration for the recently were particularly tasteful. I played guitar on recorded on her record. But when I wrote deceased comedian Lenny Bruce, whom she two or three tracks, but none of us had any this song, I actually flat-picked it. But it didn’t describes as one of her favorite people. “I like say about anything.” sound good flat-picking this electric guitar.”

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It will come as no surprise to anyone who ing study of the troubled weirdoes who drift unpublished interview, he, Cale, and Nico are knows Nico that she seizes upon the chance in and out of Warhol’s world, complete with a the only musicians on the track, which marks to finally record Bob Dylan’s ‘I’ll Keep It With sad, tender melody that does much to leaven the only time on Chelsea Girl that the guitars Mine,’ which she has been longing to put on the steely-eyed portraits. It’s something The squawk and rumble in the way that they vinyl ever since Dylan cut a demo of it in May Velvet Underground could themselves have might on a VU recording. In fact, nothing 1965. Dylan has yet to release his own version recorded, with Nico, without ever compro-but guitars are used here, except for Nico’s of the song, but Judy Collins put out her take mising their standards, albeit without the sing-scat-moaning of apocalyptic nostalgia in on it on an obscure 45 in late 1965. Ironically, strings and flute heard on this version. Nico a glacial yet seductive fervor. It’s her finest ‘I’ll Keep It With Mine’ will end up being the meanwhile will later point out that she is sing-vocal performance on the album, alternating least satisfying track on Chelsea Girl, not least ing only about the other girls in the Chelsea between almost Wagnerian gravitas and eerie, because of a string arrangement that’s much Hotel – and certainly not herself, the most siren-like wails. Reed will later imply that the too jaunty for so reflective a tune. It’s prob-famous Chelsea girl of all. song grew out of the droning improvisations ably something Nico needs to get out of her Another song that could have been the Velvets have been playing in concert, per-system somehow, but she might have been included on a VU album – and probably gets haps referring to pieces with wordless Nico better off getting an unreleased song from closer to being considered for such than vocals such as ‘Melody Laughter’ and ‘The her admirer Leonard Cohen. anything else here – is Reed’s ‘Wrap Your Nothing Song.’

Far better is Tim Hardin’s ‘Eulogy For Troubled In Dreams.’ Reed, Cale, and Mor-Had it been ready in time, the track might Lenny Bruce,’ which closes the LP on an rison recorded a version of it in July 1965, have held its own as addition to The Velvet appropriately mournful note, and is one of before performing it on stage a year later Underground & Nico. Its appearance on Chel-only two songs on the record unembellished with Nico on vocals, so they must think quite sea Girl will cause many VU fans to miss it, by orchestration. Nico already expressed highly of it. The arrangement that appears although this problem is alleviated to some her admiration for the late comedian to IN on Chelsea Girl almost certainly isn’t what the extent by its inclusion on Peel Slowly And See New York magazine; here, the gloomy lyric is rest of the group had in mind, but it’s still a and the deluxe edition of the banana album. superbly complemented by her chilling vocal lovely version of the song. Gossamer staccato ‘It Was A Pleasure Then’ is also the song on lament and sparse musical backdrop of a sin-and swooping strings weave around flute and Chelsea Girl that most accurately predicts the gle forlorn folk-guitar. Nico’s deadpan yet vaguely menacing vocal as future directions Nico will explore on her

Nico probably learnt the song from Har-an effervescent ascending melody cloaks lyrics later solo albums, which eschew orchestra-din himself at one of the Dom gigs at which that probe dark corners of the subconscious. tion (and folk-pop) and dive into the coldest he served as her accompanist. Hardin was a Perhaps the most surprising of these extra-hearts of darkness. It’s no accident that it’s friend of Bruce’s, and wrote some songs in Velvets offerings is ‘Winter Song,’ which, aside also the first track to bear a Nico songwriting his apartment. He has yet to release ‘Eulogy’ from the flexidisc ‘Loop,’ is the first released credit, albeit as co-writer alongside Reed and on one of his own albums, but will eventually recording on which John Cale is credited as Cale. “One of the reasons we never sold is include it (as ‘Lenny’s Song’) on Tim Hardin sole composer – and indeed the first VU-because we insisted on putting things like that 3 – Live In Concert, recorded at New York City’s related song besides ‘Loop’ not written or out,” Reed admits in his unpublished inter-Town Hall on April 10 1968 and released that co-written by Lou Reed. It’s an impressive view with ZigZag. “But I’m glad we did.” September. (A solo piano version of the song debut, too, revealing the slight gothic, Celtic Meanwhile, Gregg Barrios notes that he by Hardin featured on the interview/collage feel, at once mysterious and foreboding, that supplied footage of Nico singing ‘It Was A album Why Did Lenny Bruce Die, released by Cale will go on to develop more fully in his Pleasure Then’ with The Velvet Underground the Probe label shortly after the comedian’s solo work. ‘Winter Song’ is a worthy hybrid for the promotional video put together by the death in August 1966; it might also be from of folk and classical music, with a dancing, Elektra label for the 1991 CD reissue of Nico’s this rare LP that Nico learnt the song.) The almost circular feel that’s brought down to 1968 LP The Marble Index. This performance, fact that Hardin is also on Verve probably earth by emphatic, wordless refrains and omi-he explains, was not shot at a concert, but makes it easier to clear the way for Nico to nous, rapid strokes of violin. as “a set-up for a later film called ****. The release the song first. It’s also possible that Cale and Reed co-wrote ‘Little Sister,’ a less guys are in the background, [but] Andy just the pair are involved in a brief romantic rela-distinguished but still pleasant effort that’s focuses on [Nico]. He was experimenting tionship, as Susan Pile remembers babysitting in a more standard baroque-pop mold. The with these [strobe cuts], doing editing in Nico’s son on one occasion so that she can go flighty imagery – which includes references to the camera where you shut it off and then out on a date with Hardin. Hardin’s career is the sea, the sun, birds, shadows, and jewels – you reset the camera, then you turn it back hampered, like Lenny Bruce’s, by heroin use, suggests that Cale had substantial input into on again. So it would say, ‘It was a pleasure a fate that will also befall Nico. the lyrics, given Reed’s taste for more earthy bztt bztt bztt then,’ or something like that. It

Alongside the five songs by Jackson Browne, sensibilities. The song’s composition dates was staged somewhere in New York City.” As Bob Dylan, and Tim Hardin are five more back at least a year, since it was copyrighted far as Barrios recalls, this sequence is used to written by members of The Velvet Under-on April 22 1966, indicating that it might have open ****, which will barely be screened at ground. None of them are mere castoffs. The been performed or at least rehearsed by The all on its ‘release’ in December 1967 before best is the seven-and-a-half minute ‘Chelsea Velvet Underground at some point. becoming inaccessible to public viewing. (If Girls,’ which was originally commissioned as Finally, the eight-minute ‘It Was A Pleas-it could be found and restored with sound, the theme song for the film The Chelsea Girls ure Then’ is the one song on Chelsea Girl **** would be a holy grail for those seeking but not finished in time. The song bears a that could not only pass for a Velvet Under-footage of The Velvet Underground perform-Lou Reed/Sterling Morrison credit – “I did ground track but pretty much is a Velvet ing an actual song.) some meddling with chords” is how Mor-Underground recording, albeit one cut Critical opinion about Chelsea Girl varies rison will later explain his contribution in without Maureen Tucker or Sterling Morri-widely – more widely in fact than about almost Fusion – and is a magnificent and unflinch-son. As Reed later tells ZigZag magazine in an any album of significance from the 60s. Nico

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herself will later claim to hate the record, the Velvets are becoming more determined perhaps because it’s too upbeat for what turns mostly because of the production, which is to make it as a standalone rock band, such out to be a fairly dark album. The Velvets will much too ornate and rococo for her liking. impish pranksterism might be starting to get as far as cutting an instrumental backing “I cried when I heard the album,” she reveals wear thin. (Although the ad lists the Velvets track on December 5 – eventually issued in in Nico: The Life & Lies Of An Icon. “I cried as appearing at the Gymnasium from April 1986 on Another View – but never manage to because of the flute. I hate it so much! It is a 7–9, they can’t be in New York on April 9, as cut a definitive live or studio rendition of a great mistake. The arrangements in general they have another concert scheduled in Ann song that could and should have been one of were not so good. Even so, I could bear the Arbor, Michigan.) their all-time finest rockers. string sound. But I wish I could take the flute Two tracks recorded live at the Gymnasium Remarkably, yet more songs recorded at the off. There should be a button on record play-some time this month are later included on Gymnasium in April 1967 have since surfaced ers, a ‘no flute’ button.” the Peel Slowly And See boxed set; both bear and circulated, and are by far the best quality The album might have been better, as Lou joint Reed/Cale/Morrison/Tucker songwrit-pre-1969 live VU recordings. The balance and Reed explains in the July 1978 issue of Creem, ing credits. The first, ‘Guess I’m Falling In clarity aren’t ideal, but the sound is full, and “if they’d just have allowed Cale to arrange it Love,’ is an out-and-out chunky, mid-tempo you can heard the vocals plain and upfront and let me do more stuff on it. I mean that rocker. There’s a vicious, hard-rock base to to the point where making out the words isn’t song, ‘Chelsea Girls’ – everything on it, those the performance and a gospel-like fervor to too difficult – a rarity among live Velvets tapes strings, that flute, should have defeated it. But Lou Reed’s lead vocal, which at one point from the 60s. the lyrics, Nico’s voice. It managed to some-lifts a line about fever in the pocket almost The most interesting of these songs is the how survive. We still got ‘It Was A Pleasure directly from Bob Dylan’s ‘Absolutely Sweet sole circulating version of ‘I’m Not A Young Then’; they couldn’t stop us. We’d been doing Marie.’ The second is ‘Booker T.,’ a blues-soul Man Anymore,’ which lasts about seven min-a song like that in our beloved show, it didn’t instrumental titled in honor of the greatest utes. It’s easy enough, however, to hear why really have a title. Just all of us following the Memphis bandleader. It’s too monotonous to this never made the cut for an official Velvet drone. And there it sits in the middle of that hold much interest on its own, but the rhythm Underground release: it’s simply not much album.” guitar is grungier than anything Booker T. & of a song, setting a vaguely bluesy, ‘I’m Wait— Whether aware or not of Nico’s objections, The MGs would ever have played, and the ing For The Man’-style riff to a lyric that only many critics echo her sentiments, portraying lead guitar soon drifts into much spikier and contains two lines, repeated six times almost the album as a flawed or even failed attempt more distorted soloing than Steve Cropper as intermissions between the instrumental to push her into a flowery pop-folk corner would ever allow. breaks. It’s almost as if only a chorus has at odds with her strengths and sensibilities. John Cale will later claim that ‘Booker T.’ been written, while the two lines themselves There’s also no denying that her problems is eventually combined with lyrics from an old are hardly the group’s finest observations, staying on pitch and in tune cause her vocals Lou Reed short story to create ‘The Gift,’ as consisting of the title phrase and a boast to waver more than occasionally. Combined featured on White Light/White Heat; in fact about the singer having five nickels in his with her unnaturally deep, solemn tone, this the instrumental backing to ‘The Gift,’ while pocket and access to plenty more. Maybe it serves only to irritate many mainstream lis-bluesy and repetitive, is slower and more men-was never meant to be more than a launch-teners, whom Verve probably sees as Nico’s acing than ‘Booker T.’ But ‘Booker T.’ does pad for jamming and improvisation; Reed target audience. stand out as one of a number of songs that does at least sing it with throaty, vibrato-heavy And yet the baroque orchestration is essen-prove that, for all their avant-garde extremes, panache. tial to what makes Chelsea Girl so strange, the Velvets do sometimes allow a fairly con-Among the other tracks in circulation is a unique, and for the most part quite charm-ventional rock/rhythm & blues approach hard-driving version of ‘I’m Waiting For The ing and magical a record. She sounds like no to drive their sound, albeit one with a more Man,’ perhaps taken from the same show as other folk-pop songstress of the time, and is modern twist. (A slightly longer version of ‘I’m Not A Young Man Anymore’ and the certainly worlds away from the more conven- ‘Booker T.,’ with nine additional seconds at Peel Slowly version of ‘Guess I’m Falling In tional recordings being made by Judy Collins, the start, appears on John Cale’s December Love.’ More interesting is a six-minute take for example. For the five songs written by 1991 French EP Paris S’eveille.) on ‘Run Run Run’ with longer instrumental members of The Velvet Underground alone, A different version of ‘Guess I’m Falling In breaks than can be heard on the studio ver-Chelsea Girl is an important part of the VU Love’ with slightly altered lyrics, also recorded sion. There are enough wild squalls, burst of story. (Cale will continue to make significant live this spring, is later aired on WPIX in New feedback, and deranged riffs to satisfy the contributions to Nico’s later recordings, but York during an interview with John Cale on most noise-hungry VU fan, and also a few lyr-the others won’t.) And on its own terms, Chel- June 3 1979. Although the sound quality is ics not heard on the album version, includ-sea Girl is a fascinating and indeed quite good lower on this version (later bootlegged) than ing references to being wasted and unable to album that remains underrated and unfairly on Peel Slowly And See, the performance is get straight, and a ‘nickel bag’ (probably not overlooked. noticeably raunchier, and chock-a-block full referring to the sort of nickel you put into a of catchy hooks and power-chord riffs. vending machine).

Friday 7–Saturday 8 It’s no stretch to compare the guitar-Finally, there’s the earliest known recording The Gymnasium, New York, NY breaks to those heard on early-70s Rolling of ‘Sister Ray,’ which proves that the group According to a Village Voice ad, the Velvets Stones cuts such as ‘Brown Sugar’ in terms has a basic arrangement of the song – with a are joined on the bill this weekend by The of sheer prickly, blues-rock intensity, and of few minor lyrical variations – in place a good Dick Hyman Trio – an old-time jazz act whose how the lead and rhythm guitars bounce off six months before recording it for White Light/ leader will later write soundtracks for Woody each other. Had it been recorded like this in White Heat. This is not just the earliest but also Allen films – and Tony Scott, “one of the the studio, ‘Guess I’m Falling In Love’ might the best-recorded live version of ‘Sister Ray’ to world’s greatest clarinetists.” Andy Warhol have made a fine album track, but it ends up have emerged in the years since. It might be might relish the mismatched contrast, but as being passed over for White Light/White Heat, a bit restrained compared to the studio ver-

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sion and some of the live performances that Warhol’s very first, very far-out album – featur-eration was horrible,” Churchill says. “It was follow, but it’s still a fine rendition, complete ing the unbelievable Nico.” very plastic sort of fake pop-rock, which totally with effective, searing feedback, eerie, super-According to another local publication didn’t fit in with what was going on. These amplified tremolo-like effects, and machine-from nearby East Lansing, the Paper, the EPI big hulking guys were smiling the whole time gun blasts of guitar. arrives on the afternoon of the show to dis-through, playing this not very good pop.” The John Cale has since said that he has a tape tribute flyers and bananas all over Ann Arbor New Generation’s light show also appears to of an entire Gymnasium show that includes as part of an additional pre-gig promotional be somewhat lacking, with the Michigan Daily another song The Velvet Underground will campaign. The newspaper also reports that finding it “extremely pretentious, overt and, never include on one of their studio albums, during intermission between the opening uncontrolled.” ‘Walk It As You Talk It’ (almost certainly the act and the Velvets, “an untitled film by Churchill taped the show, but admits, same song demoed during the Loaded sessions Warhol was projected on the screen behind before this information has a chance to stop as ‘Walk And Talk’ and eventually recorded an empty stage. It was color, double-exposed hardcore fans’ heartbeats, that the record-by Reed for his solo debut as ‘Walk And Talk with a soundtrack of blips, bumps, and rock ing is no longer in existence. “Sony used to It’). It’s not clear whether this is the same tape music. About 30 minutes long, Nico, incred-make this [tape recorder] that was about from which the various bootlegged tracks are ibly sexless, and some other girl (or was it seven inches by seven inches, and had these taken, but the 45 minutes or so of material some cat in drag?) looking mysterious and little three-inch reels on them,” he explains. that have surfaced would in itself make for a eventful double-exposed over what may have “I actually recorded a good chunk of the great addition to the VU discography, both been a hillbilly pregnancy trial mind-warped show. I had it for about two or three weeks historically and musically. from the Beverly Hillbilly variety.” At least part to listen to it, and one of my sisters erased of this film might be the closing sequence it. I know – there are people that would die,

of The Chelsea Girls, which has some rough including me, for that tape now. But the fidel-similarities to the one described by the Paper’s ity was probably awful. I had never taped a

reporter. show before. It was a pretty cheap mic, a little

Among the students in attendance is three-inch tape.”

16-year-old Stuart Churchill, who is already In a review for the Michigan Daily, Andrew familiar with the banana album. He recalls Lugg seems both impressed and puzzled by the group playing every song from the LP the EPI. “Although a large number of the

except ‘Sunday Morning,’ and notes that audience walked out and although about 90

they “weren’t doing super-long jams. On the per cent of the remaining viewers were hostile

two kind-of-long songs from the album, they to the show, the Warhol Velvet Underground’s

definitely played them out, but they weren’t Exploding Plastic Inevitable was one of the fin-

20 minutes or an hour. They were maybe ten est ‘film-pieces’ Ann Arbor has witnessed for a

minutes.” long time,” he writes. Lugg verifies that Nico

For Churchill, one of the highlights is is still performing with the band, noting that,

‘Venus In Furs,’ during which “these three while Warhol screens a half-hour excerpt from

people came out holding these very large his new film Sin, scenes of Nico “looking on spotlights, and basically flashed the audience sadly and attempting to sing a Dowland-like with ’em during the whole song. I assume one song against background sounds provided by

of them was Gerard Malanga. It was painful, The Velvet Underground” are superimposed

because it was totally pitch black. The band, over the top. you could barely see. Then every so often this “Then Nico and the Velvet appear on Sunday 9 incredible white light would hit you in the stage,” he continues. “Nico takes up the chant Hill Auditorium, Ann Arbor, MI face. They were showing some really early from Nico onscreen. The Velvet begin to pro-A little over a year since their first visit, the cut, supposedly, of Chelsea Girls on the screen duce ‘sound,’ and Gerard Malanga lies on the Velvets return to Ann Arbor for two shows – behind the band. So you could only see the floor listening. Sin finishes and a black-and-at 6:30pm and 9pm – at this esteemed venue band from the movie on them!” white film of Nico and the Velvet is projected on the campus of the University Of Michigan. The Hill Auditorium is one of the largest together with slides, large patterns filling the Alas, they’re still billed in much smaller type venues the Velvets have yet played. It holds stage area. A huge light is shone at the audi-than either Andy Warhol or the Exploding about 4,000 people in a hall with several bal-ence and Gerard begins to dance with, and Plastic Inevitable, but the University Of Michi-conies. “It was a relatively thin crowd because against, the strobes. The Velvet play ‘Venus In gan pays a $2,000 fee for the VU & co’s serv-it was open seating,” Churchill recalls. “Andy Furs,’ ‘Run Run Run,’ [and] ‘Heroin.’ And ices, and deems the shows significant enough Warhol was upstairs where the films were then it’s all over. The ‘performers’ move off to use a couple of photos from the perform-playing, signing t-shirts and things. I was like and you wonder what sort of performance this ances in its yearbook. maybe five or six rows back, and there weren’t has been. Gerard, Nico, and the Velvet seemed The school paper, the Michigan Daily, also a lot of people around me. People sort of scat-just there, they seemed to say, ‘Here we are, runs an ad for The Velvet Underground & Nico tered themselves around the place. Some superstars, what more do you want?’” the day before the show. The design is an really liked it. A lot didn’t. There were sort A picture of Malanga holding a flag and almost exact replica of the ad that has already of scattered catcalls and boos. Some people “doing a flag dance” features alongside the appeared in the Village Voice, but there’s a walked out partway through.” article. But another review, by film critic slight variation to the copy that once again Even by the odd standard of Velvet Under-Larry Kasdan, is not just negative but almost highlights the roles played by the group’s ground shows, the opening act on the bill is a hostile. “The show is terrible,” he writes. “It co-manager and part-time singer: “It’s Andy mismatch of what is to follow. “The New Gen-goes on and on and on … The light show is

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mediocre. The movies are long and boring ground & Nico. “I looked for things to play on sion of ‘Heroin,’” he writes, “which is more – true Warhol. The Velvet Underground is the record; I liked the sound,” Fass recalls. “I compressed, more restrained than live per-totally unimpressive. Each one of their songs liked Nico and thought there was some kind formances I have seen. But it’s also more a seems to last about three hours.” As Lawrence of a distance from the scene that she was realized work. The tempo fluctuates wildly Kasdan, he will go on to direct several major depicting in the songs that I played. I played and finally breaks into a series of utterly ter-motion pictures, including The Accidental Tour- ‘All Tomorrow’s Parties’ a lot, and ‘Femme rifying squeals, like the death rattle of a suf-ist, The Bodyguard, Grand Canyon, and the aging Fatale’; ‘I’ll Be Your Mirror,’ I liked that too.” focating violin. ‘Heroin’ is seven minutes of baby-boomer flick The Big Chill, which spawns Told of fellow New York deejay Murray The genuine 12-tone rock’n’roll.” a hit soundtrack album filled with 60s rock K’s violent reaction to the sheer length of and soul classics, but no VU songs. (Kasdan ‘Heroin,’ Fass notes with amusement, “The Friday 14–Sunday 16 is certainly not alone in his view of the Vel-length was something that I looked for. I The Gymnasium, New York, NY vets. As Stuart Churchill recalls, “One of my wanted music to break that three-minute father’s colleagues at the university wrote this sonnet form.” Friday 21–Sunday 23 really scathing letter [to the Michigan Daily] As Morrison recalls, however, even Fass The Gymnasium, New York, NY about ‘what a horrible thing and they never stops playing the album after a dispute about should have’ … he was very outraged.”) a bail-fund benefit at Tompkins Square Park Friday 28–Sunday 30

Another detailed review of the show appears in the East Village. This apparently is one The Gymnasium, New York, NY in the Paper. “The Velvet Underground slith-instance where the band’s relatively apoliti-These three weekends constitute not just the ered in under cover of near darkness (boos cal stance costs them appreciable media last Velvet Underground residency of sorts in and catcalls from the center section of the exposure. “That was how I made a lot of their hometown for three years, but some of audience),” writes a disappointed David decisions,” says Fass, who can still be heard their final shows in New York City in the 60s. Freedman. “The [intermission] film ended, on WBAI on Thursday nights 40 years later. A photograph taken at one of these perform-the Velvet revved up, Nico sang, disappear- “If the band wasn’t political and they didn’t ances eventually makes it into Esquire maga-ing her voice through the feedback of the want to protest against the war, I thought zine, but not until the December issue. As guitars, the black-white nonsense films started they were ripping off the culture. I was very Paul Katz recalls in What’s Welsh For Zen, Cale up again, more patterns, another ‘dancer,’ convinced that everything I did had to be misses a few of the shows at the Gymnasium and finally the star of the total-media bap-either on the side of what I considered to this month, and Reed is also absent for one. tism, Andy Warhol, appeared. He looked like be life or death.” A poster for the April 30 show still bills the a junkie version of a [University Of Michigan] attraction as Andy Warhol Presenting Nico

fraternity man. Snatching up an arc-light spot- Thursday 13 And The Velvet Underground, with a specially light, one of Warhol’s men began to spray the It’s not true to say that The Velvet Underground reduced two-dollar admission. The evening crowd with intense white light in rhythm to & Nico is totally ignored by the New York in question is designated to be IN New York screaming voltmeters. I was sitting in an aisle press. Richard Goldstein covers it prominently magazine’s National Swinger’s Nite, with seat and he burned my retinas every time he in his Pop Eye column for the Village Voice, and “Andy, Nico, live band, and freak-out lights scanned the audience with the spot. Very soon while his evaluation is more mixed than the making the wildest swingin the East Side’s people began walking out; someone yelled group might have liked, it’s certainly serious ever seen.” ‘Andy Warhol’s queer’ and got hit ten times and considered. “The Velvet Underground is For one of these shows, a young guy who right between the eyes with the blinding light. not an easy group to like,” he writes. “Some of works at the Factory arranges an opening Warhol never smiled once. It is very tempt-the cuts on their album are blatant copies: I slot for a band featuring his teenage friend ing but equally difficult to say he is a sadistic refer specifically to the progression lifted from Chris Stein, who in a decade or so will achieve bastard, because he didn’t even seem to enjoy The Rolling Stones’ ‘Hitch Hike’ [actually co-widespread international success as part of torturing the audience. The band was even written and first recorded as a 1963 hit by Blondie. Arriving late to an almost empty worse than The New Generation. The Explod-Marvin Gaye] in ‘There She Goes Again.’ The club, the band take the stage using the Vel-ing Plastic Inevitable [sic] album on Verve lead vocal on other songs sound distressingly vets’ equipment, with Maureen Tucker’s per-has a groovy sound, but the live performance like early Dylan. Some of the material is dull mission. Their set lasts around a half-dozen wasn’t worth it.” and repetitive. And the last two cuts, ‘Black songs. “By that time the rest of the Velvets had

Angel’s Death Song’ and ‘European Son,’ are arrived,” Stein recalls in UpTight: The Velvet

Tuesday 11 pretentious to the point of misery.” Underground Story. “After a while they started

Cheetah, New York, NY And yet, Goldstein continues, “The Velvets to play and they were like awesomely powerful. The Velvet Underground on the same bill as are an important group, and this album has I had never expected to experience anything Tiny Tim? Yes, it really does happen at this some major work behind that erect banana like that before. They just completely filled up midtown club, as part of a benefit for WBAI, on the cover. ‘I’m Waiting For The Man’ is the whole room with their sound. They were the New York affiliate of the progressive and an impressively understated vignette about really into this huge fucking volume, and it publicly supported Pacifica radio station scoring in Harlem. ‘Venus In Furs’ is fine was completely awesome. I was really disap-network. The show is billed as An Imperial electronic mood-manifesting. ‘Femme Fatale’ pointed that they didn’t have Nico, because Happening in honor of “the coronation of his is an unearthly ballad, subtly fuzzed-up to we thought she was the lead singer, but I dis-Serene Highness, Prince Robert, first Ameri-drive you mad fiddling with bass and treble tinctly remember the violin and their doing can Emperor of the Eastern Byzantine Roman switches. Nico’s vice is harrowing in its pallor, ‘Venus In Furs’ because a couple of people in Empire” – whoever he is. but chic, very chic.” dark outfits got up and started doing a slow

According to Sterling Morrison, WBAI’s Goldstein is particularly impressed by the dance with a chain in between them. They legendary late-night host Bob Fass is the only track that will become the LP’s most noto-did practically all the stuff from the banana deejay in New York who plays The Velvet Under- rious. “Most important is the recorded ver-album. There were maybe 30 people there. It

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was very late, but it was a memorable experi-rumored Warhol filming of a Balloon Farm sad, because we couldn’t keep our glory on ence. It was the dominant confident power of or Gymnasium show, supposedly as a test stage, but we were happy because what the the whole thing that stayed with me.” for new equipment he’d just been given by EPI intended to do had worked – everybody Terry Noel, of the first popular club deejays some manufacturer.” (Alas, no such footage was liberated to be as sick as we were acting! in New York, is far less impressed when he has turned up.) From that standpoint it was interesting socially checks out the VU at the Gymnasium. “We that it happened that way. All of a sudden went because it was a big deal and people Saturday 29 there were no dancers, there was no show; were talking about the Velvets,” he recalls The Velvet Underground and Andy Warhol the music had just taken everybody at that in Transformer: The Lou Reed Story. “Because – as well as their foes The Mothers Of Inven-point. That was the last time I danced, and I of Andy. Normally I never went to any Andy tion – are listed on a poster advertising the think the last time Mary and Gerard danced. Warhol things, but I was interested in new 14 Hour Technicolor Dream, a psychedelic I mean maybe they tried [to go on] after that, things and this was a new thing going on and festival taking place tonight at London’s but it didn’t work.” it was hot. We all went there, and, oh my God! Alexandra Palace. The April 29 issue of Record If this really is how it happened, it’s a per-None of them can play instruments. They’re Mirror also reports that Warhol will be at the fect, poetic ending for the Exploding Plastic all off-key. It wasn’t like today, today they’re concert-cum-happening, a benefit for the Brit-Inevitable, in part because it embraces Andy all off-key because they mean to be – it was ish counterculture paper International Times. Warhol’s general ethos of how anyone can do so bad I couldn’t believe it. Nobody could The Velvets certainly don’t appear – nor, and be anything, making the artist or instruc-believe it.” for that matter, do Warhol or The Moth-tor unnecessary when the audience absorbs One of the Gymnasium shows is covered ers – but the legendary event does feature the work into their own lives. Although The in the May 11 1967 issue of the Village Voice, Pink Floyd, Soft Machine, Arthur Brown, Velvet Underground’s association with the but the review sadly fires sardonic jabs at the The Pretty Things, Tomorrow, and other EPI (and Warhol) has been instrumental in Warholian spectacle rather than discussing leading bands of the emerging British psych-putting the group on the map, they’ve begun the music in any depth. Referring to the Vel-edelic underground. Rumors of the Velvets’ now not just to outgrow the multimedia spec-vets as “music to gain deltoid trapezoids by,” appearance might well have been sparked tacle and become an attraction in their own reviewer Howard Smith notes, in his Scenes by Warhol’s trip to the Cannes Film Festival right, but also to find it a hindrance to be column, “Some rock groups today play cer-around the same time, or by the various spo-playing – and billed – in the EPI’s shadow. tain sections of certain songs with splashing radic attempts at getting a deal for the EPI to The Velvets have begun to reshape themselves detracted rhythm. Very hard to follow when come to Europe. substantially, and will soon cut their official you’re trying to dance. On opening night at “Warhol and the Velvets were never on ties with the two figures who have always Warhol’s upper chic side Gymnasium, a cus-the bill, but the whole thing was a mad rush been the biggest attractions of the Explod-tomer got up in front of The Velvet Under-with hype flying in all directions,” says John ing Plastic Inevitable: Nico, who is not at the ground while they were in the middle of such ‘Hoppy’ Hopkins, who organized the event. Scene, having returned to Europe for a visit; free play and did what might be the very next “Looks like some of it stuck to the Record Mir- and Warhol. dance – touch-your-toe exercises.” ror. I recall Warhol was in London shortly after After the Gymnasium residency, the Vel-the 14 Hour Technicolor Dream and trying ALSO … vets won’t play a regular New York show for unsuccessfully to negotiate a similar event for Around the middle of the spring, The Velvet more than three years. It’s possible that the the VU.” Underground start to grow frustrated about lukewarm reception the band gets here con- their recording career as their debut LP hits tributes to their decision not to play in their a number of obstacles. The most crucial of

hometown. As Susan Pile recalls, the audi- these occurs when the album is pulled from May

ences are “pretty sparse. They’d played a lot distribution to give MGM time to remove Eric

in the city, so maybe people were just burned Emerson’s photo from the back cover. There’s

out on them.” also a general lack of radio airplay, even on

The departure of Andy Warhol and other underground stations, in New York and else—

members of the EPI entourage to the Cannes Undated May where. Sterling Morrison will later claim, in Film Festival around now probably further Steve Paul’s Scene, New York, NY a 1981 interview with the New Musical Express, dampens the group’s enthusiasm – or at least According to dancer Ronnie Cutrone, the that local radio refused even to run advertise-their sense of being a priority within Warhol’s last Velvet Underground show as part of the ments for the album, “because it was about world at a time when they desperately need to Exploding Plastic Inevitable takes place at drugs and sex and perversion.” (Lou Reed pick up momentum. Accompanying Warhol some point in May at the Scene, where the meanwhile tells WMMR in Philadelphia that in Cannes are Nico, Paul Morrissey, Gerard group also played for a couple of weeks at progressive FM stations won’t run commer-Malanga, Susan Bottomly, and – somewhat the start of the year. “Gerard [Malanga], Mary cials for The Velvet Underground & Nico because bizarrely, considering the trouble he has [Woronov], and I were dancing and the audi-of ‘Heroin.’) recently caused – Eric Emerson. Warhol is ence came on stage with us and totally took There’s also Verve’s ineffective promotion expecting The Chelsea Girls to be shown at the over,” he reminisces in UpTight: The Velvet of the record. One particular print ad of the festival, but it apparently ends up not being Underground Story. “Mary and I looked at time – famously headlined ‘So far under-screened. each other and had this look on our faces. ground, you get the bends!’ – shows how It’s possible that The Velvet Underground It was half desperation, half relief that finally little understanding the label has of how to are filmed in performance at the Gymna-everybody was part of it. I looked at her as if market the record. “What happens when the sium. When rock critic Ben Edmonds tries to say, ‘Okay, Mary, looks like this is it.’ And daddy of Pop Art goes Pop Music?” it asks. to put together a VU video compilation in she looked at me like, ‘Yeah, this is it.’ Eve- “The most underground album of all! It’s the mid 80s, he says, “the holy grail was a rybody became part of the EPI. It was a bit Andy Warhol’s hip new trip to the current

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subterranean scene. Sorry, no home movies. a kind of a true depiction of what happens With The Velvet Underground not doing But the album does feature Andy’s Velvet in the body of the addict as they wait for the much this month, John Cale has more time to Underground (they play funny instruments). connection. I think Lou Reed is one of the indulge his experimental home-taping whims Plus his this year’s Pop Girl, Nico (she sings, four or five authentic geniuses on the music than he has generally of late. One such record-groovy). Plus an actual Warhol banana on scene, and I’m sorry that I didn’t listen to his ing is the 26-and-a-half minute ‘At About This the front cover (don’t smoke it … peel it)! stuff as carefully as I should have.” Time Mozart Was Dead And Joseph Conrad The Velvet Underground, produced by Andy “You always wondered why people were sur-Was Sailing The Seven Seas Learning English Warhol, is now available at record stores across prised [at not getting airplay],” says Goldstein. Pt 1,” which eventually finds release on his the country. Just bring your own plain brown “Given the material on this record, of course 2002 archival CD Stainless Gamelan: Inside The wrapper.” (Perhaps fortunately, not many ads they wouldn’t play it. I mean, we were still Dream Syndicate Volume III before appearing on such as this run, but this one does appear in dealing with radio personalities who would lis-his New York In The 1960s boxed set. the June issue of the esteemed literary maga-ten to a song like ‘Paint It Black’ by The Roll-As with many of Cale’s previous experi-zine Evergreen Review.) ing Stones and call it Turkish wedding music. ments, this is way too challenging and struc— It should be noted that this particular ad It wasn’t just because of the contents, but also turally/sonically out-there even for a Velvet copy isn’t usual for the time. For all the Vel-the musical sophistication, [which] was way Underground record. Viola fights it out with vets’ resentment of MGM giving more public-beyond anything that pop radio would have air-raid-siren force with the gargling of what ity to The Mothers Of Invention, that group’s countenanced. I don’t know if [the Velvets] sounds like the popcorn machine from hell, debut album, Freak Out!, was a victim of the ever talked to me about that; I don’t think never hitting on a riff or a chord, and never same sort of ignorant, pseudo-groovy lingo they did. I certainly would have told them, letting the listener relax for an instant. About in print ads. “Everyday words just can’t get ‘Yeah, right. It’s gonna take a long time before eight minutes in, Cale lets loose with some with the impact of this album!” screams one this stuff is playable.’” tape manipulation courtesy of the Wollensak such advertisement. “What is a Freak Out? It’s Whether or not this is true, what’s indisput-recorder, the ensuing squeals mimicking the a happening that happens to have music. It able is that it’s very difficult to hear tracks squeak of super-amplified balloons. Sterling also happens to have uninhibited far-outing, from The Velvet Underground & Nico on the Morrison helps out too, presumably by scrap-too! You won’t believe your ears. And words radio in 1967, and that this will remain the ing a guitar somewhere near the bottom of just don’t make it. Better listen and be first case for some time. But as Fusion magazine the mix. Even by the standards of Cale’s other in your set to Freak Out! Two records for one writes in an October 1972 editorial, the mid-60s experiments, this is an endurance test freaky price!” situation does serve somewhat perversely to for all but the most avant-garde-oriented lis— Richard Goldstein, perhaps the most widely increase the mystique around the group and teners. read rock critic in New York in 1967, is not foster their reputation among the ultimate Another recording from this month that surprised today by the idea that airplay for The ‘cult’ bands. “It seems that the activity of the won’t see the light of day until it’s included Velvet Underground & Nico might have been group commanded as much press attention, on Stainless Gamelan and New York In The 1960s scarce (if not nonexistent). “I remember especially here in the east, as any single per-is ‘Terry’s Cha-Cha.’ Cale is credited only with being probably the only person that had ever forming rock-band worth turning on your AM ‘Wollensak’ in the track listings, but the liner played ‘Heroin’ on the radio,” he says. “Every radio for,” the magazine notes. “And yet the notes say he’s on Vox organ, with former VU now and then I’d get invited by Murray The problem for all Velvet Underground observ-drummer Angus MacLise – still in contact K to the studio to play records. I would bring ers, fans, analysts, and cheerleaders is that it with the band, it seems, almost a year after in the most unusual music I could find to play was a rare occasion that you would ever hear filling in at Poor Richard’s in Chicago – on on his show. One night I played ‘Heroin.’ And one of their songs when you did turn that hand drums and tambourine. The Terry of the he was completely apoplectic, just completely radio on. You had to care a lot about them title is soprano saxophonist Terry Jennings, apoplectic. Especially by the length of the to listen to their music; it wasn’t generally who has played with the other two musicians song! But this was a truly radical song. Not just available: you had to seek it out. This made before in La Monte Young’s group. because it’s an evocation of a heroin rush, and it seem, at times, that, since you had to hunt, It’s not rock music, but the eight-minute a really effective one. But because it’s musi-then the object of the search must be some- ‘Terry’s Cha-Cha’ is far lighter in tone and cally so dense, much denser than rock music thing of a treasure. In part it was – there really certainly more listenable than most of the was in those days, the sort of early minimalist isn’t anything around quite like The Velvet other archival recordings on Cale’s New surges going on in that music.” Underground.” York In The 1960s. Cale plays a steady, almost Even WBAI’s Bob Fass – later cited by Ster- garage-lounge progression on the organ while

ling Morrison as the only deejay in New York AND … MacLise maintains a vaguely African/Latin to give the banana album substantial exposure The May/June 1967 issue of Art In America beat and Jennings adds Indian and Middle – is wary of playing ‘Heroin’ on air – partly, he runs a picture of The Velvet Underground Eastern-influenced free-jazz lines. It’s a pleas-later recalls, because of the idea that the song with the following caption: “Andy Warhol’s ant enough way for the musicians to pass is “part of something you might call ‘heroin electronic rock-and-roll combo, The Velvet some time, but not one of Cale’s most crea-chic,’ which I thought was a very bad thing Underground, performing at the Exploding tive endeavors from the period. – making heroin like something attractive Plastic Inevitable nightclub in New York, June and mysterious in a dark corner that people 1966.” (The details appear to be somewhat C FILMING The Imitation Of Christ should try to dig into. I was angry about it. I confused: there is no club by that name, and Somewhere around May/June, Nico par-thought, ‘Why is this guy romanticizing some-in any case the Velvets probably didn’t play in ticipates in another Andy Warhol film, The thing that’s such a plague?’ In the right con-New York at all during June 1966.) Imitation Of Christ, in which her job is to read text, I would play it, but after there had been aloud from the 15th-century work of the same a putdown of heroin. As I listen to it now, it M RECORDING JohN caLe exact location name by Thomas à Kempis. Listening to Nico doesn’t make heroin sound romantic. It’s just unknown, New York, NY. is Patrick Tilden, who plays the cross-dressing

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son of fellow Factory alumni Brigid Berlin Velvet Underground. The first lists ‘Run Run and Ondine. Nico will later cite this as her Run,’ ‘Venus In Furs,’ a 15-minute version of

favorite Warhol role, but it’s rarely screened ‘Searchin’’ (probably ‘Sister Ray’ by another

– understandably, as it lasts eight hours. It will name), and two more songs that will end up

however later be used as part of the marathon, on the group’s second album: ‘I Heard Her

day-long Warhol film **** (aka Four Stars), Call My Name’ and ‘White Light/White Heat’

while an edited 105-minute version by Warhol (abbreviated to ‘I Heard Etc’ and ‘White

and Paul Morrissey will be re-released in 1969. Heat’ respectively). Also on the list is ‘Walk

& Talk,’ which won’t feature on any VU studio

Monday 8 album, but has probably been in their live set A rare positive review of The Velvet Underground at least since April. & Nico appears in the Daily Californian, the The second setlist is much the same, but newspaper of the University Of California at adds ‘The Black Angel’s Death Song,’ ‘I’m

Berkeley. “One of the legal highs not men- Waiting For The Man,’ and ‘Heroin,’ and

tioned by Tom Collins in his article last week is includes a 20-minute ‘Sister Ray.’ ‘Here She

The Velvet Underground’s album on Verve,” Comes Now’ may or may not be played; the

writes Jim Paltridge, who a year earlier drove title is crossed out on the list. (A portion of

Andy Warhol around Los Angeles during the both of these handwritten setlists can be seen

EPI’s stay in the city. “The album arrived here in the booklet that accompanies the Peel Slowly about two months ago without much publicity, And See boxed set.) and as increasing sales show, the rumor of its The two Boston Tea Party setlists are nota-near-lethal effect has been spreading by word ble for the lack of Nico-sung songs included of mouth and shared joints.” on them. Nico has already missed a number

of Velvet Underground shows this year, partly

Friday 19 because she’s been busy performing on her According to Nico: The Life & Lies Of An Icon, own at the Dom. But with personal and artistic Nico tonight attends a party thrown at the tensions rising between Nico and the other

home of Brian Epstein to unveil The Beatles’ members of the group, it’s only a matter of

new LP, Sgt Pepper’s Lonely Hearts Club Band, time before things finally come to a head.

to the press. “There is a song I liked on Sgt Nico does fly in from New York to Boston Pepper, called ‘A Day In The Life,’” she recalls. with Warhol and Paul Morrissey, but only “It has a beautiful song and then this strange shows up for the last song of the second show.

sound like John Cale would make (he told The Velvets refuse to let her on stage; in fact,

me it was an orchestra, actually) and then this they don’t want her in the band anymore at

stupid little pop song that spoils everything so all. It’s not quite clear exactly when she’s told far. I told this to Paul, and I made a mistake, she’s out – Nico herself will later claim to have

because the beautiful song was written by been fired by Reed – but she will never again

John Lennon and the stupid song was writ- sing as an official member of the band. It’s

ten by Paul. It can be embarrassing when you possible that the decision has been made

speak the truth.” before this weekend’s performances, since

According to The Life And Death Of Andy Nico’s name is blacked out on some of the Warhol by Victor Bockris, Andy Warhol and posters advertising the Boston shows. Paul Morrissey also meet with McCartney and Looking back more than four decades Epstein around now to discuss possible film This weekend marks the Velvets’ first per-later, some historians and fans will see Nico projects and potential support for a British Vel-formances at what will become perhaps their as a rather peripheral player in the Velvet vet Underground tour. No such deals are made, favorite venue of all. They will play at the Bos-Underground story. This is understandable however. Nico meanwhile has been spending ton Tea Party on numerous occasions over the to some extent: on the group’s official albums, most of May in Europe, having attended the next few years, while the place itself – mod-her participation is limited to lead vocals on Cannes Film Festival as part of the Warhol eled in part, according to Charlie Rothschild, three tracks (and barely-there backing vocals entourage. on the Balloon Farm – will become one of the on a fourth). She’s in the band for less than a In UpTight: The Velvet Underground Story, top venues for underground or ‘serious’ rock year and a half, and doesn’t write any of the Ronnie Cutrone claims that Nico also travels music in the USA. songs, unless you count the vocal improvisa-to Ibiza; according to Nico: The Life & Lies Of The group is still billed as Andy Warhol’s tions for which she’s later credited on the An Icon, she also has her perforated eardrum Nico & The Velvet Underground, but in November 1966 live recording of ‘Melody treated in London, and visits her son in Paris. the absence of Warhol, who is in Europe, Laughter,’ eventually released on Peel Slowly Richard Witts’s book also suggests that she stays the gig is set up by Steve Sesnick. Support And See. She’s even billed separately from the at Paul McCartney’s house for a while, having comes from the unknown group The Ferris rest of the band on the group’s debut album been pointed in that direction by fashion pho-Wheel. Setlists from these shows – both of and at their concerts – and doesn’t even show tographer David Bailey. which are played on 8pm, for a three-dollar up for all of these. In 1996, she’ll be the only entrance fee – will later be displayed in the one of the quintet involved in the recording

Friday 26–Saturday 27 Andy Warhol Museum as part of the exhibi-of the banana album not inducted into the Boston Tea Party, Boston, MA tion All Tomorrow’s Parties: Remembering The Rock And Roll Hall Of Fame.

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As Maureen Tucker puts it in the documen-camera,” Paul Morrissey recalls in the Fac- a hack. He has written numerous books on a tary Lou Reed: Rock And Roll Heart, “Nico really tory Days documentary. “When she’d sit on wide range of subjects, including biographies was never a member of the band, and she the stage, she commanded attention with of Sun Ra and Miles Davis, and won a Grammy didn’t consider herself one. It was just someher presence. She never moved. Nobody in for the book included with the 2005 boxed set thing to do for fun on the first album, and the group jumped up and down like almost Jelly Roll Morton: The Complete Library Of Con-because it worked.” (Whether or not Nico is every other rock’n’roll group in the history gress Recordings By Alan Lomax. He has taught aware of Tucker’s opinion, she doesn’t seem of rock’n’roll. They all stood perfectly still at numerous universities, including a course to bear a grudge, calling her “the best drum-and did what they did standing still. Nico set taken by the author of this very book in the mer ever” in a February 1986 interview with the tone for the group with her elegance and early 80s. It’s fair to say, however, that Szwed Melbourne’s 3RRR-FM.) her presence. She stood on stage and nobody is much more of an expert on jazz than on In his 1968 interview with the Georgia could take their eyes off her, no matter what rock. Fortunately, when Jazz & Pop comes to Straight, Reed confirms that all Nico-sung the song was. Unfortunately, this didn’t make review the VU’s third album, the job will fall songs are dropped from the group’s live rep-Lou Reed very happy. He didn’t like the atten-to a younger and more rock-oriented critic: ertoire “just like that” after her departure, tion that Nico got. He seemed to be jealous.” Lenny Kaye. snapping his fingers for emphasis. “It was As Susan Pile notes, “They didn’t really think time for her to leave,” he says. “I mean, it’s it was necessary for them to have an attrac- ALSO … just obvious. When things are supposed to tive front for their band. But I guess if you’re Marshall McLuhan’s landmark book The happen, they always do.” A few years later, in going to stand with your back to the audience, Medium Is The Message – reviewed in the cur-a 1971 interview with the Metropolitan Review, it doesn’t hurt!” rent issue of Harper’s magazine – includes a Reed elaborates slightly on this, adding, For all the perceptions of her as an orna-shot of The Velvet Underground/Exploding “What she was doing was just a part. You could ment of sorts installed in the group by Warhol, Plastic Inevitable in performance, with images always take a lot of different parts. I think we it should be noted that, after leaving the of Nico projected behind them. always knew that she would leave so no one group, Nico will go on to reinvent herself as was surprised. It wasn’t that major a point so a credible musician and singer-songwriter Saturday 3 it didn’t matter. It was fun that she was there with a wholly unique style. That style is neither Philip Johnson’s Glass House, New and it was fun that she wasn’t.” Two decades too imitative of nor too similar to The Velvet Canaan, CT after that, in the BBC television documentary Underground’s – if anything it’s even more At what certainly qualifies as one of their most Curious, he concludes, “It was never meant to defiantly uncommercial and avant-garde. Nico untypical concerts, the Velvets perform at an be an ongoing thing, and it wasn’t.” will continue to cross paths with the Velvets outdoor evening benefit for dance choreog-

“We were all for her being a songwriter and throughout the rest of her life, with John Cale rapher Merce Cunningham at the glass house heaved a sigh of relief when she left,” is how in particular becoming an essential aide to designed by the architect Philip Johnson. John Cale puts it in a September 2008 interher future musical endeavors, starting with There’s no light show, no films, and no Nico, view with the Times of London. “Although her the first solo album she makes after leaving and while Gerard Malanga is present, whip leaving was … tinged by disappointment, we the group. in hand, he’s the solitary dancer. John Cage’s felt we had failed her in some way. She had part of the show involves music performed that ability – to make you feel you had failed with viola, gong, radio, and a slamming door,

her but no matter: she would survive all the as well as the windshield wipers and engines June

stronger for it.” of three cars.

And yet, in her brief time with the Velvets, Tonight’s event has been arranged by the

Nico contributed a great deal. The three young Texan Fred Hughes, who will shortly

songs on The Velvet Underground & Nico that become Andy Warhol’s business manager.

feature her lead vocals – ‘Femme Fatale,’ ‘I’ll Undated June According to a notice in the Bridgeport Post Be Your Mirror,’ and ‘All Tomorrow’s Parties’ The Velvet Underground & Nico receives one a few weeks earlier, “For $75 a ticket, guests – rank among the group’s finest, while her of its only substantial reviews in the national will see an hour-long performance by the presence undeniably added a great deal of press in the form of a one-paragraph critique dance company and hear the premiere of glamour to the band. For better or worse, she by John F. Szwed in the June issue of Jazz mag-a score by John Cage, electronic composer. also helped the group capture the media’s azine (which will change its name to Jazz & Guests may tour Mr Johnson’s glass house on attention, even if the media’s tendency after Pop in August). Unfortunately, it’s not one Ponus Ridge, the lake pavilion and under-that to single her out above anyone else led that’s going to help with flagging sales. “Andy ground museum of contemporary painting to some jealousy and resentment. Warhol’s group has already gained something and sculpture. Dinner will be served and Nico’s departure means that the more of a reputation, but one would think not so guests will help themselves to wine from melodic, romantic side of the group will be much for their music as for their sponsor,” barrels scattered in the gardens. Fireworks underrepresented for the next year or two, Szwed writes. “Here, at least, they sound and outdoor dancing will also be part of the which will only add more fuel to the frequent rather tedious despite their ventures into elec-program.” The event is followed by a short misconception of the group as out-and-out tric viola, et al. Their forte is the loud whine article in Women’s Wear Daily, with pictures noise-mongers incapable of showing a tender, – something like a musical motorcycle. Per-of some of the 400-plus guests, including quieter side. “You’re right, people would asso-haps with flashing lights, mixed media, and Henry Geldzahler and New York Republican ciate the slow, pretty songs with Nico and the a ‘psychedelic’ setting … but as they stand, Senator Jacob Javits. Vogue prints a similar hard, electronic stuff with us,” Reed admits something is lost in the translation.” spread, and includes a photograph showing in an interview with Creem’s Bob Stark in mid Fans of The Velvet Underground will later well-heeled guests on a raised outdoor plat-1969. “I never thought of that.” dismiss reviews such as this one as the work form dancing “to the frantic sounds of The “Nico was always the best subject for a of misinformed squares, but Szwed is hardly Velvet Underground.”

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vet Underground into a much bigger act, so band was just kind of to boss them around.”

they opt to go with him instead. As Maureen For all his imperfections, Sesnick represents

Tucker later reveals in What Goes On, “There the group with a professionalism that’s cer-was another guy [besides Sesnick] who wanted tainly an asset as they move their way around to be our manager. We might have been bet- more conventional venues across the United

ter with him, simply because he wouldn’t States. “When they booked, they showed,”

have been our friend. But we wanted Sesnick Nelson adds. “He got them there. That wasn’t

because he was more of our type of person. always true with people that we booked in

This other guy was too ‘businessy.’” those days. Sometimes things got pretty flaky.

Sesnick’s role as VU manager will later be But I never had any problems with him in that

seen as somewhat controversial. John Cale regard. In terms of business dealings, he was

in particular feels that Sesnick pushed Lou pretty straightforward. I booked them a lot,

Reed to the forefront at the expense of a pre-and he never let me down once.” viously healthy group dynamic, while others will question whether his business and artistic Friday 9–10 decisions are always in the band’s best inter- Boston Tea Party, Boston, MA ests. “He tended to, let us say, exaggerate or The Velvet Underground must like the Boston elaborate upon the truth,” says Steve Nelson, Tea Party – and vice versa – as they’re back just who will deal with Sesnick on numerous occa- two weeks after their first shows at the venue.

sions as the manager of the Boston Tea Party Also on the bill is a local group, The Beacon

Footage of the Philip Johnson event is and owner of several other Massachusetts ven-Street Union, who will later put out a pair included in a little-known film by Klaus ues. “Sometimes it was hard to know the truth of albums on MGM in the late 60s as part of Wildenhahn, 498 3rd Avenue. Although the about what he was really saying. I think that the label’s ill-conceived attempt at creating focus is mostly on the Cage/Cunningham was one of his weaknesses, although he used it a psychedelic trend by hyping the ‘Bosstown dance piece, the soundtrack does include as a strength in terms of as a promoter, talking Sound.’ As before the show starts at 8pm, with minute-long live excerpts of ‘I’m Waiting his way into people. He always had a good pat-a three-dollar admission fee. For The Man’ (which is mostly instrumenter. His strength was, he was really dedicated Looking back at the group’s local popular-tal) and ‘Venus In Furs.’ Unfortunately, the to the band. He wasn’t there as some music-ity in an interview with Boston’s WBCN-FM band aren’t seen in the film, and while they biz guy to kind of exploit them. ’Cause first in March 1969, Lou Reed notes, “Boston was play a ferocious version of the first song and of all, it wasn’t really like a huge commercial the whole thing as far as we were concerned. sound great on the second, Reed’s vocals can opportunity. There was a part of him that It was the first time we played in public and barely be heard, while audience chatter acts came from his heart, in terms of really being didn’t have all those things thrown at us that as a further distraction on a sound recording committed to The Velvet Underground.” – you know, the leather freaks, you know, that isn’t so hot to begin with. A subsequent As Martha Morrison recalls, some of Ses-druggies, or this or that. It was the first time letter from Johnson to Warhol implies that nick’s advice sits at odds with the band’s anybody just listened to music, which blew the police might have interrupted the event, natural inclinations. “At one point he said, our minds collectively.” but it’s not clear whether they interfere with ‘Come on, you guys, you’re gonna have to “The Boston Tea Party was kind of an unu-the Velvets’ performance or another part of shake it around like The Monkees!’” she says. sual place in that it was this extremely diverse the proceedings. “Then you’re not gonna have The Velvet mix of all kinds of different people,” adds Steve During the limo ride back to New York, the Underground is what I thought. They were Nelson, the venue’s manager from August Velvets discuss something that has been weigh-so scary to watch. At the Gymnasium one 1967–June 1968. “You’d get these kids in the ing heavy on them for some time: whether night, I said to Lou, ‘You guys are so scary. neighborhood, college kids, hippies, and a to take on Steve Sesnick as their new man-If I didn’t know you, I wouldn’t go near you.’ smattering of other people who somehow had ager. Sesnick has been making entreaties Sterling didn’t move around. He would just heard of them would wander in there and look to that effect for some time; the Velvets in stand there steadily, playing, and of course, he kind of dazed. There was [also] usually some turn have been feeling neglected by Andy would do great solos. Steady, immovable, and kind of entourage of more glamorous New Warhol, whose other pursuits have led him playing some very pretty stuff, and very steady York scenester-type people that came up to to commit less time and money to the band. stuff. They weren’t trying to please anybody, Boston from New York, which seemed like at There’s also a sense within the group that they and they weren’t trying to look good. They the time sort of a daring thing to do. Boston, should be moving closer toward the straight were just there in whatever they wore that day, in a way in 1967, was very backwater. I think it rock scene, and its attendant album/concert sometimes with their backs to the audience, was kind of like slumming: ‘Okay, we’ll go up business, rather than languishing in Warhol’s getting the sound they wanted. No showman-to Boston to see The Velvet Underground play art world. ship. And I thought it was great. I didn’t think at this place.’

With the split becoming almost inevita-Steve gave the right advice and of course, they “At that point, people would just go to the ble, the Velvets probably make the change didn’t take it!” Tea Party on Friday and Saturday nights – it official shortly after returning to New York. Morrison sees both good and bad in Ses-wasn’t even that relevant who was playing. The Exploding Plastic Inevitable multimedia nick, whom she describes as “a sort of fina-People really went there to dance and have show has run out of gas, and the Velvets are gling kind of guy, but very personable and a a good time. All kinds of people there con-likely itching to do something on their own lot of fun. You would like him. They liked him, nected with [the Velvets], ’cause they were very two feet, rather than carry on being billed as anyway. I know Sterling and Moe really loved danceable. They had that insistent beat, so it something of an Andy Warhol sideshow. Steve Sesnick, but he did some things that were was just really good rock’n’roll dance music. It Sesnick meanwhile has plans to turn The Vel-questionable, and his way of handling the was really the first time they could play without Steve Sesnick, who takes over as manager of The Velvet Underground in mid 1967. 153

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all that overlay of the whole Warhol scene, the tion’s folk program, Hootenanny, and was kind covered. They weren’t the talk of the town New York scene, just playing for people who of a folk-rock precursor to the underground by any means, but on the other hand, they took them very straightforwardly as to who they radio [on Boston’s] WBCN that followed. It certainly were not unknown.” were – just a band, as opposed to all this other was where you’d hear Paul Butterfield, The stuff that was floating around in their New York Blues Project, Tim Buckley, Circus Maximus, Friday 16–Sunday 18 Warhol incarnation. In a way, the whole Fac-Tim Hardin, Pearls Before Swine. Summer’s At a loose end now that she’s out of The Vel-tory thing wasn’t really Sterling. He was really play turned ‘Another Time’ by PBS into an vet Underground, Nico hooks up with her pretty down-to-earth, straightforward, and like-underground hit. He didn’t go near any of the old flame Brian Jones, who escorts her to the wise Moe. It was really Lou and John who had Velvets’ raucous stuff, but he’d play ‘Femme Monterey Pop Festival, the first famous event that hip, arty edge.” As for the Tea Party itself, Fatale’ or ‘Sunday Morning’ or ‘I’ll Be Your of its kind, in Northern California. She’s also Nelson says the venue was popular with a lot Mirror’ on almost every show.” WBZ’s signal been hanging around with The Electric Flag, of musicians because “it was a good room for is strong enough that it can be picked up in according to bassist Harvey Brooks, while the music. It wasn’t built as that, but it turned out other parts of the USA at night, so it no doubt Mike Bloomfield-led band records the sound-that it was a good place for it. In shape and turns on at least a few non-Bostonians to The track to the psychedelic exploitation film The size, it was like a much smaller version of the Velvet Underground as well. Trip in Los Angeles. Fillmore in terms of being a big kind of square As Summer himself explains, “I’m from The Velvet Underground are not at room with a balcony and a high ceiling. They Brooklyn, and I was a longtime reader of the Monterey; they haven’t been invited to play, just sounded great in there.” Village Voice. The Voice began running stories but probably would in any case have found The Velvets’ regular appearances in Boston about The Velvet Underground; I picked themselves at odds with the general flower-over the next few years will prove instrumental up their albums, and started playing them a power tone of the event, which features a in making them more popular there than in lot.” Summer will continue to play VU records number of Californian rock acts on the bill any other US city. Similarly important, how-when he moves to New York’s WNEW-FM later as well as The Who and The Jimi Hendrix ever, is the airplay they receive on the biggest in the 60s; another of the station’s deejays, Experience. Top 40 station in the city. According to rock Richard Robinson, will play a key role in Jones and Nico stay for a few days in a house critic Ben Edmonds, WBZ’s Sunday night Dick Lou Reed’s early solo career. “They probably shared by a couple of other ghosts from her Summer Subway show “evolved out of the sta-weren’t A-list,” Summer adds, “but they got recent pre-VU past, Rolling Stones manager

154 Nico and Brian Jones at the Monterey Pop Festival.

WHITE LIGHT/WHITE HEAT n JULY 1967

Andrew Loog Oldham and his wife, Sheila.

As Oldham recalls in the July 2007 issue of

Mojo magazine, Sheila “laughed for three days

over the sound of Nico’s speaking voice.” He

adds that the festival was “last time I saw Brian

Jones truly happy, carefree, as free and high

as a bird.” Jones introduces Jimi Hendrix

from the stage at what is the guitarist’s first

US concert since becoming a star in Britain;

he and Nico can be seen strolling through

the grounds in the classic film documentary

of the festival, Monterey Pop. (The blink-and-you’ll-miss-it shot arrives precisely 35 minutes and 15 seconds into the film; Jones is in full contract. But Andy especially, as well as myself the band was really about, and feel that he hippie regalia but Nico, in contrast to almost … [we] were glad to get rid of them. Andy was co-opted them into his multimedia world and everyone else at the event, is dressed almost really relieved just to walk away. Then I sort nabbed a producer’s credit for their debut entirely in black.) of inherited Nico, who had nowhere to go, album despite his minimal musical input.

because Lou got rid of Nico as well when he “Andy Warhol had this image of being

regrouped [the band] later. Nico was the last a great artist, and therefore his great art is

July thing he wanted. I realized he had had that supposed to be somehow connected to The

idea in his head from the beginning in order Velvet Underground,” notes Morrissey. “But

to get out of the contract he had signed with ever since the connection to Andy Warhol

us. Once they were released he reformed the has always set them apart as some kind of art

group without Nico and soon after he man- rock’n’roll, not really commercial, which is a

Undated July aged to get rid of John Cale as well. I often joke. They benefited from that ever since. In It’s probably around now that The Velvet wondered after that what kind of royalties actual reality, the basis of these things came Underground officially cut their ties with were collected and who received them.” almost always from me, and not from him, Andy Warhol and Paul Morrissey, since a bill The Velvet Underground have certainly not during these years I was there. I’m the one from Warhol’s lawyer, S. Edward Katz, con-always been the easiest or most lucrative act that met them, told them I would manage firms that Warhol, Morrissey, and Lou Reed to manage. “I think it was unfortunate that them, put Nico in the group, and [that] Andy meet to discuss the contract between Warvel there was so much dissension in the ranks would present them, be called the manager. Inc and the Velvets prior to August 1. because of Lou, to put it mildly,” Morrissey But have you ever heard of a manager who “[Warhol] sat down and had a meeting with adds. “It was not a harmonious unit. Sterling, had a manager? I’d love for you to come up me,” Reed recalls in a 1989 Rolling Stone inter-like John, was bullied by Lou. He got them with another situation where there was some-view with David Fricke. “[He told me], ‘You to do whatever he wanted. They considered body who was a manager who had a manager gotta decide what you want to do. Do you want him their business expert. But I don’t think who told him what things should be done and to keep just playing museums from now on he ever made the group any money. Certainly then went and did them himself.” and the art festivals? Or do you want to start neither I nor Andy ever saw any money for Warhol’s role in the group’s early career moving into other areas? Don’t you think you our efforts.” was nonetheless vital, and not just because should think about it?’ So I thought about Years later, John Cale will allude to some he helped finance the band, get them gigs it, and I fired him. Because I thought that dissatisfaction about how Warhol conducted and equipment, and facilitated that first burst was one of the things to do if we were going his financial arrangements; Reed’s willingness of (not always positive) media exposure that to move away from that. He was furious. I’d to be more assertive than most in demand-few newly formed acts could have attained on never seen Andy angry, but I did that day. He ing a fair share might therefore have played their own. The impression sometimes given is was really mad. Called me a rat. That was the a part in the split. “I could never figure out that Warhol and Morrissey might have settled worst thing he could think of.” why [Lou] fired [Andy],” Cale admits in A for any old offbeat group to join the Factory’s Asked about the split in a February 1980 Walk Into The Sea, the documentary about the multimedia world. But as Sterling Morrison Melody Maker article, Warhol himself seems life of EPI lightman Danny Williams. “But I will later note in the 1993 BBC documentary (perhaps predictably) vague about the whole can imagine that when it came down to get- Curious, “I don’t think another band would affair. “They just decided to find some other ting the contract – there was a management have done just as well. We seemed uniquely manager. Well, it was just too hard going contract, and all the publishing money was suited for each other.” around. It was fun to go around for a few either going to go to Andy or it was going Warhol also gave the group enormous months. And then we could have gotten to go to the band – that Lou would put his artistic encouragement, and helped instill another nightclub, and it would have meant foot down and say, ‘No, it’s going to go to the in them a belief in their uncompromising staying up ’til seven every morning and it was band first.’” stance at a time when there vision was hardly just too hard to worry about that.” Warhol will later be cast on occasion as in vogue. He gave Lou Reed in particular According to Paul Morrissey, “Lou wanted something of a svengali or wand-waving magi-some useful inspiration for his songwriting, to end the management contract before cian who lifted The Velvet Underground out both by offering specific suggestions and by any hoped-for record royalties came in. Lou of obscurity by attaching them to his world stressing the overall importance of a diligent immediately did so by disbanding the group. and letting them ride his coattails into noto-work ethic, constantly pressing him to write [He] told us they weren’t going to play any riety. But from the other side of the spectrum, more songs. In Curious, Cale goes so far as more, and he asked for a release from their some see his role as incidental to whatever to doubt whether Reed would have contin-

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desire to hear a very unusual, perhaps even the middle of the fountain. Jim was pulling

experimental type of music, we recommend Nico’s hair and she was screaming. He never

it highly. A good first album for this group, said anything. He just kept pulling her hair.

though in future we hope that other efforts Suddenly he ran into the house and Nico in

will not be quite as negative.” her deep voice just stood there in the water

sobbing. I had just recovered from that scene,

AND … when I glanced up, and there was Jim – stark Nico stays on in California after the Monterey naked – dancing along the edge of the para-

Pop Festival, going down to Los Angeles to pet.” (Another spin on the story has the naked

live for a while at the Castle, the rented home pair ascending the Castle’s tower, with Mor-

where The Velvet Underground stayed during rison walking the parapet and unsuccessfully

their controversial visit to LA in May 1966. daring Nico to do the same.) She has a brief affair with The Doors’ lead In a way Morrison and Nico are well suited singer, Jim Morrison, who has just become a to each other: both are outrageous sex-sym-

superstar with the Number One hit ‘Light My bols, each determined to push the boundaries

Fire.’ Morrison saw Nico perform at the Trip of bohemianism. But while they continue to

in 1966, and some accounts say that the pair see each other during the summer, going into

had already met before the summer of 1967, the desert and taking drugs together, theirs

but publicist Danny Fields claims to have won’t prove to be a lasting bond. Morrison is

introduced them properly around now. busy touring and recording with The Doors

“I had been backstage with The Doors in – and, unlike Nico, actually has a fairly steady

the San Francisco Fillmore and I was kind of companion, Pamela Courson, who will remain

appalled at the quality of the groupies hang- his ‘main’ girlfriend until his death in July

ing onto Morrison,” he says in The Age Of Rock 1971. Nico even dyes her hair for Morrison, ued to investigate unusual subjects “without 2, an anthology of rock writing published in knowing that he has thing for redheads. The having some kind of outside support for that 1970 and edited by Jonathan Eisen. “As his affair peters out anyway, but Nico keeps her approach other than myself.” And of course press agent, I was concerned about his bur-hair red. Warhol also designed for the group one of the geoning image, and when I ran into him a Although the relationship is relatively fleet-most memorable album jackets of all time. week later in LA, I thought wouldn’t it be ing, Morrison plays a pivotal role in develop-Without his input, The Velvet Underground’s nice to try and elevate his taste in females.” ing Nico’s solo career – perhaps to an extent music would not quite have been the same, (Fields is probably referring to The Doors’ that he never realizes. It’s Morrison who or quite so brilliant. shows at the Fillmore on June 9–10, or per-encourages Nico to write her own songs, advis— haps their return to the same venue from ing her to take inspiration from her dreams,

ALSO … July 28–30.) as he has done himself. Soon afterward, she The Velvet Underground & Nico is given one of “It was presumptuous of me, but I thought writes her first lyric, ‘Lawns Of Dawns,’ which its few lengthy, considered reviews in the July it would be interesting to see what happened,” will end up on the album she makes next year, issue of the new Boston underground newspa-he adds. “Nico was staying at the famous rock The Marble Index. per, Vibrations. Timothy Jacob’s review might castle in the Hollywood Hills, and I brought seem naive today, but he does draw attention Morrison up there to meet her. Edie Sedgwick Saturday 1 to the group’s groundbreaking depiction of was staying there too, and [future Quicksilver The idea of a British Velvet Underground tour sadomasochism and opiate use in ‘Venus In Messenger Service frontman] Dino Valente, is clearly still being bandied about, judging by Furs,’ ‘Heroin,’ and ‘I’m Waiting For The and me, quite a cast. Morrison and Nico had a report in Record Mirror, which reports that Man.’ He also notes the contrasting beauty this wondrously strange affair, which consisted the London-based group John’s Children are and romanticism of ‘Femme Fatale’ – on of the two of them standing in adjacent stone set to “leave for America on September 4 on which, he says, “the beautiful Nico’s … haunt-doorways of this false castle, and staring at the a ten-day promotional trip on an exchange ing, almost ethereal voice lulls you into peace-floor in front of them, or staring at the same deal with Andy Warhol’s Velvet Underground, ful escape from the harshness of the rest of spot on the floor, I guess communicating via who will be coming here for four concerts and the album” – and ‘I’ll Be Your Mirror.’ reflections off the stone. An entire afternoon TV dates.” John’s Children are a flamboyant It’s a thumbs-up, but not without a degree and evening passed, and all they did was shift mod band most famous for the fact that Marc of queasiness. “The Velvet Underground pro-doorways and start staring at the floor again. Bolan is briefly a member, and for wreaking duces a type of music that is distinctly differ-The whole thing had a sort of weird ending, havoc while touring Germany in support of ent from American popular music,” Jacobs but I don’t think I’ll go into that.” The Who. They’re managed by one-time Yard-writes. “Most of the [album] is a full-fledged Fields does however go into it in James birds manager Simon Napier-Bell, who will attack on the ears and on the brain. Using Riordan and Jerry Prochnicky’s Break On later go on to much greater success as the devices such as controlled feedback and a Through: The Life & Death Of Jim Morrison. manager of Japan and Wham! It’s not clear shrieking electric viola, The Velvet Under- “They were like two cats. They watched each why these plans fall through, but they do. The ground attacks, grates, screams, and pounds other’s movements, followed each other Velvets will never make it to the UK during the on the eardrums until the mind is virtually around the house, but did not say one word 60s; John’s Children, for that matter, never reduced to oatmeal … All in all, for what it at all,” he recalls, until, at 3am, “I was in my reach the USA, either. is striving to express, this is a good album. It room when I looked out of my window into “It’s a real shame they didn’t come to the is distinct – not for those who desire to hear the Spanish-style courtyard … Jim and Nico UK, particularly when Nico was still with the usual popular music, but for those who were standing there under the full moon in them,” notes Richard Williams, one of the first

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British journalists to write about The Velvet July 3 listed to begin with; a sticker adds that Wednesday 19–Sunday 22 Underground. “They would have created a the bill is to be “held over July 4–5–6.” Trauma, Philadelphia, PA sensation. Some people would have hated them, but there were enough clued-up people Tuesday 18 Wednesday 26–Sunday 29 to have given them a highly appreciative audi-In a small Wisconsin town with a popu- Trauma, Philadelphia, PA ence at [London psychedelic club] UFO or, lation of less than 100,000, the Oshkosh Although The Velvet Underground are gen-a bit later, somewhere like the Roundhouse Daily Northwestern reports in a tiny article erally out of step with current rock trends, in Chalk Farm.” headlined ‘Two Bands For Next ‘Y’ Dance’ one development that does favor them is the that “two fine youth bands, The Variations emergence of venues throughout the USA

Monday 3–Thursday 6 and The Velvet Underground, will furnish that specialize in serious, ‘underground,’ or A-Go-Go, Cape Cod, MA music for the dance when the regular Pepsi psychedelic rock, concentrating on bands By now The Velvet Underground are playing Platter is held every Friday night at the Y.” whose albums are being played on the emerg-more shows in New England than anywhere As hard as it might be to believe, this is ing groups of FM rock stations. The Boston else. It’s not clear whether this week’s shows almost certainly a different Velvet Under-Tea Party is one such place; the Trauma is are part of the Exploding Plastic Inevitable; ground. Not only is it highly unlikely that another, and plays host to these two four-day they probably aren’t, but posters for the event the real VU would be playing at a junior engagements for which the Velvets share the still make the most of the Warhol connec-high-school dance in small-town Wiscon-bill with The Muffins. tion, promising “a happening starring Andy sin, but they’re also otherwise engaged on It’s possible that the Velvets might already Warhol’s Velvet Underground.” Also on the the night in question. This won’t be the have played at least one undocumented gig bill are The Ones, who are listed as “the East last time another band tries to call itself at the Trauma earlier in 1967, since one fan Coast’s answer to the West Coast’s groups” but The Velvet Underground, however, as an from the area who corresponded with the who don’t seem to have gotten to the point Australian group follows suit a few years author recalls seeing the group play alongside of putting any of their replies on record. The later. There’s even a pub called the Velvet The Free Spirits at the venue. Another fan, poster reproduced in the Peel Slowly And See Underground in Chicago during the late George Manney – who in 1967 is playing in booklet implies that the engagement is initially 60s, while a club of the same name will a high school band called Stone Dawn, and set to be a one-night stand, with only Monday open in Vero Beach, Florida, in 1970. who will later see and photograph The Velvet The Velvet Underground at the Trauma, Philadelphia, July 19 1967. 157

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Underground at Philadelphia’s Second Fret Cinematheque-16 in Los Angeles in early the music was incredible – it was about 80 club in December 1969 and January 1970 – 1968, after which Warhol produces a third, per cent percussion and this terrible off-key recalls seeing the band perform with Nico at 95-minute cut. According to The Films Of Andy chanting and harmony.” the Trauma and being mesmerized by the light Warhol: Part II by Callie Angell, the uncut reels It’s quite possible that the Velvets are put show, which would have to have been before also form part of Warhol’s 94-reel, 25-hour, off by questions such as “Do you plan to use Nico’s departure from the group in late May. split-screen showing of **** on December The Velvet Underground as a base for destroy— 15–16. ing the current Johnson regime?” – questions

, Late July which perhaps indicate that the interviewer

C FILMING I, A Man isn’t taking the exercise too seriously either.

Although Nico has left The Velvet Under- What the Q&A does show, however, is that August

ground, she is still involved to some extent Lou Reed’s legendary surliness toward the

with Andy Warhol. As she will later recall, media is already starting to develop. Warhol wants to make a film starring Nico and her new lover, Jim Morrison. The role ALSO … ends up going to Morrison’s actor friend, Undated August No less an authority than Mademoiselle maga-Tom Baker, who will later gain notoriety for The first known Q&A interview with The zine reports in its Flicks & Fads column that getting drunk and causing a ruckus while Velvet Underground, attributed to one Joel girls from the respected women’s colleges on a plane with Morrison in late 1969, and F., appears in the August/September issue of Vassar College (in Poughkeepsie, New York) whose antics almost lead to a jail sentence the Cleveland underground newspaper, the and Mount Holyoke (in South Hadley, Mas-for Morrison. Buddhist Third Class Junkmail Oracle. It’s not sachusetts) are “tun[ing] in to Andy Warhol’s Morrison probably wasn’t interested in clear when or where the interview took place, new group, The Velvet Underground.” appearing in I, A Man anyway, but now, with as there’s no record of the group playing in ‘Light My Fire’ at the top of the charts, is Cleveland in 1967, unless they came into town Friday 11–Saturday 12 surely too busy. Undeterred, Warhol shoots for their January appearance on the Upbeat Boston Tea Party, Boston, MA the film in New York and Los Angeles with television show. It seems safe to assume that “Be part of what’s happening,” urges a flyer Baker, Nico, Ultra Violet, Ingrid Superstar, the interview took place during the EPI era, for this weekend’s shows, which begin at Ivy Nicholson, Cynthia May, and Bettina since the group is described as staying at a 8pm each night for a three-dollar admission Coffin. The film makes innovative use of motel in the Howard Johnson’s chain with fee. “Andy Warhol Underground Filmmaker ‘strobe cuts,’ which cause the frame to flash an entourage of 17 – including, as Reed puts comes to the Boston Tea Party this weekend and sound to blip, and is built around a it, “freaks we take along with us.” to capture the people on film as they explode series of scenes in which Baker conducts Whoever the reporter is, he seems to have to the sights and sounds of the Velvet Under-banal conversations with each of the women, caught the band in a particularly sarcastic, ground. You are the star. You are what’s hap-usually in bed or in the course of trying to grouchy mood. Many of the responses by Lou pening. Be a part of Boston’s first authentic seduce them. He doesn’t succeed with Nico, Reed in particular are either obvious put-underground movie.” Support comes from who repeatedly maintains, during her five-downs or are brief to the point of being use-local psychedelic group The Freeborne, who minute scene, “I’d rather stand up.” Her less. Asked about his relationship with Andy will shortly release their lone LP, Peak Impres-dialogue with Baker is as dull and trivial as Warhol, Reed replies, “We’re married.” When sions. one might expect, but does contain some it comes to drugs, he says, “I’m in favor of “There’s this mythical film that was shot at apparent references to real life: Nico men-any of them. They should be given to peo-the Tea Party in August 1967,” Steve Nelson tions having an unwell mother in Ibiza who ple immediately.” Is there any comparison recalls. “That weekend [was] the first time is “a little crazy” and “has to have a brain between what the Velvets are doing in music they incorporated the Andy Warhol side of operation.” and what Williams Burroughs is doing in The Velvet Underground into the Tea Party Another of the women Baker fails to literature? “No,” Reed says. “Our music has presentation. Andy actually came there, which seduce is Valerie Solanas, who will later nothing to do with anybody.” I believe was the only time, and Paul Mor-become infamous for her attempt to kill Fortunately, Sterling Morrison comes to the rissey was there, and supposedly they filmed Warhol in 1968. Hers is by far the brashest rescue with some relatively straightforward this Velvet Underground performance at the and most assertive of the female roles, and remarks about the origins of the Exploding Tea Party. I know they were there; I know that certainly of significance within the film itself. Plastic Inevitable name, which he attributes, they were pointing cameras. Was there any She even gets a little more screen time than not quite accurately, to Bob Dylan’s Highway film in the camera, or did it just disappear? I does Nico. 61 Revisited, and about Dylan himself, to whom don’t really know. The film just never seems In keeping with Warhol’s instant-coffee he offers some unexpected praise. Asked to have shown up.” approach to filmmaking, the 100-minute I, about The Fugs, Morrison admits, “I preferred It’s possible that the film in question is the A Man opens in color at New York’s Hudson them when they were true freaks. Like now one-reel, 33-minute, color sound work enti-Theatre on August 24. The New York Times they have three [members], Ed [Sanders], tled The Velvet Underground In Boston. Four is not impressed, grumbling a day later that Tuli [Kupferberg], and Ken Weaver, but they decades later, it has still not been seen, but “the nudity is no match for the bareness of have people playing instruments for them. it is scheduled to be preserved by the Andy the dialogue’s drivel and the dogged tone You know, they have like three people who Warhol Museum in the near future, at which of waste and ennui that pervade the entire can play. In the good old days, no one could point more will be revealed and confirmed film.” do anything … they had some kind of descrip-about its contents. Paul Morrissey however There won’t be too many more opportuni-tion, ‘brawling and stomping their way around does not remember taking footage of the ties to see the film after its premiere, although the stage,’ and it was pretty literal. They were Velvets in Boston, or indeed anywhere else a 110-minute version reportedly plays at the about the shabbiest people in the world and they toured.

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Part of the reason why Warhol is involved into working with the singer-songwriter Eric Monday 28 in this show, Nelson recalls, “is because [a] Andersen. Nico meets up with Warhol, Paul Morrissey, new club [had] opened up in Boston called Sterling Morrison will later claim that and Ultra Violet, who have come out to San the Crosstown Bus, which lasted, I think, Epstein, through Weiss, once planned Francisco for the West Coast premiere of The about six weeks. They were headlining The to help the Velvets with touring; Sesnick Chelsea Girls; all four participate in an inter-Doors. Now, in the summer of ’67, The Doors denies this. According to Morrison, Epstein view about drugs and hippies with the Berke-had the biggest record in the world, ‘Light also wanted to merge the Velvets’ publish- ley Barb at the Presidio Theatre. Nico doesn’t My Fire.’ [The club] had booked The Doors ing company, Three Prong Music, with the have much of substance to say, but then nor before the record became such a big hit … So Beatles’ Northern Songs, but the Velvets does anyone else. to counter this other club having The Doors, decided to hang onto Three Prong, figuring It’s possible also that Warhol and Nico the Tea Party did this whole thing with ‘Andy that if Epstein wanted it so much, it might appear on the television talk-show hosted by Warhol, be part of what’s happening, com-an asset worth retaining – and that few acts famed stripped Gypsy Rose Lee around now, ing to film them, blah blah blah,’ that whole are likely to be interested in covering their as both are listed as guests on a 7:30am broad-business.” songs anyway. cast of her show in the September 17 edition

Warhol’s presence this weekend indicates Revisionists will later paint the Velvets as of the Long Beach Independent Press-Telegram. either that he might not yet have stopped ‘anti-Beatles’ of sorts, with their banana album managing the group, or that he has contin-the ultimate antidote to the peace-and-love

ued to be friendly with them in some capacity ethos epitomized by Sgt Pepper; surely, then, September even after the changeover with Sesnick. The they would have reservations about casting group are no doubt pleased, however, that their lot in with The Beatles’ manager? Here posters for the shows show their name promi-then is the place to point out that The Velvet nently, without any attachment to Warhol or Underground, like most people in the 60s, Nico, and even feature drawings of the four admire The Beatles. Shortly after The Velvet , Early-to-mid September band-members – a possible indication of how Underground & Nico is released, Lou Reed tells M RECORDING Mayfair Sound Studios, 701 popular they’ve already become at the Boston Jackson Browne and rock critic Richard Melt-Seventh Avenue, New York, NY. Producer Tea Party. zer that his two favorite guitarists are George Tom Wilson, engineers Val Valentin, Gary

One of the Velvets’ most devoted Boston Harrison and The Byrds’ Roger McGuinn. He Kellgren. fans is 16-year-old Jonathan Richman, who is later quoted in Lou Reed: Between The Lines With the exception of the brief session last is able to get into the Tea Party because the as calling The Beatles “the most incredible fall, when they cut ‘Sunday Morning,’ The venue doesn’t have a liquor license. He not songwriters ever … I don’t think people real-Velvet Underground have not been in the stu-only becomes a regular at these shows, but ize how sad it is that The Beatles broke up.” dio for almost a year and a half. During that also becomes friendly with the band, playing Sterling Morrison, usually the Velvets’ blunt-time they have stockpiled quite a lot of origi-them some of his early compositions on gui-est critic of other bands, will call Sgt Pepper “a nal material: judging by the various setlists tar and even showing them poems he’s writ-great album” in a March 1970 interview with and demos from the period, there’s enough ten about the group. He later claims to have Fusion magazine. It’s highly doubtful then for two full albums. The group’s new songs seen the group about 100 times; his devotion that the Velvets would be anything less than include hard, abrasive rockers and the kind extends also to Warhol, to whom he sends a honored to be connected to The Beatles, even of folk-rock-esque romantic ballads at which letter and some drawings in December. Even by way of some sort of association with their Lou Reed has also started to excel. more intriguingly, he also remembers mak-manager. When it comes to assembling what becomes ing a color film of the Velvets rehearsing, but The whole thing becomes moot, however, White Light/White Heat, however, the Velvets unfortunately gives it away. (It has not been when Epstein today dies of an accidental over-decide to focus almost exclusively on the loud-tracked down since.) dose of pills and alcohol in his London home. est and most outrageous numbers. Among the

The Velvet Underground, like the world at songs they pass on for now are the kinder,

Sunday 27 large, might not be aware that Epstein had gentler ‘I’m Not Too Sorry (Now That You’ve

Since becoming involved with the manage-not been in the best of shape. He had strug-Gone)’ and ‘It’s Alright (The Way That You ment of The Velvet Underground, Steve gled not only with many aspects of his busi-Live),’ both demoed in early 1967, and ‘Pale Sesnick has been trying to get Brian Epstein ness, and with being marginalized to some Blue Eyes,’ which has been part of their live into the picture too, no doubt aware that extent as The Beatles took matters he had sets since mid 1966. They also set aside hard-Epstein likes the group’s first album, and has previously overseen into their own hands, but rocking, upbeat workouts such as ‘Guess I’m already met Lou Reed and Danny Fields. Ses-also with serious psychiatric problems. Falling In Love,’ which was recorded live at nick hopes to interest Epstein in creating a “At the end, he was going to cook up a tour the Gymnasium in April, and ‘Foggy Notion,’ publishing deal for the group’s songs, which for us,” Morrison later explains to Pat Thomas another song that they’ve been performing might be quite a lofty aim, but makes sense: in the Ptolemaic Terrascope. “We said yeah, we’ll since at least mid 1966. even a publishing deal could lead to other go along with the tour. Then he died.” (One The Velvets opt instead for an all-out breaks, such as British and European tours, brief footnote to this story – and one that assault, laying down some of the most bru-in front of audiences who might appreciate probably has nothing to do with the Epstein tal, hard-edged, frenzied rock yet recorded. the group more than have American listen-deal falling through – is that, by June 1973, This could be a conscious (or unconscious) ers. Epstein has already considered adding Lou Reed seems to have changed his opinion outlet for the frustrations they’ve suffered American acts to his stable. Alongside New about The Beatles. “The Beatles never had over the past year or so: the unfathomable, York entertainment attorney Nat Weiss, he anything to say,” he tells Melody Maker. “It was endless delays to the release of The Velvet has helped out New York pop-rock band The always nice, happy stuff. What did they ever Underground & Nico; the way that the even-Cyrkle, and, more adventurously, looked say?”) tual album was then either ignored or put

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down both commercially and critically; and instruments. Gary Kellgren did that, or he The impact of ‘White Light/White Heat’ the turmoil surrounding their splits with Nico tried.” is diluted a little by compressed distortion as and Andy Warhol. It could also be that, as Since making The Velvet Underground & Nico, muddy as anything heard on an official release the Summer Of Love comes to an end, the the group’s sound has become even heavier by a major 60s rock group. And in its concise Velvets are making another defiantly inacces-and more distorted, in part due to the intro-two minute, 45-second form, the song is really sible, if characteristic, move not just to do the duction of new equipment and effects. Reed only a shadow of the magnificent faster, more unexpected, but also to deliberately fly in the has taken to plugging a hand-held Vox dis-guitar-oriented, eight-and-a-half minute epic it face of the trends of the times. tortion box directly into his guitar to gener-will eventually become on stage, as captured

Whatever the motivation, things are a lit-ate ear-piercing shrieks and feedback, most on the 1969 Velvet Underground Live LP. But tle different in the studio this time around. notably on ‘I Heard Her Call My Name.’ His the extended instrumental refrain is still as Tom Wilson, who is officially listed as pro-Gretsch Country Gentleman has been fitted vivid and edgy a depiction of a strung-out ducer only of ‘Sunday Morning’ on The Vel- with preamps and speed/tremolo controls, adrenaline rush as will be achieved in any vet Underground & Nico, is now overseeing the and is now capable of spitting out 16 notes for rock song. whole thing, although it will later be reported each one he plays. The Velvets push their Vox Although ‘White Light/White Heat’ is that he spends most of his time talking to girl-fuzz-boxes and amps – used in part, accord-often assumed to be about the exhilarating friends on the telephone. (This impression ing to Sterling Morrison, because they have effect of crystal methedrine – a view Reed is seconded by Jackson Browne when he is an endorsement deal with the company – to gives credence in his 1971 interview with the later asked about Wilson’s role in the Chel- the limits of volume and distortion, even by Metropolitan Review, in which he says the song sea Girl sessions, and also shared by The Soft garage-psych standards. “is about amphetamines” – an equally likely Machine, whose debut album Wilson will go Years later, this overdriven sound will be rec-inspiration is the occult book A Treatise On on to produce in 1968.) ognized, in certain respects, as a forerunner White Magic by Alice Bailey. Bailey advises con-

“Tom Wilson had this parade of beautiful of both the molten overload of heavy metal trol of the astral body by a “direct method girls coming through all the time,” John Cale and the unfiltered raw aggression of punk. In of relaxation, concentration, stillness, and recalls in the Peel Slowly And See booklet. “I September 1967, however, it’s a sound that flushing the entire personality with pure don’t know if he was having it off with them often pushes the needle way into the red, White Light, with instructions on how to ‘call in some other part of the studio. But every-more than the studios of the day can cope down a stream of pure White Light.’” Reed body was intrigued by it.” According to Vic with if they hope to eliminate distortion from is certainly familiar with Bailey’s work, call-Briggs, the guitarist in the late-60s line-up of the end product. Incidentally, in his 1975 New ing A Treatise On White Magic “an incredible The Animals, whom Wilson also produces for Musical Express interview, Cale confirms that book” in a November 1969 radio interview in MGM, “After a long session with Tom Wilson Reed is responsible for the most crazed of the Portland, Oregon. in the studio, any spare piece of paper in that guitar solos. “‘Sister Ray,’ ‘I Heard Her Call In his article ‘I Was A Velveteen’ in Kicks, studio would be colored with [football play My Name’ … they were all Lou. He’d ask Sterl Rob Norris remembers Reed telling him that diagrams of] Xs and Os. And that’s what he to do a solo and Sterling would say, ‘ehrrrr … ‘White Light/White Heat’ is an example of did all day. He did football plays and he was I dunno, Lou.’ So Louis did them, ’cos he was “how a lot of his songs embodied the Virgo-on the phone, lining up women.” getting fed up.” Pisces [astrological] opposition and could be

Working alongside Wilson is recording Like The Velvet Underground & Nico, White taken two ways.” Norris thinks the ‘white light’ engineer Gary Kellgren, who met the group Light/White Heat is recorded quickly, but in a concept might also have informed another during sessions for Nico’s Chelsea Girl, and more concentrated dose. Steve Sesnick later of the album’s songs, ‘I Heard Her Call My is a rising star of sorts in the industry. He is estimates that about three days are spent on Name,’ telling the author, “[Reed] was very also currently working on another album at recording; John Cale writes in his autobiog-interested in a form of healing just using light, Mayfair Studios, We’re Only In It For The Money raphy that “it took two to five days consecu-projecting light.” by the Velvets’ great rivals, The Mothers Of tively”; and Maureen Tucker, in UpTight: The Reed isn’t the only major 60s rock artist Invention, and will be one of the engineers on Velvet Underground Story, recalls that it involves influenced by Bailey. Kinks guitarist Dave Dav-Electric Ladyland by The Jimi Hendrix Experi- “seven sessions over a period of two weeks.” ies discusses ‘white light’ energy in his auto-ence. Capturing the full aggression of The All the sessions take place in September; a biography, Kink, which reprints a couple of Velvet Underground’s new material, however, tape box dated September 18 and reproduced extended quotes from Bailey’s books. Reed’s is a special challenge beyond the capabilities in the Peel Slowly And See boxed set implies Factory friend Billy Name, who ends up doing of almost any studio technician. that the album is finished and sequenced by the artwork for White Light/White Heat, is also

“One of the engineers said, ‘I don’t have that date. interested in the concept. As Reed explains in to listen to this,’” Lou Reed recalls with a For all its gonzo, envelope-pushing sonic an unpublished interview with ZigZag in 1972, combination of pride and disgust in the Rock attack, White Light/White Heat is not devoid “[Name] got so far into it he locked himself And Roll Heart documentary. “‘I’ll put it in of more traditional rock’n’roll elements, bur-in a closet for two years, and just never came “record,” and I’m leaving. When you’re done, ied as some of them are. This is particularly out … I know what he was doing because I come and get me.’” It’s not clear which engi-evident in the title track, which is anchored was the one who started him on the [Alice neer Reed is referring to, since both Kellgren by some mid-tempo boogie-woogie piano not Bailey] books, and we went through all 15 and Val Valentin, who is listed as ‘director of far in spirit from the early rhythm & blues volumes.” engineering’ in the liner notes, will work that Reed and Morrison so love. Similarly, the The second track on the album marks the with the Velvets on numerous occasions in backing harmonies hint at the doo-wop they lead-vocal debut of John Cale with his spoken the future. John Cale will later express some grew up with, even if they’re sung in a self-narration on ‘The Gift,’ a short story Reed sympathy in a 1975 interview with the New consciously sardonic manner. (No doo-wop wrote back in his Syracuse days and recently Musical Express, telling Max Bell, “I know it songs had lyrics about speed freaks and killing set to music at Cale’s suggestion. (Reed’s Syra-was an engineer’s nightmare, separating the your mother, either.) cuse mentor Delmore Schwartz also wrote a

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story called ‘The Gift’ in 1958, but there are instead of wasting it we decided to combine ‘Her She Comes Now’ is almost as mysterious no similarities between the two works beyond them.” as ‘Lady Godiva’s Operation.’ What kind of the titles.) If not for Cale’s overlaid narration, Cale also takes the lead vocal – singing, woman is Reed waiting for, and why is she tak-‘The Gift’ might become a pretty dull, plod-this time – on ‘Lady Godiva’s Operation,’ ing forever? Is he waiting for her to orgasm, ding blues-rock instrumental. The backing is which sets out a scenario about as bizarre as and is his observation that she’s made out similar – but not exactly the same as – the ‘The Gift.’ His delivery and the lilting melody of wood an intimation that she’s frigid? We instrumental ‘Booker T.,’ which the Velvets echo the folky approach that he, Reed, and don’t know, but one thing’s for sure: despite have recently been playing live, as heard Sterling Morrison took on some of their July Reed’s boast that anyone who plays a blues on the April 1967 Gymnasium recording 1965 demos, but by now it has mutated into lick in The Velvet Underground is fined, the included on Peel Slowly And See. But it’s quite something quite different, with sweetly buzz-guitar riffs on the fadeout are pure blues-rock effective as a way-in-the-background setting ing, intertwined electric-guitars combining improvisation. for this macabre yet grimly comical tale of a with Maureen Tucker’s typically insistent Of all the songs on the four studio albums love-struck student whose ingenious plan to backbeat to prove a far more advanced musi-made by the Velvets with Lou Reed in the band, mail himself to his girlfriend ends in grue-cal backdrop. only ‘European Son’ and perhaps ‘The Mur-some tragedy. It’s never made clear exactly what kind of der Mystery’ from 1969’s The Velvet Underground

The most impressive element is Cale’s lilt-operation Lady Godiva is having, but it might rival the chaos of ‘I Heard Her Call My Name.’ ing, laconic narration, which sits comically but perhaps be some kind of gender modifica-Reed’s affection for wild free-jazz is not often understatedly at odds with both the sappily tion – something that Reed would have seen an obvious influence on the VU, but here his romantic ideals of the story’s protagonist, close-up with some of the characters hang-guitar squawks with the same fingernails-on-Waldo Jeffers, and the violent accident that ing around the Factory. In April 1973, Reed blackboard intensity heard on 60s recordings brings his tale to its gory conclusion. Also at tells Circus magazine that the song is “about by jazzmen such as Albert Ayler. But there’s a work in the story is a lusty promiscuity on a transsexual”; whatever the operation is, it’s real song at its root, and one that’s centered the part of Jeffers’s girlfriend, Marsha, that’s certainly creepy. The soothing lull is rudely around Reed’s knack for almost gospel-like pretty risqué for a 1967 record. Sex, death, interrupted by Reed’s jarring vocal interjec-celebrations of love, as if a lover’s call is akin and rock’n’roll – it’s all tied together in this tions, as well as Cale’s wordless shudders and to the coming of the messiah. unusually literary musical package, inspired, some uncanny imitations of oxygen machines All of this is almost overwhelmed, how-lest we forget, by Reed’s real-life longing for and other malign hospital apparatus. In ever, by those banshee-like guitar breaks, his girlfriend Shelley Albin back in the sum- Between Thought And Expression: Selected Lyrics which pretty much take over the song after mer of 1962. Of Lou Reed, Reed himself theorizes that his the third and final verse, in which Tucker’s

Cale’s vocal is recorded in a single take – teenage electroshock treatments might have drums fall into a pitter-patter that struggles an impressive feat for an eight-minute nar-inspired him to write songs such as this one. to keep the whole thing together. (John Cale ration. The idea is to put his story on one With ‘The Gift’ and ‘Lady Godiva’s Opera-will later claim that both this song and ‘Here channel and the instrumental backing on tion’ following each other on side one of the She Comes Now’ are shaped in the studio the other, which is how the song is heard on completed White Light/White Heat, some listen-and never played live, but the inclusion of Peel Slowly And See, but the separation won’t ers – even those familiar with the Velvets – ‘Here She Comes Now’ – even if it’s crossed quite work out to expectations on the original might be forgiven for thinking that the group out – and something called ‘I Heard Etc’ on vinyl release. The composition is credited to has gone off on a downright zany tangent. Just a late-May setlist from the Boston Tea Party all four of the current Velvets, as a possible to keep everyone off balance, side one closes seems to contradict this.) nod to the backing track’s roots in group with the only track from the White Light/White Another thing that’s almost lost in the shuf-improvisation. Heat sessions that even remotely approximates fle is the fact that the lyric isn’t exactly a joy-

“I wrote ‘The Gift’ while I was in college,” a ‘normal’ rock song, ‘Here She Comes Now.’ ous love song but a mind-splitting cry of loss Reed confirms in an interview with Lester In the midst of all this mayhem, it’s almost as for a woman who has long since departed. Bangs for Creem in May 1971. “I used to write if the group have inserted this folk-rock-esque, This might explain to some degree the agony lots of short stories, especially humorous catchy and lyrically simple tune into the mix Reed puts his guitar through, which sounds pieces like that. So one night Cale and I were as something of a tease, especially consider-almost as if he’s trying to sketch a sonograph sitting around and he said, ‘Let’s put one of ing the extent to which all hell breaks loose of his tortured brainwaves. Even this prob-those stories to music.’ So we did and I still on side two. ably won’t be enough to keep even the most wasn’t sure about it – I’m never sure about Despite subsequent inferences that Cale committed VU fans from wondering whether things I write for about two weeks – but I guess and Morrison make uncredited contribu-the group has truly gone off the deep end the it turned out really good.” A year later, Reed tions to most early VU originals, ‘Here She first couple of times they flip the LP over to tells Time Out that the song is a “funny case Comes Now’ is the only composition officially side two and drop the needle on this cut. In of paranoia. … One of the things I’ve always credited to Reed, Cale, and Morrison. It’s also 1971, Reed explains that the song is “about regretted is that when Waldo gets stabbed in the only one of the six songs from White Light/ someone who was very strung out … [with] his the head I put a wrench into a cantaloupe on White Heat of which an earlier version has eyeballs on his knees” in an interview with the the track and you can’t really hear it. It’s sup-escaped into circulation, in the form of those Metropolitan Review. “And then he hears her posed to go ‘squish.’ It wasn’t loud enough … two demos from early 1967. The album ver-calling him,” he continues. “Everybody has a Then some people have said the hippest thing sion is much more fully developed, however, her. You can hear it in your mind.” would be not to have it at all. You just get it the combination of guitar, viola, and Reed’s More focused but just as deranged – at least from all sides.” And in the March 1983 issue breathy, stuttering vocal having progressed on first hearing – is the tour-de-force of the of Trouser Press, Cale adds, “It my idea to do from slightly grating to something much White Light/White Heat sessions, the 17-minute it as a spoken-word thing. We had this piece smoother and more hypnotic. ‘Sister Ray.’ Despite its length, which is still called ‘Booker T.’ that was instrumental, so Even so, underneath the pleasing surface, exotic in and of itself in terms of 1967 rock

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releases, the song is more taut and focused ‘Sister Ray’ is one of several VU songs probably changes during the album sessions, than ‘I Heard Her Call My Name,’ and is pow-for which the group are later accused of as tape boxes reproduced in the Peel Slowly ered by a killer riff. It’s possible that The Vel-glorifying drug use and other naughtiness; And See boxed set use both titles.) The band vet Underground never play louder or more Reed later tells Circus that the song is “about played a 20-minute version at the Boston aggressively in the studio than they do on this a gay dealer.” It should be noted, however, Tea Party in May; in the future, the song will cut, which is to say that perhaps no one before that while the humor here and throughout sometimes be extended to more than dou-them has played so loud and aggressively in White Light/White Heat is on the gallows side, ble its studio length, as demonstrated by the the studio. ‘Sister Ray’ might not be meant to be taken 38-minute version taped in December 1969

This is in part because, while super-fuzzed- entirely seriously. A few days after the song is and included on the 2001 set Bootleg Series Vol. out power chords take the lead at first, ‘Sis-recorded, Steve Sesnick calls it “a satire on 1: The Quine Tapes. ter Ray’ soon evolves into a battle to see who drug addiction” (see September 21–24). And The group will later deviate further from can play the loudest, with Cale surging to the yet Reed’s portrait is so gritty, and the band’s the original on ‘Sweet Sister Ray.’ As Cale front with some supercharged organ. Accord-attack so savage, that any satirical ingredients notes in his autobiography, “I don’t think ing to Sterling Morrison’s recollections in the will pass many listeners by, at least for the first anyone’s got the ‘Sister Ray Part 3’ on tape Peel Slowly And See booklet, “When Cale came few plays. that we used to do as our big finale. We’d start surging through the wall of sound on his first The Velvets follow Reed’s play-by-play with way off … with something totally chaotic and solo, I remember thinking, ‘Where’s John get-circus-like accelerations and decelerations of gradually work our way back to the version on ting all that noise from?’ I see him fumbling intensity, with Cale again standing out as a the record. Very long, very intense, with Lou over there with all the stops on his organ. I ringleader with his frightening organ blasts becoming a Southern preacher man, telling expected it more to stay at the same volume. even if no one can truly lead this band of stories and just inventing these fantastic char-And all of a sudden, the organ is way louder anarchists. Their contributions to what is in acters as we played.” And yet for all this, none than me and Lou. I couldn’t turn up; I was essence an extended jam – albeit one given of the various surviving official and unofficial already maxed out. At one point, I was down much more focus than the usual psychedelic live versions of ‘Sister Ray’ are as taut or as at the bridge pickup on my Stratocaster, so epic – are acknowledged when ‘Sister Ray’ powerful as the one recorded in the studio I decided to get a little more oomph on the is given a joint songwriting credit shared by for White Light/White Heat. neck pickup. So I switched to that, which was all four musicians. So dense and thick is the Taken as a whole, these sessions capture good. I can hear it in there.” instrumental blend that you don’t even notice The Velvet Underground at their most

As Reed tells Creem’s Lester Bangs in 1971, that, with Cale sticking to his organ for the extreme, both in the songs they select and the ‘Sister Ray’ “came about right there in the duration, nobody is playing the bass. way they play them. In hindsight, even some studio. We didn’t use any splices of anything. It’s already been noted elsewhere that of the group will wonder if they end up being I had been listening to a lot of Cecil Taylor Maureen Tucker is unhappy about the take a little too extreme. “We always played loud and Ornette Coleman, and wanted to get of ‘Heroin’ that’s selected for The Velvet Under- music in order to get the symphonic sound, something like that with a rock’n’roll feel- ground & Nico despite a pause in her drum-but the loudness was supposed to bring clarity, ing. And I think we were successful, but I ming; she’s likewise displeased with a similar and that wasn’t true of the second album,” also think that we carried that about as far as gaffe on ‘Sister Ray.’ “Tom Wilson was more Cale notes in his autobiography. “We were we could, for our abilities as a band that was interested in the blondes running through intent on recording this album live in the basically rock’n’roll.” He also confirms the the studio,” she tells What Goes On years later. studio because we were so good live at that spontaneous, over-amplified, live-in-the-studio “As witness, the forte song, ‘Sister Ray,’ where point. We played and played and played, and approach in a 1976 interview with Lenny Kaye he forgot to turn on the damn mics. Better to keep that animalism there, we insisted on in the New Musical Express in January 1976. than the first album but that part in there playing at the volume that we played on stage. “When we did ‘Sister Ray,’ we turned up to ten drives me crazy … that part [where] Lou says We were working in a very small studio with flat out, leakage all over the place,” he recalls. ‘who is that knocking?’ I was gonna tap on no isolation, so it was all this noise just smash-“That’s it. They asked us what we were going the drum rim … I said, ‘OK Tom, now when ing into more noise, but we felt that if we to do. We said we’re going to start. They said he says “who is that knocking,” I’m gonna do caught the excitement of a live performance who’s playing bass? We said there is no bass. this.’ on tape we’d have achieved our one aim. We They asked us when it ends. We didn’t know. “So they put a microphone into the drum never quite realized that there were technical When it ends, that’s when it ends.” hole, got it all set up, and of course they didn’t problems involved in turning everything up

Although there’s much instrumental have it on, this one microphone, and would past nine.” improvisation in ‘Sister Ray,’ the band rarely only turn it on when that part came. But, they As Sterling Morrison will later put it in his lose sight of the grinding riffs at the song’s didn’t turn it on then either, so all of a sudden 1986 interview with Ignacio Julia for Spanish core, and Reed manages to keep his raunchy there’s no drums. There’s four beats, and then television, “White Light/White Heat was a real report of New York sex-and-drugs going nearly there’s two, and then there’s four, I think is frustration, because we wanted to do some-the whole way. Just as he had on ‘Venus In what happens. And I could have killed myself, thing electronic and energetic. We had the Furs’ and ‘Heroin,’ Reed here casts his eye ’cause we did two takes of that as I recall, and energy and we had the electronics, [but] what on activities that are commonplace in urban it came out nice, it was really good, and here’s we didn’t take into account was whether it communities – shooting up with needles, oral this part that drops out the bottom. I was tap-could be recorded. If we went into a studio sex, people too preoccupied with their hedon-ping on the rim, and it wasn’t recorded. And now and did White Light/White Heat, it would istic ways to notice or care about the decadent of course everybody thinks that I stopped play-work, because they have the equipment – then disorder and even death breaking out around ing the drums, which infuriates me.” they didn’t, so there’s incredible leakage from them – but which have nonetheless rarely if ‘Sister Ray’ has already been stretched out track to track. There were ways we could have ever been depicted in so unflinching a fashion to an even greater length in concert, where done it, if we had all played individually, but in popular song. it’s initially billed as ‘Searching.’ (The name we didn’t like to, we liked to play simultane-

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ously and used voiceover live a lot of times. one wonders if The Velvet Underground are of the season!” As well as The Velvet Under-

“We didn’t know the album was doomed even aware of it. But at least Kellgren and the ground, the shows are set to include “a psych-until we actually mixed it down, because we Mothers aren’t only making fun of the Velvets, edelic ‘great light’ show” and “a ‘mod’ fashion would do the tracks and then you’d listen to since the engineer clearly calls both groups show with go-go girls!” them, track by track, and they sounded good, ‘shitty’ in his little speech. In fact, as a preview in the Tech, the newspa-so you kept on going. The big surprise comes As an aside to the whole supposed VU/ per of the Massachusetts Institute Of Technol-when you mix it down and then try to do a Mothers rivalry, it should perhaps be noted ogy, reveals, the group are to be backed “by the pressing. There’s all this distortion and all that the Velvets never really gained points with psychedelic effects of Great Eastern Lights.” sorts of [fuzz] and compression and all this their fans for putting the Mothers down. For This multimedia outfit – most definitely not leakage, a lot of white noise. There was so one thing, a not inconsiderable number of the Exploding Plastic Inevitable, despite some much commotion in the tracks that even the listeners are fans of both groups, and see no similarities – has been formed by former MIT gain had to be reduced for the stylus when need to choose between one or the other. As student David Hahn, and “will employ, among they cut it. The quiet things are kind of okay, Lester Bangs points out in a letter published other things, 12 movie projectors.” Perhaps the but the major electronic efforts – ‘I Heard in the October 30 1970 issue of Fusion, “I weirdest aspect of these shows – which include Her Call My Name’ and ‘Sister Ray’ – are not. have liked the Velvets from the start, at one performances at 8:30pm on the Friday and Sat-‘Sister Ray’ succeeds because I don’t think time they were my favorite band, but I … urday, and at 3pm and 7pm on the Sunday – is anybody can perceive it any way other than it do get turned off in a hurry at choice Lou that the Velvets’ performance is to be followed is, but we intended it to be a lot cleaner and Reed quotes like ‘Frank Zappa isn’t fit to be by a screening of the film comedy The Hap-crisper, so even that was a disappointment.” a pair of dirty underpants.’ Some opinions pening, starring Anthony Quinn. Tickets are Morrison apparently goes so far as to quit are better left in private, not because they priced at $3 for orchestra seats, and $2.50 for the band for a couple of days in protest at can hurt Zappa but because they can hurt the balcony. what he thinks is the wrong mix of ‘I Heard Lou Reed.” Although it’s not mentioned in the Herald Her Call My Name’ being chosen for the Traveler, the first of this run of shows takes album. Even Tucker, generally the most dip- Thursday 21 place on the evening of September 21, as lomatic of the band-members in retrospective Just before the Velvets begin their run at verified by a decidedly mixed review in the interviews, thinks the song is ruined by Reed Boston’s Savoy Theater, local newspaper following day’s Boston Globe. “It’s a mind-bend-turning himself up too loud in the mix. the Student Times runs a short piece which – ing, trip-taking happening all right,” writes But despite these imperfections, The Vel-rather unusually for the time – quotes Ster-George MacKinnon, “but other phrases such vet Underground have managed, more or less ling Morrison extensively. “Our performance as headache-making and ear-splitting equally to their satisfaction, to lay down an album’s is approached technically and emotionally,” apply. The Velvet Underground, a wild musi-worth of material the way they want it in a he says. “The sound makes you feel, more cal group featuring something called ‘brain very short period for time. It won’t exactly be than think, but it’s not rigid thought. It can rock,’ attempted to turn the Savoy Theatre the most commercial thing around, or even appeal on any level. We streamline the com-into one of those psychedelic total environ-the most commercial thing they could have position elements, and see how much we can ment joints Thursday night. But to tell it like produced with the songs they have available. do with them with the dynamics, instrumenta-it is, partial environment was all they accom-But considerations such as these have never tion, movement, and exchange of instruments plished. stopped them before, and won’t stop them among the performers.” “Amplified to the widest limits of distortion, in the future, even if it all helps to ensure Although many will later suggest that The the music blasted and pounded through the another low (if not nonexistent) chart placing Velvet Underground are determined to alien-packed theater while a hypnotically fascinating when the LP is eventually released. ate as many people as possible, Morrison here psychedelic light show swirled, blinked, and makes clear that “we want people to like our flashed across the huge screen behind the four ALSO … music, that’s why we play it. We are looking musicians. Go-go girls bumped and shook their It’s probably at some point around or right for as large an audience as we can find on that way up and down the aisles, on stage, and in before the White Light/White Heat sessions that basis … We want an audience who understands the boxes while modeling some of the more engineer Gary Kellgren records some creepy what’s going on and who has seen rock stretch outlandish of the mod styles. But the audi-whispering for use on The Mothers Of Inven-and change and grow. Music was designed to ence was strangely cool and the applause was tion’s ‘Concentration Moon.’ On most copies be thought about. If what we do is confined minimal. The reason is quite obvious. The vital of the Mothers’ classic psych-rock parody LP, too much to one state of mind, it won’t last. element in a total environment lights-with-rock We’re Only In It For The Money, issued in Janu-If rock is used only as a vehicle for something show – participation – was missing.” ary 1968, he can be heard saying: “Tomorrow else, like protest, the audience turns off. But MacKinnon qualifies his criticisms with I get to do another Frank Zappa creation … profoundness and complexity in music won’t some seemingly grudging praise for the music and the day after that … and the day after put anyone to sleep.” As the unnamed Student itself. “The Velvet Underground, protégés of that …” Times reporter puts it, “Morrison feels strongly Pop artist Andy Warhol, are obviously one of And yet on a precious few copies – believed about superimposing exotic instruments onto the best of such outfits,” he writes. “Although to be limited to Canadian pressings – the pas-the structure of the group. He thinks it’s pre-it is the wildest dissonance, that insistent beat sage is longer: “Tomorrow I get to do another tentious and a gimmick.” draws the most reluctant listener into the Frank Zappa creation … and the day after that music. At first the piercingly high amplifica-

… and the day after that … also at the same Thursday 21–Sunday 24 tion of the guitars and drums blast out with time I get to work with The Velvet Under- Savoy Theatre, Boston, MA a sound like a jet engine running wild. But ground which is as shitty a group as Frank An advert in the September 17 Sunday Herald after the ears have become accustomed to Zappa’s group.” Traveler breathlessly announces this weekend’s the assault, the musicianship of The Velvet So rare is this ‘uncensored’ version that shows as “Boston’s biggest entertainment buy Underground begins to seep through. When

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it’s over you can’t hear yourself talk for a while but it is all a curious theatrical experience.”

Less loquacious is an account in the September 23 edition of Boston’s Record American, in which an evidently shell-shocked reporter

notes, “A psychedelic pandemonium reigns

on the stage as The Velvet Underground, a

hippie way-out group of musicians (if you’ll

pardon the expression) assault the ears and

in fact all the senses to the point of madness.”

In Boston After Dark, meanwhile, David DeTurk is tough on almost everything to do with the

event, including the light show, the ‘mod fashion show’ – which is actually a “dancing

display of mod fashions by girls from [New

York boutique] Paraphernalia” – and even the

acoustics of the Savoy Theatre itself.

“Each of the elements in the performance

was good in its own way, but together they

failed to cohere and certainly did not transmit any intelligible message that could readily be received by mind, body or soul,” he sniffs, before noting that, during the Velvets part of the show, “fill[ing] the vast space, designed

to provide motion-picture acoustic perfection

with carpets, drapes, and all the rest, required revving up the amplifiers until the speakers

fairly quivered with strain. The result was a

distortion factor that was almost painful. The expected ‘tumultuous wave sound’ became

a tumultuous wave of noise in which musical characteristics were lost completely. As usual, and as expected, lyrics to songs were

undistinguishable from the rest of the racket.

The tragedy is that The Velvet Underground

is much, much better than that. They deserve

to be heard and understood.

“The VU itself did not contribute much to

the presentation of its own music. They performed like automatons with a fairly lackluster attack and endings that broke off like racing

cars hitting a brick wall at full tilt, leaving only the high-pitched whine of feedback to

remember them by. In consequence, there

was a fragmented quality to the performance that was not enhanced by the tuning and preparation time between numbers and

the offhand ‘this-next-song-will-be …’ by lead guitarist Lou Reed.” University Of Wales,” and erroneously notes report on White Light/White Heat, Donohue It might well be this series of performances that Sterling Morrison has graduated from also notes that the group “are currently work-that John Cale refers to, with a few changes of City College Of New York, when in fact he ing on a second album, which will contain detail, in his autobiography as taking place at won’t finish for some time yet. Donohue does eight or nine cuts, including a 17-and-a-half “Boston’s Sak Theatre in October in front of however honor Maureen Tucker as “the only minute selection called ‘Searchin’ (For My the screen before every performance of the female drummer to achieve prominence”; Mainline)’ [aka ‘Sister Ray’], a satire on drug film The Trip.” He recalls being told by a threat-more revealingly, he reports being told by addiction. Their first album contained a song ening manager to play before every screening, Steve Sesnick that “after these performances called ‘Heroin,’ which portrayed, with a throb-“because if you don’t play I’m gonna call up with the Great Eastern Lights, the group [will] bing rhythm, the reactions of a heroin addict. MGM and fucking flatten your name in front continue to record, but make few public Unlike acid rock groups, like The Grateful of them.” (Not that MGM is giving much in the appearances. He felt the Expanding Plastic Dead, they do not feel the need for drug use, way of support to the VU anyway.) Inevitable had served its purpose, and that and find their music sufficient to expand the Jack Donohue’s article in the Tech also mis-they would not continue with it.” mind. Other sections on the album include takenly identifies Cale as “a graduate of the In what might be the first and only advance ‘Gift,’ a musical narrative, ‘White Heat,’ and

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‘If She Comes Now.’ When questioned as to lin pierce one’s eardrum and create a sweet ters, Brazilian pop singer Astrud Gilberto, and future appearances, Mr Sesnick said that, if tinny background. The fantastic voice of Nico, jazz drummer Buddy Rich, while also failing they appeared in Cambridge, they would like their female lead singer, is sweet, tender, and to include the genuinely far-out recent LP by to appear at MIT.” sexy and has a fantastic drawing power. The The Velvet Underground.) The 1968 date Donovan-type style and voice of their lead is certainly incorrect, as Chelsea Girl will also Friday 22 male singer lyrically interprets the metaphysi-appear in another ad in Jazz & Pop before the Just one day after the Student Times article cal poetry of the short, forceful lines.” end of the year. dominated by Sterling Morrison quotes comes This must almost certainly be the only time It doesn’t help that Nico – already eager another piece that takes an even rarer angle Lou Reed will ever be compared to Donovan. perhaps to disown the album – hardly plays on the group: one headlined ‘She Gave Up Watkins is also perhaps the only reviewer to any gigs to promote the LP. Verve Records Computers To Play Drums In Band’ in the criticize Warhol’s artwork. “In general the LP executive Jerry Schoenbaum probably isn’t Boston Herald Traveler. As Maureen Tucker is noise and a mild scattering of fine lyrics too enthusiastic about the record either, tell-explains beneath a picture of her smiling in behind feedback and shouts,” he writes. “But ing the author in 2002, shortly before his front of her instrument in her stand-up per-the ‘peelable’ banana on the jacket makes the death, “I thought it was not quite right, the formance stance, “A regular nine-to-five job LP all but a total loss.” direction that Nico was going. It was like a was too confining. I felt mentally as well as cult thing. And I was not terribly interested physically captured by machines.” in that.” Chelsea Girl fails to chart, and con-As befits a column subtitled ‘Spotlighting sidering the relative scarcity of original vinyl October

The Single Girl,’ reporter Laura White con- copies, it probably sells even less copies than

cludes, “According to Maureen, being the The Velvet Underground’s original 60s LPs.

only girl has plenty of advantages. The fel- An MGM royalty statement shown to the

lows in the group make sure nobody bothers If Verve had hopes of Nico becoming a star author by rock memorabilia dealer Jeff Gold her, and she always shows up at parties with when Chelsea Girl was recorded in the spring, of Recordmecca.com reveals that a mere 459 three escorts. But there are disadvantages, these hopes have probably been dashed in the copies are sold between September 1 1968 too. ‘It gets a little lonely sometimes when months since. Nico is no longer in The Velvet and February 14 1969. we’re traveling around the country. The guys Underground, and has not made a significant Verve does at least package the album don’t really like to shop or go sightseeing, and appearance in a Warhol film since last year’s attractively. The striking jacket features a I don’t like to go around strange cities alone, The Chelsea Girls. As such, her overall media color photograph by Paul Morrissey of a so I end up reading.’” visibility has dropped. pensive-looking Nico superimposed over a Several release dates have been cited for larger black-and-white headshot taken by Billy

Thursday 28 Chelsea Girl. The Peel Slowly And See liner notes Name. The accompanying advertising copy, Another review of the banana album appears will later propose a date of October 1967, however, is just as gauche as what the label today in the WSC Acorn, the weekly publication but July 1967 and July 1968 have also been coughed up for The Velvet Underground. of Worcester State College in Massachusetts. reported. The album is shown with finished “You’ve seen her in Andy Warhol’s Explod-As Bob Watkins writes, the LP doesn’t ade-jacket artwork and a catalog number as one ing Plastic Underground [and] starring in his quately capture “The Velvet Underground’s of a range of Verve LPs included in a full-page Chelsea Girls,” one ad reads. “They call her true and whole style of performance. One advertisement in Billboard on August 26 1967, the Dietrich of the velvet underground. Non-cannot fully understand or even appreciate indicating that it might well have come out sense. She’s Nico. And you can hear her mak-the talent and beauty of the group without before October. (Amusingly, despite being ing the scene as NICO: CHELSEA GIRL.” getting totally involved in their sound. The titled ‘Psychedelic 67,’ the advertisement At least one radio ad is produced for the LP itself is good as far as lyrics go, but no also includes releases by such decidedly un-album too, and later appears on a promo-only farther. The strange sounds of an electric vio-psychedelic acts as comedian Jonathan Win-double LP of interviews and music sent by MGM to FM radio stations entitled The Music Factory. (The LP also includes interviews with

NICO Lou Reed and John Cale; see January 30

Chelsea Girl 1968.) “Nico is beautiful, and in a world where so much can be so easily possessed on a whim,

over a promise, she’s unpossessable,” a voice

A1 ‘The Fairest Of The Seasons’ (JACKSON BROWNE/GREG COPELAND) declares as ‘The Fairest Of The Seasons’ plays A2 ‘These Days’ (JACKSON BROWNE) in the background. “At Verve, we feel lucky A3 ‘Little Sister’ (REED/CALE) we’ve isolated her long enough to record an A4 ‘Winter Song’ (CALE) album … The album’s called Nico Chelsea Girl, A5 ‘It Was A Pleasure Then’ (REED/CALE/NICO) a precious girl from any dimension. And at B1 ‘Chelsea Girls’ (REED/MORRISON) Verve, we love her. So only one record to a B2 ‘I’ll Keep It With Mine’ (BOB DYLAN) customer, we don’t want to spoil Nico. We like B3 ‘Somewhere There’s A Feather’ (JACKSON BROWNE) her just the way she is.” (Considering how B4 ‘Wrap Your Troubles In Dreams’ (REED) poorly the LP ends up selling, however, Verve B5 ‘Eulogy To Lenny Bruce’ (TIM HARDIN) probably wishes that customers had bought multiple copies instead.)

US release October 1967 (Verve V-5032 mono, Verve V/V6-5032 stereo) Chelsea Girl is seldom reviewed, and even UK release October 1971 (Verve MGM 2353 025) more seldom praised. According to the Los Angeles Times, the album is “a wanly beauti-

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ful collection of nice songs by great writers. to do much with the LP and Nico’s failure to ALSO … It would have been better if the songs were establish herself as a commercial success, Mor-By chance, The Velvet Underground & Nico pops great and the writers nice. You get the feeling rissey adds, “No one at the record company up as a topic of conversation in a lengthy that there’s a mysterious center smothered in wanted the Velvets’ album. But Tom Wilson interview with Frank Zappa published in a sweet coating, but you just can’t get deeper. thought that Nico could be an attraction. I the October issue of Jazz & Pop. Herein lies Nico’s a classy girl, but they’d sell more Nico agreed with him, she could have been. But the buried the most overlooked refutation of if she were naked, if you’ll pardon the word, fact is, she wasn’t, and she didn’t want to be, the supposed Mothers/Velvets rivalry: Frank and not hiding behind a string orchestra in and she became a self-destructive person on Zappa actually likes The Velvet Underground. a flower-print dress.” Variety is a little more the drugs and ended her life that way.” “I liked that album,” he tells reporter Frank charitable, calling Nico “a performer with a Kofsky. “I think that Tom Wilson deserves a distinctively modern style, cold to the point Undated October lot of credit for making that album, because of intensity,” while in the UK, the New Musical Between now and February 1968 there are it’s folk music. It’s electric folk music, in the Express compares the LP to Joan Baez, and very few documented Velvet Underground sense that what they’re saying comes right out Melody Maker likens it to Marianne Faithfull. concerts. Even taking into account the of their environment.” In a few weeks time, These reference points might have been group’s irregular approach to work, this gap however, Zappa will reopen the rift with at vaguely appropriate to Nico’s August 1965 has never really been explained. The band has least one of the musicians on the album with debut single, ‘I’m Not Sayin’,’ but aren’t any-no hit records to live off, and with Warhol out his behavior at a Nico solo concert (detailed thing to be boasted about in late 1967. of the picture, it’s unlikely that he is helping below).

Time will be kinder to Chelsea Girl, however, to tide them over anymore. John Cale might once it’s removed from the context in which be out of action with hepatitis for some part Monday 23–Monday 30 it’s initially released (and distanced from of this period, but he’s certainly not laid up Nico’s frequent putdowns). The album will the whole time: he records both on his own over time eventually find its audience, albeit and with the Velvets during the winter, and in less dramatic a fashion than The Velvet travels to the Virgin Islands, Spain, and Wales Underground’s albums, but often among with Betsey Johnson in December. Maureen listeners too young to have heard it upon its Tucker takes a few temporary typist jobs at initial release, or who were not even born points throughout the band’s history to bring at the time. As Jackson Browne points out in extra cash – next year, she will also be paid in his October 2005 interview with KGSR, by Warhol to transcribe the tapes for his book “Although they added strings afterward … a, A Novel, but refuses to type the curse words they made it into something that people think – but there’s no evidence of the other Velvets of as somewhat of a classic record. I mean, doing any such day jobs. I’ve had a lot of younger musicians tell me Whatever the reason behind their inactivity, that they really liked this record. [What] they The Velvet Underground are going through know of me, basically, is this record, which changes, the result of which is a loosening of was never really hugely popular. But it’s sort the bonds that originally kept John Cale, Lou of like a cult classic.” When the album is reis-Reed, and Sterling Morrison so close. Cale sued on CD in 2002, Rolling Stone gives it four moves in with Johnson in Chelsea; Morrison Nico, Steve Paul’s Scene, New York, NY out of five stars, with reviewer Jenny Eliscu moves in with his future wife, Martha Dar-At the end of October, Nico plays about a hailing Nico’s voice as “a thing of strange gan, and her brother Tom on East 2nd Street. week’s worth of gigs at the Scene, a club that beauty and austerity … The material ranges There are also widening cracks in the musical has already played host to the Velvets on a from Browne’s somber folk songs to Cale and and personal relationship between the band’s number of occasions. The concerts are likely Reed’s bleak, art-damaged experiments, yet two co-founders. Cale is not nearly as enthusi-timed to coincide with the release of Chelsea the mood remains consistently dark, gothic, astic as Reed is about Steve Sesnick, and feels Girl; they are advertised in the Village Voice mysterious, with barely more than flute, gui-increasingly that he has to go through his new with the memorable photograph of a glower-tar, violin, cello, and harmonium accompa-manager to communicate with Reed. Johnson ing Nico that is also used, in slightly cropped niment.” pries open the wedge even more, according form, on the back of the LP. Support comes

Years later, Paul Morrissey still sees Chelsea to Cale’s autobiography, by “trumpeting my from the eclectic Californian folk-rock-psych-Girl as the highlight of Nico’s solo career. qualities,” which serves only to annoy both edelic group Kaleidoscope, who are making Asked about her subsequent LPs, he says, “the men. their New York debut. material she sang was atrocious. She imagined There are also further disputes over musical In later years, Nico will often be described herself a songwriter, and at the same time she policy because, as Cale writes, “my fondness as a ‘moon goddess’; the term might well orig-just made mournful sounds with her voice for long passages of grinding noise clashed inate from this advertisement. “The moon-and played a child toy’s organ to make the with Lou’s attempt to take the band toward goddess Nico will conduct services nightly at sounds even worse. That’s what she thought the more commercial.” Somewhat contradic-Steve Paul’s The Scene,” it announces, “lead-was some sort of art. The real singing, which torily, Cale will later express regret that White ing you in all your splendor with her litur-she did on Chelsea Girl … she hadn’t the vagu- Light/White Heat is tilted toward the band’s gical chants.” It also promises “dancing for est idea as to how good it was. Performers, most aggressive music, and so doesn’t repre-the body and soul also available before and they’re almost always wrong about what the sent their entire breadth of moods. Things after the services.” The ‘moon goddess’ label hell they were doing, and she certainly was. won’t come to a head for about a year, but might well have been coined by Elektra pub-Once she became a drug addict she never the fissures in their partnership are already licist Danny Fields, as he is quoted describing sang a real song again.” As for Verve’s failure starting to show. Nico as such in another Village Voice ad.

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An account by Fields in The Age Of Rock 2 element and the Warhol contingent was very And have a good time Wouldn’t it be.” makes clear that the opening night ends up prominent that night. According to Susan Pile, who recalls seeing as something of an exercise in alienating the “However, what happened next is what several poems like this one during this period, audience. “Steve Paul did beautiful ads, the sticks in my mind the most from that night. “It’s a circle. He would experiment with writ-moon goddess in a sacred service of mysti-In between sets, Frank Zappa got up from ing in words that could run forward to back-cal chants, and all that, he really did it up,” his seat and walked up on the stage and sat ward, around and around.” Fields recalls. “Chic crowds turned up at behind the keyboard of Nico’s B-3 organ. He Nico’s opening, and there was only an organ proceeded to place his hands indiscriminately Friday 27 onstage, and she sat down at it and there was on the keyboard in a total, atonal fashion and John Peel is the host of the recently discon-one spotlight on her. It was like a child discov-screamed at the top of his lungs, doing a cari-tinued psychedelic-rock show The Perfumed ering a musical instrument for the first time. cature of Nico’s set, the one he had just seen. Garden on the pirate station Radio London, She would just press one note and bend her The words to his impromptu song were the and will shortly become the most beloved ear toward the keyboard and listen to it, and names of vegetables like broccoli, cabbage, BBC radio music presenter in Britain. Today press it again and again, and then another asparagus … This ‘song’ kept going for about he gives The Velvet Underground a small note, and she’d listen to that. And this was a minute or so and then suddenly stopped. He plug in the International Times, Britain’s most in front of this reverent opening-night audi-walked off the stage and the show moved on. prominent underground newspaper. “The ence, which didn’t know what to make of it, It was one of the greatest pieces of rock’n’roll Velvet Underground & Nico LP is finally being not at all. She did this for half an hour, then theater that I have ever seen!” released [in the UK], along with [Eric Bur-she tried a few combinations of notes and got Another noted member of the audience don & The Animals’] Winds Of Change,” he into that. is far more fervent in his admiration for writes in his Perfumed Garden column. “Both

“Meanwhile, people were starting to file out Nico, and his attendance of these shows are essential.” quietly, except for about 12 people including will help shape one of the more renowned Even after the banana album is released me who were just mesmerized by the whole debut albums of the late 60s. “One night, in the UK in November, however, the Velvets performance, and she finally sang two chants this guy comes up to me – a real pale guy will remain very much an underground attrac-and that was it. And we all sort of noticed each and he’s got short, short dark hair, wearing tion. This stems in part from their failure to other because the room was empty. Twelve a black leather jacket and carrying a brief-tour in Britain, but it also has to do with the people, all male, just transfixed, and it was case,” Darrow recalls. “He says, ‘I think you sheer difficulty in even finding out about the over and it was one of the most beautiful guys are great. I’m doing an album, would band’s existence. “To know about the Velvet things I’d ever seen. Not the kind of thing you be interested in playing on my record?’ Underground in the UK in 1967, you had to you could do at the Fillmore, but there’s a I have no idea who this guy is. Of all the guys be a reader of the Village Voice or the East Vil-quality of magic in it, in everything she does, that I would have thought who would have lage Other,” says Richard Williams, author of I guess.” looked like a guy who was going to be mak-what is probably the first in-depth British

“Nico was playing as a solo act, just her and ing a record, he looked like an accountant review of the album for the Nottingham Evening a Hammond B-3 organ,” adds Chris Darrow or something. There was nothing that said Post. of Kaleidoscope. “Opening night was very rock’n’roll.” The man is Leonard Cohen, who “Both of these newspapers were sporadi-crowded and [Frank] Zappa and members has been a kind of Nico groupie for a while cally available, alongside publications devoted of The Mothers Of Invention showed up to but is now recording his first album, to which to revolutionary politics, avant-garde litera-show their support. Warhol and his minions Kaleidoscope will end up contributing as ses-ture, film, and music at an ‘underground’ showed up, [pop-rock group] The Cyrkle was sion players. book shop called Bux in Nottingham, the East there, The Chambers Brothers, Jim Fielder, The proprietor of the Scene will appar-Midlands town where I grew up,” he recalls, and David Clayton-Thomas [both of whom will ently allow Nico to do some pseudo-private noting that in London the magazines would soon perform together as part of Blood Sweat performances at the club as well – probably a have been stocked at the Indica bookshop. & Tears] were all hanging out. The host for the few months later, when she’s developing mate- “The early mentions of the VU made them club was Tiny Tim, who announced all the acts rial for her second album, The Marble Index. sound extremely interesting, a strong con-and would play a song or two as well. “Steve Paul gave her a few late nights with trast to what was then going on in Britain,

“Our first set went fine and then it was time nobody left but us musicians and hangers-on, where a whimsical form of psychedelia (Pink for Nico. I had met her in LA at Barry Fried-and she did [her songs] there occasionally,” Floyd, Soft Machine) was taking over from the man’s house, so I knew a little about her.” Danny Fields recalls when interviewed by twin streams of the Chicago blues-based rock Friedman, also known as Frazier Mohawk, has David Dalton for the online magazine Gadfly emerging from the Marquee (The Yardbirds, worked with Kaleidoscope, and will shortly in 2002. “I think the audience response was Mayall’s Bluesbreakers) and the more sophis-produce Nico’s second solo LP, The Marble something like, ‘Wow, weird.’ Or ‘Hey, Jimi ticated, jazz-tinged soul-jazz of the Flamingo Index. “Nico’s delivery of her material was Hendrix seems to be digging it, so I’m not bands (Georgie Fame’s Blue Flames, Zoot very flat, deadpan, and expressionless, and gonna throw beer cans or anything.’ I don’t Money’s Big Roll Band). she played as though all of her songs were know what would have happened if she’d “They also sounded as if they were noth-dirges,” Darrow continues. “[She] seemed done them in public though.” ing like the bands emerging from the San as though she was trying to resurrect the Francisco scene – the Dead, the Airplane,

ennui and decadence of Weimar, pre-Hitler Tuesday 24 etc. None of these bands had what you Germany. Her icy, Nordic image also added Today’s date is attributed to an untitled poem would call a real ‘dark side,’ either in their to the detachment of her delivery. She was by Lou Reed, which reads: “Wouldn’t it be music or lyrics. Just reading about songs certainly beautiful – Greta Garbo and Mar-nice If I had the time And you had the called ‘Venus In Furs,’ ‘Heroin,’ and ‘Black lene Dietrich certainly come to mind. The time To go to the movies If I had a time Angel’s Death Song’ was a bit startling. And, audience was on her side, as she was in her And you had the time To go to the movies of course, the Warhol connection was inter-

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esting to those of us who liked his stuff, as I that the group performs, this ability is not as probably was about a girl coming as a matter did. And once I heard them, the thing that worthless as it might seem. The total effect of of fact, but then again, so what? But we were very strongly attracted me was the connec-the album is one of hate, horror, and pain, banned again …” tion (via Cale) with the world of La Monte and the discordant voices and noises comple-Anyone who thinks something as noisy Young and Terry Riley. That seemed to be ment this effect. and laced with strung-out drugs references bringing something completely new to the “In [a] music industry … devoted to keep-as ‘White Light/White Heat’ has a snowball’s structure of pop music. A bit of [Riley’s] ing anything but sweetness and light from the chance in hell of becoming a hit single must In C seemed to be me to be exactly what public,” Crowley concludes, “it is a strangely frankly be a lunatic (or on some powerful rock needed at the time.” (In the late 60s relieving album which more honestly and fully drugs of his or her own). It’s still designated and early 70s, Williams will become one of represents reality. Unfortunately, The Velvet as the A-side, but the more soothing flipside, The Velvet Underground’s key early advo-Underground has become so obsessed with ‘Here She Comes Now,’ might have made a cates, writing about the group and their evil that balance is lost on the other side. This better choice, even if it too has little chance solo projects regularly in the national UK album is a change of pace and it is technically of reaching the charts. music press.) and instrumentally progressive, but it lacks an understanding that life is not all black.” ALSO …

Saturday 28 In a tale that might have been made more M RECORDING JohN caLe exact location fanciful in the retelling, Nico apparently has

unknown, New York, NY. a brush with death when a friend of Ond- November

Cale today records a 43-minute instrumental ine, identified as “Sammy the Italian,” comes work for Vox Continental organ entitled ‘Sun into the Factory with a gun. Nico happens Blindness,’ but it won’t be released until it’s to be hanging out there at the time with included on a 2000 compilation of the same You’ve got to pity whomever at Verve has the Warhol, Paul Morrissey, Imitation Of Christ co-name. (The track also features on his New York task of trying to pull a single out of the White star Patrick Tilden, actor Taylor Mead, and In The 1960s boxed set.) While the explosive Light/White Heat sessions. Three of the six others. According to Warhol’s POPism, the tones Cale conjures up will be no stranger to songs are way too long to even fit on a seven-crazed gunman is trying to collect $500. He those who have heard ‘Sister Ray,’ they are inch, and none are even remotely likely to lines up everyone present on a couch, points here used in the context of minimalist avant-find a place on AM radio. Verve shouldn’t the gun at Morrissey’s head, pulls the trigger, garde composition. In common with most of even bother trying, really, but singles are still and nothing happens. When Nico gets up to his experimental works of the period, there seen by many in the industry as just as impor-leave, Sammy pulls the trigger again. This aren’t any riffs or melodies to speak of. The tant in the marketplace as LPs, if not more so. time, a bullet fires into the ceiling. There’s variation comes more from the volume and So the two shortest cuts are plucked for 45 a tense scuffle – during which time Ondine force applied to the instrument: sometimes it release, but they’re unlikely ever to be spun hands the gun to Tilden, who for some reason drops so low that it’s in danger of disappearing on singles-oriented radio stations, or to sell hands it back – before the intruder simply altogether; at other times Cale plays the instru-more than a handful of copies. runs away. According to Nico: The Life & Lies ment with such intensity that listeners might Sterling Morrison will later claim that Of An Icon, Nico’s appropriately absurd post-struggle to breathe. The tone is fairly relaxed ‘White Light/White Heat’ is banned in San script to events is, “It did not get on TV, this and elegiac at times, but it gets far edgier on Francisco, as does Lou Reed while introducing story, and I think Andy was most disappointed occasion as Cale ups the pace with rapid, furi-the song at a March 1969 show in Deerfield, about that.” ous stabs. Moreover, ‘Sun Blindness Music’ is Massachusetts, but it’s perhaps more likely much too long to hold the interest of most that the song just never gets much serious → Early November pop/rock fans, and is much better suited to the consideration for airplay – in San Francisco or A story appears in several newspapers in early home it will later find on archive collections anywhere else. But there might be something November in which Nico is interviewed about aimed at avant-garde audiences. to the story, as Maureen Tucker later contends Chelsea Girl by Kurt Lassen. “I like the [jacket]

in What Goes On that both ‘White Light/White picture, even if it looks sad,” she tells him.

ALSO … Heat’ and ‘Here She Comes Now’ suffer from “Sometimes I’m sad and mostly I like sad songs Local Massachusetts newspaper the Salem radio bans. Even Doug Yule, who won’t join … when I sing I try to imagine I’m all alone, Evening News today runs a lengthy review the Velvets for another year, recalls that the there’s nobody out there listening. I play with of The Velvet Underground & Nico in its Teen single “was banned on every major and minor Scene supplement. Peter J. Crowley, a local [radio] station in the whole United States in student who acts as the Teen Scene rock critic, about 1968, ’67” when introducing the song THE VELVET UNDERGROUND

seem to have listened to the record attentively. As Lou Reed explains in a November 1968 ‘White Light/White is somewhat negative in tone, but does at least at a May 27 1973 show.

It is, he says, “devoted to wrapping its audi-interview with the Georgia Straight, the single Heat’ ence up in the evil and horror of the worst is banned because “they said it was a drug side of life.” song. And the other side, ‘Here She Comes “The voice of Nico, a favorite of Warhol, is Now,’ they said that was dirty.” In an interview A ‘White Light/White Heat’ (REED) completely lacking in tone, depth, and feel-with Ian Hoare of Time Out in May 1972, Reed B ‘Here She Comes Now’ (REED/CALE/ ing,” he writes. “These three lacks are crea-adds, “We put out ‘Here She Comes Now’ in MORRISON) tively transformed into an asset by the group San Francisco and they said ‘that’s about a by only using Nico’s dubious talents on songs girl coming,’ and I said ‘well, no it’s not, it’s US release November 1967 (Verve where her ability to imitate a voice from the about somebody coming into a room.’ And VK-10560) grave is apropos. Thanks to the weird material then I listened to the record and I realized it

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the notes, with the feeling. Each time the song us, didn’t say a word, walked back out again. Merv tried to talk to her afterward, she just is different for me.” She’s already thinking And this went on and on for the whole of the sat there, saying absolutely nothing. He got so ahead to her next LP, adding, “People tell me evening! They keep popping in through dif-exasperated that right on the air he sent for that the album is good and that it is selling ferent doorways, looking at us, and then walk-somebody in production to come out on stage well. I honestly don’t think it is the best I can ing out. Either they were in thrall with each and explain to him exactly who this girl was do. That’s why I’m working on another one, other, or smoking or doping up or something, and why she’d been booked on the show. This a better one.” and just didn’t want to share it. was after he’d crawled under his chair.”

“Had she spoken to me that night, had

ALSO … she sat down in the living room with us and Monday 13

The Velvet Underground are the only rock introduced herself like a mensch, it might Lincoln Center, New York, NY group with whom Nico is known to have per-not have been a bad idea to have two sing-It will often be reported that The Velvet formed and recorded more or less as a regu-ers. Looking back now, that would have been Underground play no shows in New York City lar member. But as late as November 1967 a very intriguing idea. But she was trying to between the spring of 1967 and their residency she seems still to be thinking about singing do an end run, which I didn’t go for. And I at Max’s Kansas City in the summer of 1970. in a rock band, rather than going all-out as a probably felt threatened because she was so This isn’t quite true since, according to the solo act. It’s around now that she meets The snobby that night.” program, they perform the ‘intervals’ tonight United States Of America, a psychedelic-rock Although the exact date of this incident at a fundraising benefit for the public televi-group recently formed in Los Angeles. The is not clear, it’s probably somewhere around sion station WNET Channel 13 at the Lincoln group is exploring a mixture of avant-garde/ November 1–5. The United States Of Amer-Center. Still listed, even at this late date, as electronic music and rock that bears some ica’s engagement at the Ash Grove – their Andy Warhol’s Velvet Underground, they rough resemblance to some of The Velvet very first public concerts – runs from October share the bill with “music by Alan Logan & His Underground’s own ventures in that direc-27–November 5, but Nico probably doesn’t Orchestra” and “The MultiMedia Constructed tion; leader Joseph Byrd and vocalist Dor-make it out to LA until November 1 at the Worlds of Stan Vanderbeek’s Sound And Film othy Moskowitz have in fact performed at earliest, having played a run of shows at the Projections.” Tonight’s show is presumably a least once with original VU drummer Angus Scene in New York at the end of October. hoity-toity affair beyond the financial means MacLise, back on May 19 1963, as part of an Nico probably returns to New York shortly of most young rock’n’roll fans, given that the octet led by La Monte Young. after this meeting. There she will share an program also includes a menu listing “relish

“Our manager or someone told me that apartment for a short time with fellow Warhol bowl, blanquette de veau a l’ancienne rice Nico had asked to be in the band, and that superstar Viva on 83rd Street. Nico has pilaf, glazed baby carrots with chives, cucum-they were going to ask me first as to what I recently bought an Indian harmonium from ber and cherry tomato salad with dill, fresh thought,” Moskowitz recalls. “I said, ‘No, I a San Francisco hippie, and the instrument, fruit bowl, assorted cheese tray with biscuits, don’t think that’s a good idea,’ and the band in combination with her newfound urge to petits fours, demi tasse, champagne, [and] really didn’t argue with me. I don’t think they become a serious songwriter, is beginning cognac” as the evening’s refreshments. wanted her in. She was stunningly gorgeous, to radically reshape her music. (In the liner The Velvets’ set is apparently very short: but I don’t think they wanted that kind of a notes to the 2007 Nico compilation The Frozen in her Barnard Bulletin story about the group singer. I think they wanted a singer with maybe Borderline 1968–1970, John Cale suggests that later this month, Susan Pile mentions that more range, more presence in the voice. She Nico is inspired in part to take up the har-they “recently appeared at Lincoln Center for was more like a Lotte Lenya kind of singer. monium by Leonard Cohen.) On the advice, ten minutes.” Women’s Wear Daily confirms the It was about her singing more than anything apparently, of Ornette Coleman, she plays the next day that “tables were set up around the else, ’cause I think having a star within The melody on the lower/bass half of the instrudance floor, but when Andy Warhol’s Velvet United States Of America would have put us ment, and harmonies on the upper/treble Underground rock group started tuning up, on the map.” half. The instrument is usually played the the guests chickened out, and a more sedate

In hindsight it’s difficult to imagine how other way around, but Nico thinks this way band took the stand.” Nico, who has already begun a solo career, better suits her lower vocal register. As to how the Velvets end up on such an would fit into the USA – who will have bro-One person who doesn’t appreciate Nico’s unlikely bill, Sterling Morrison will later tell ken up by mid 1968 in any case – or indeed newfound musical direction is her new room-Ignacio Julia on Spanish television that “it almost any other band on the scene. As it hap-mate. “She had this fucking harmonium,” Viva was something we believed in and wanted to pens, her fate might perhaps be sealed by her complains in Nico: The Life & Lies Of An Icon. do.” Even more intriguingly, he intimates that aloofness on the one occasion when she and “She would practice it for hours, simple things, the show is broadcast on WNET Channel 13 Moskowitz do meet during the fall of 1967. chords – really annoying stuff – for hours on in New York, but no such footage has since UCLA humanities professor Kurt von Meier end. She was very serious about it, dreadfully surfaced, while a July 26 letter from Simone has arranged a small party to bring together serious, like a Nazi organist. She’d pull the Swan (of the public relations agency Withers The United States Of America, Country Joe curtains across and light candles around her Swan) to Warhol states, “It’s unlikely that the McDonald, and Nico – a most unlikely combi-and do this funereal singing all day long. It event itself would be televised.” According to nation that doesn’t mesh too well. The group was like I was living in a funeral parlor.” that same letter, the Velvets are paid $150 for had just met McDonald backstage at a gig at Finally, it’s probably also around now that the performance. “[The] playing time should the Ash Grove in Los Angeles, Moskowitz Nico appears on The Merv Griffin Show after be no longer than one hour,” Swan explains, explains, “But meeting Nico! God, this was a representative of the television show vis- “because the Velvets will alternate with a going to be hot stuff. We’re all sitting around its the Factory looking for ‘talent.’ As Andy Duchin-type orchestra.” (Swan is presuma coffee table, and finally Joe and Nico show Warhol writes in POPism, “When Nico was on, ably referring to jazz pianist and bandleader up arm-in-arm. They look at us, they walk out she played a little number on her little port-Eddie Duchin.) to the patio. They came back in, peeked at able organ, which was fine, but then when This performance – along with a May 15

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1968 benefit for Merce Cunningham And ton, because we played up there so much, and entitled “Notes from the Underground.” Dance Company at Brooklyn’s Academy Of I really think that Sesnick kind of fostered that It’s written by Susan Pile, who is not just a Music and a private industry show in early notion to some extent. Someone may have Barnard student but has also been following 1970 at the Salvation – is one of only three said it at some point, and he said, ‘Yeah, yeah, the Velvets pretty closely since their mid-1966 known Velvet Underground shows performed they’re a Boston band,’ and kind of pushed gigs in Chicago, and started working for Andy in New York between June 1967 and June that along. Because that would make it easier Warhol after moving to New York to start col-1970. This, according to Steve Nelson, is part to get a gig in New York, ’cause they were lege. of Steve Sesnick’s “marketing strategy, for bet-always interested in something new from Considering how well Pile knows the Velvets ter or worse. It was kind of like playing hard out of town. There are so many bands out of by now, it seems obvious that much of the to get. I’m not saying it was the right strategy. New York looking to play everywhere that it article is a put-on. Lou Reed, Pile claims, “was But Sesnick kind of boasted to me on more becomes more difficult. But if you can say, this born in Oak Ridge, Tennessee. His father, a than one occasion about them not playing in is hot in Boston … a way of getting in is [to] nuclear physicist, and mother, professor of New York. It was a deliberate thing. go out and then come back in. I have felt that music at Vanderbilt University, raised him on

“I’ve read [things like] ‘Well, they didn’t it was more along those lines. I don’t know a dichotomous diet of cyclotrons and clavi-want to play ’cause they were boycotting New how much of [being] ‘mad at New York’ was chords. At Andover [Massachusetts] for prep York, ’cause they didn’t get radio play.’ I’m not actually real. It was never anything that was school, Lou worked on the idea of adapting really sure about that. It wasn’t like nobody apparent to me.” Mozart to a cybernetic society. The conflict wanted to book them. I really think that Ses-As Sterling Morrison will later explain to between science and the humanities became nick thought he’d hold them back and would Mary Harron of the New Musical Express, “A an obsessive dilemma, and Lou dropped out return triumphantly. But a lot of things went rational response would have been to rent a on insured commercial success to seek a solu-wrong – everything that went wrong with the hall in New York and play there every night. tion in a free, less restricted environment and release of their first album, and lack of promo-Instead we said fuck ’em – if they’re not going more wholly conscious state of mind. It is to tion, and then everything that was going on to play us on the radio, we’re not going to play the pleasantly palatable philosophy and pres-with MGM at the time, which was a pathetic here. It was a good way to generate mystique, entation of Paul Simon of Simon & Garfunkel record label. [By] any account, they should but that wasn’t our intention. We wanted to that Lou Reed, as a songwriter, aspires.” have been much, much bigger than they were punish New York.” Pile’s portrait of Sterling Morrison is, if during that time period where they were away anything, even more outrageous. “While his

[from New York]. So the strategy certainly Saturday 18 father aided Emilio Aguinaldo in nurturing backfired, because so much else was going Around the time that The Velvet Underground & the newly independent republic of the Philip-on that wasn’t making them this serious, hot, Nico is released in the UK, the album receives pines, Sterling developed a fixation for epis-desirable thing that nobody’s ever seen that a mildly positive (if bland) review in Disc & temology,” she writes. “Stateside to continue they’d be dying to see. Music Echo that marks their most substantial the study of linguistics, Sterling’s future took a

“So was it a good strategy?” Nelson asks. “I pre-1968 coverage of any sort in the UK. “For decisive jolt when his fiancée, a Filipino nurse, don’t think so. They should have been play-a long time we’ve been hearing a lot of groovy left him to marry a doctor and was murdered ing New York, because they were from New music all about beauty and love from West by condemned killer Richard Speck. Disillu-York and had a lot of following there. I think Coast groups,” writes an anonymous critic. sioned with ‘civilized’ society, Sterling slipped probably they would have ended up being a “The Underground is an East Coast, New York into anonymity on New York’s Lower East Side lot bigger than they were if they’d played New group whose material is largely taken from the until his boyhood fascination and familiarity York. There’s so much media there, there’s so opposite side of life – evil and ugliness. Their with the primitive naturalism of the Island much record business there – there’s so much music is hard rock’n’roll brought up to date natives brought him to the attention of Lou everything there – that I think that they sort with electricity. An electric viola adds a distinc-Reed.” of missed out.” tive cruel, harsh note – it’s particularly evil on Pile’s paragraph about John Cale is much

“Given the way that Sesnick operates, ‘Venus In Furs’ and ‘Heroin,’ two of the best closer to the truth, noting that he “came to pretty much everything that happened and tracks on the album, which are never likely to the United States at the invitation of Aaron was explained as being for this reason or for be played by the BBC. The drummer is a girl, Copeland on a Leonard Bernstein fellow-that reason was really for logistical and prac-the lead singer often sounds like Dylan and ship.” One suspects some poetic license might tical reasons,” says Doug Yule, who won’t get the beautiful Nico sings sweetly on the strange have been taken, however, in her assertion to make his New York debut with The Velvet ‘Femme Fatale’ and the lovely ‘Mirror.’” that “his mother discerned her son’s musical Underground for nearly two years after join-Today’s Melody Maker meanwhile runs an ability when she overheard him on an aging ing the band in late 1968. “That tendency MGM ad that includes The Velvet Underground spinet thumping out tunes he had devised of his, and the tendency of his also to see a & Nico alongside three of the label’s other from the melodic rhythm of picks on the walls trend that might be beneficial to him in the new releases, by Sandy Posey, Eric Burdon & of the mines while bringing his father’s daily long run, has led me to the feeling that the The Animals, and The Righteous Brothers. lunch pail.” Maureen Tucker meanwhile is reason he didn’t play New York for a long The following week’s issue includes a brief wrongly pegged as having grown up on the time was simply because he couldn’t get a mention of the group in an article about new streets of Greenwich Village, while Angus decent gig. Because the band was unknown bands from the USA, in which the Velvets are MacLise might not be best pleased to read in New York. And the band was unknown in described as a “hard, electronic group.” that he “hung around the group (before the New York ’cause they didn’t play in New York” word ‘groupie’ came into existence) and

– a catch-22 that might have spiraled out of Wednesday 29 became such an integral part of The Velvet control after a year or two. The Barnard Bulletin, the student newspaper Underground that, when their original drum-

“But they did play in Boston,” Yule contin-of New York’s Barnard College in New York, mer died, she was thrown into the act and has ues. “People thought the band lived in Bos-today runs a sizable portrait of the Velvets remained there ever since.”

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“I totally made it all up,” Pile gleefully That aside, the exact date of the book’s Tuesday 5 admits decades later. “Andy asked if I wanted release is unclear, but it’s probably some M RECORDING details unknown. to come up with something for the back of time in December, as a launch party is held For reasons unknown, the Velvets today the second album, so I made these ridiculous on Thursday December 14 at 457 Madison enter an unspecified studio to record ‘Guess biographies up. They didn’t obviously go Avenue. Assuming the disc is recorded after I’m Falling In Love.’ Perhaps they think White that route, but this piece of writing caught the release of Sgt Pepper in June, it seems a Light/White Heat could do with a more acces-the attention of Ondine, the great star of the little surprising that Lou Reed and Nico are sible track; maybe they’re thinking of releas-Factory, who took me under his wing for the still hanging out together, and indeed that ing it as a single. Whatever the plan is, they rest of his life.” everyone has gathered so convivially at the don’t get any further than an instrumental Pile isn’t sure how the piece finds its way Factory. backing track. It’s not quite as good as the into the Barnard Bulletin, however, as she The most interesting feature of this unti-better of the two unreleased live versions doesn’t remember submitting it herself. tled record is the picture printed on the disc: recorded at the Gymnasium in April, and Beneath the main article is a sidebar featur-a head shot by Billy Name of an unsmiling not just because the vocals are missing. The ing some relatively astute (if brief) critiques Lou Reed in sunglasses, capturing him in the tempo is uncomfortably fast, and lacks the of The Velvet Underground’s music. The sort of iconic pose most associated with him thumping yet relaxed groove of the earlier Bulletin also prints some of the lyrics from during The Velvet Underground’s prime. version. Despite lacking a vocal, however, ‘Heroin’ – a fairly daring act for the student There’s some other VU-related content in the song will eventually be excavated for newspaper of one of the top women’s colleges the accompanying book, including a coaster-inclusion on the 1986 out-takes compilation in the country. sized reproduction of an advertisement for Another View.

The Chelsea Girls; a photo of Nico that’s also used on the front of her Chelsea Girl LP; and Friday 8

December a shot of the Exploding Plastic Inevitable. Nico’s difficulties with immigration are appar-

There’s not much text, but perhaps the most ently still ongoing. A letter from lawyer Wal-

interesting part is an interview with Ingrid ter E. Hurst to her manager, Paul Morrissey,

Superstar about The Velvet Underground includes a $200 bill for a four-hour “confer-

Andy Warhol’s Index – a book nominally writ-that includes commentary on several of the ence with Nico and Immigration Officer re: ten by Warhol, although Stephen Shore, Paul group’s 1966 performances. Less interesting her legal or illegal entry into US” today at Morrissey, Nico, and Ondine are given credit is a reprint of a June 4 1966 piece from the the Santa Monica Police Station near Los for their “assistance” – is, like so many of the Fire Island News that seems to be describing Angeles. artist’s projects, a multimedia affair. Barely an EPI event at the FilmMakers’ Cinemath-qualifying as a Velvet Underground record-eque, but as noted elsewhere it seems likely Saturday 23 ing, the playable cardboard single that comes that the writer has conflated one or more In a letter to Gerard Malanga, who is on an with it includes almost five minutes of con-performances and film screenings into one extended visit to Italy after a fallout with Andy versation taped at a gathering at the Factory, happening. Warhol, Lou Reed reveals that he wrote to featuring Nico and Lou Reed. The proposal for the book, incidentally, “your friends (Equipe 84) to say, yes, record On the recording, Nico, Reed, and others came from Nat Finkelstein, who has in ‘Heroin.’ I think that’s great and it’s nice of are looking at and taking about an actual copy recent years taken numerous photographs of you to think of us.” Equipe 84 are among the of the book as The Velvet Underground & Nico Warhol, the Velvets, and the Factory crowd. most popular Italian rock bands of the time, plays in the background. Someone asks what’s “A proposal is what a writer uses to titillate and have already put out a dozen singles and a going to be on the record that’s planned to the publisher, not the public,” he notes in couple of albums. There’s no record however come with the volume. In true pop art fash- Andy Warhol: The Factory Years 1964–1967: Pho- of them releasing a version of ‘Heroin’ – or ion, they’re informed, right then and there, tographs By Nat Finkelstein. “I didn’t expect indeed any other Velvet Underground song. that the disc will contain the conversation anybody at the Factory to read it. One day Probably unbeknownst to the Velvets, how-being taped at that very moment. Everyone I was doing something or other at the Fac-ever, is the fact that several cover versions of carries on talking nonchalantly, probably used tory and everybody was very aloof. Then Lou VU songs already exist elsewhere in Europe. to such high-jinks. Reed walked over to me and he said, ‘The A Dutch group, The Riats, have somehow The conversation itself is mostly a trivial psychopath’s Rolling Stones, huh,’ which heard and learnt two songs from The Velvet commentary about the various pages of the was the way I had described [the Velvets], Underground & Nico and recorded them as book. Nico sounds a bit spaced out; at one being cute. I thought he would like it. He a single for the Omega label. Perhaps even point, she suddenly sings the chorus of The was very sensitive, had a deep sense of pride, more improbably, they’ve managed to turn Beatles’ ‘Good Morning, Good Morning,’ wanted to be regarded as the best. I think both ‘Sunday Morning’ and ‘Run Run Run’ indicating that Sgt Pepper has been released. those were the last words that Lou Reed ever into light, pop-rock tracks. ‘Run Run Run’ is spoke to me. Later the report came back to certainly the most peculiar of the two, with

me that Lou had said that the three worst a simplistic, clap-along, garage-pop beat and

THE VELVET UNDERGROUND people in the world were Nat Finkelstein cheesy organ that utterly drains the song of its ‘Untitled’ and two speed dealers. About the UpTight jaded urban cynicism, and sounds more like aka ‘Index’

book however, he told [journalist] Bert van a blue-eyed soul-style high-school band than

de Kamp, ‘Lousy text, great photographs’ one from the Lower East Side.

One-sided seven-inch cardboard disc, – my photographs.” (The phrase “the psy-For all their English-as-a-second-language included with Andy Warhol’s Index chopath’s Rolling Stones” won’t go away; in naivety, The Riats are responsible for what 1993 it will be used as the title of a Velvet is almost certainly the first ever officially Underground CD bootleg.) released Velvet Underground cover. It’s one

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WHITE LIGHT/WHITE HEAT n DECEMBER 1967

The flexidisc that comes with the book Andy Warhol’s Index. 173

DECEMBER 1967 n WHITE LIGHT/WHITE HEAT

of eight singles issued by the group between M RECORDING aNguS MacLiSe details entirety, a feat of about four hours straight or 1965 and 1969. But while a few Dutch groups unknown so, and he promised to play the music for it. of the period, such as The Shocking Blue and Although he will never again play with The His wife Hetty MacLise came on time but he The Tee Set, will eventually score US hits, The Velvet Underground, Angus MacLise keeps didn’t, and never showed up at all, so the both Riats will remain unknown outside of their busy with various musical projects. He plays in of us made percussive sounds with rattles and homeland until manic VU collectors dig up The Berkshire Trance Orchestra, described in tambourines as I read through the entire text.” this oddity many years later. the liner notes to his The Cloud Doctrine com- (As Hetty MacLise confirms, Moore “wrote pilation as a “freeform trance music group this entire thing around Angus’s drumming,

Also in with changing personnel”; he also moves for and then Angus didn’t show up. I was terri-

an extended period to the Bay Area, where he bly embarrassed.”) At another poetry reading sometimes plays percussion in the Berkeley- in San Francisco, Moore adds, “Angus made

1967… based group The Floating Lotus Magic Opera a majestic appearance, reading drunkenly

Company, directed by Daniel Abdal-Hayy into the mic, and then (again) disappearing.

Moore. It’s not so much a conventional opera Angus felt that music and concerts should be M RECORDING JohN caLe exact location company as an ensemble featuring numerous free, a kind of ‘diggers’ thing.” unknown, New York, NY. gongs, drums of all sizes and ethnic origins, a One 1967 recording by The Floating Lotus John Cale’s New York In The 1960s boxed set toy piano, zithers, various reed instruments, Opera Company with MacLise on bongos and includes three recordings from “late 1967/ flutes, Tibetan longhorns, conch shells, bells, Moore on voice, ‘Haight Riot Mime,’ will even-early 1968.” Cale appears to have been heav-cymbals, a Japanese Sheng, and sometimes tually be released on the 2000 MacLise CD ily into his Vox Continental organ in late 1967, violins, violas, and saxophone. compilation Brain Damage In Oklahoma City. as it shows up not just on The Velvet Under-Moore will later describe MacLise as “a MacLise plays energetic, almost unhinged ground’s ‘Sister Ray’ but also on a couple of somewhat spectral figure one couldn’t totally rhythms as Moore wails wordlessly. The shorter pieces he records on his own. The ten-depend on, as he seemed, in his Celtic way, to three-minute 40-second track brings to mind and-a-half minute ‘The Second Fortress,’ first come and go with the wind. The pieces, based a cross between a tribal ritual and a Middle released on 2000’s Sun Blindness Music compila-on Tibetan rituals, were very rehearsed, in Eastern devotional ceremony. For the final tion, appears to be a solo piece for Vox organ, our fashion, with some improv bits, and lasted half-minute, the voice and bongo cut out to but the credits list only “electronic sounds.” over an hour or so, with heights and explo-be replaced by some bassy psychedelic reverIt’s not as extreme as October’s ‘Sun Blind-sions (we were purging the human spirit of berations, perhaps spliced in from another ness Music,’ but it doesn’t contain anything the Vietnam War as well as any other attend-recording altogether. in the way of a conventional rock or pop song ant evils, through transformation from their “It was probably a tape recording of some either. Cathedral-like tones drone, sometimes illusory darknesses into light), and a finale late-night session at our rehearsal studio where ebbing and surging, for minutes on end, with that included the intoning of AUM for a I lived, and where all the instruments were a distorted texture suggestive of hissing air or long time, and a silence with meditation that stored, with either just Angus and me or a few the notes actually splitting and bending into sometimes lasted about 15 or so minutes. The other people,” notes Moore. “It wasn’t actually reedier vibrations from time to time. audiences of a few hundred went along with a part of any of our productions that I know The five-minute ‘Ex Cathedra’ is a little it all then, even meditating uncomplainingly of, though it may have been at the end when more dynamic. Its rapid, stuttering pulsa-after the very intense catharsis of the plays, the main play was finished. The name ‘Haight tions are somewhat similar to the ones that ending with a jubilant jam-session and free Riot Mime’ was entirely the CD producer’s will be heard a few years later – in rather more dancing on the stage-ground for sometime creation, and for me had nothing to do with listener-friendly form – on Pink Floyd’s ‘One afterward.” my artistic intentions nor projects at the time. Of These Days.’ ‘Carousel,’ by contrast, is MacLise, Moore adds, “would come to I never lived in the Haight [Ashbury], only two-and-a-half minutes of repetitious flutters the studio I had for rehearsals at a kind of in Berkeley during the Floating Lotus days. and scrapes, and sounds almost as if the tape 20s-style Greek building with huge steps The ending is strange, but it could have been recorder has caught someone picking away at and esplanades on a few acres of ground in one of the great gongs we had at the studio. a heap of coal with superhuman speed while the suburban hills of upscale North Berke-I fancied myself a kind of East Indian classi-a helicopter hovers in the distance. As with ley (once said to have been used by Isadora cal singer on those great melismatic flights, ‘The Second Fortress,’ Cale is credited only Duncan’s Greek-besotted brother Raymond but it [sounds] off-key and rather awful to with “electronic sounds,” but the liner notes for rituals and dance instruction), where we me now …” describe the song as “Vox-generated music,” all had long hair and walked around in the implying that Cale somehow uses the organ woods often unclothed. He’d play furiously C FILMING **** (aka Four Stars) to produce these tuneless effects. Both ‘Ex and gorgeously, we’d improvise poems and Several sections of Andy Warhol’s ridicu-Cathedra’ and ‘Carousel’ will first be released ululations of song into the late nights, and lously long, 25-hour **** feature Nico. One is on Cale’s 2002 compilation Dream Interpreta- then he’d vanish again for a goodly amount the eight-hour The Imitation Of Christ, which is tion: Inside The Dream Syndicate Volume II. of time until a next sighting and sit-in to play. also released on its own, and later in an edited It’s possible that Cale sees these exercises as Drugs were one of his habits, with their inva-105-minute version, as described elsewhere. a way of getting his fondness for “passages of sive seductions and infidelities to reliability, Two others are shot in the San Francisco area, grinding noise” out of his system, since there’s alas. So we never knew for sure when he’d probably during the summer, which Nico no current outlet for them in The Velvet Under-show up, but [he] was always miraculous in spent much of in California. High Ashbury ground. But none are as cool, or even as daring, his playing when he did. naturally reflects the city’s hippie culture, as the searing organ improvisation heard on the “I was slated once to perform my book of and also stars Ultra Violet and Ondine; Sau-September 1967 studio recording of ‘Sister Ray,’ poetry, Dawn Visions, on Berkeley’s hip and salito, shot in the town north of San Francisco, Cale’s finest hour on the Vox Continental. independent station, KPFA, reading it in its just across the Golden Gate Bridge, has Nico

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WHITE LIGHT/WHITE HEAT n ALSO IN 1967

speaking some poetic lines that might be from those she does appear in will become hard to not find in other groups, and nothing else. her early attempts at writing song lyrics. These see after 1972, when Warhol withdraws his 60s It was raw, clear, transparent. Thanks to this include “A man is walking on the sea,” “The films from public circulation. encounter I did not throw my guitar in the Sea is walking,” “The sea is after me,” “The “I’ve never much cared for [the Warhol dustbin … I really trusted [the Velvets] and I night grows into the sky,” and “The light grows films] because I’ve always been in opposition still do. I know what they did, they did from back into the earth.” to his ideas,” Nico admits to Kristine McKenna their heart without any calculations; I could Even less is known about a fourth section in 1979, in an interview later included in immediately identify with their music. of ****, Nico – Katrina, which is reportedly McKenna’s Book Of Changes. “The way he’d “When Lou Reed was in Prague as a Rolling shown only once, when the complete 25-hour always come around and want to film me, Stone reporter [in the 90s], we threw a party version is screened – with two projectors whether I felt like it or not – he was a rapist. for him, where [Hlavsa’s band] Pulnoc played. superimposing images onto each other – at Plus, he used so many people in films that We recounted our story to him, which he had the New Cinema Playhouse on December they were ultimately quite distracting.” known in an outline. When we told him that 15–16. According to The Films Of Andy Warhol: had it not been for them in the 60s, our band Part II by Callie Angell, the uncut reels of I, would never exist, he was very impressed and A Man are also included in this 94-reel, split- ALSO … said that in all likelihood Velvet Underground screen marathon. Still beavering away on the margins of the had been much better known in Prague then As Paul Morrissey recalls in Factory Days, publishing world, Angus MacLise issues Writ, than in the USA.”

“Two or three people, including John Waters, his fourth collection of poetry – and first for In 1968 Hlavsa’s band of the time, The claimed to have sat through the whole thing. six years – at some point in 1967. It’s actually Plastic People Of The Universe – named, Certainly Andy didn’t. And I didn’t.” Also in more of a pamphlet than a book, featuring with delicious irony, for ‘Plastic People’ by attendance is Lou Reed, who tells John Wil-just six accordion-style fold-out pages. the Velvets’ bitter enemies, The Mothers cock, in The Autobiography & Sex Life Of Andy Lou Reed meanwhile writes a four-line Of Invention – will add a half-dozen songs Warhol, “It was the most beautiful thing I’ve poem for John Cale this year (as reprinted in from the banana album to their repertoire. ever seen in my whole life.” (It could be that Cale’s autobiography), entitled ‘Forewarned They will also put on an Exploding Plastic **** is actually shown on more than just this Is Forewarned.’ The first two lines ask for love Inevitable-type multimedia show of sorts with one occasion, as a large ad for the movie in and promise friendship in return; the final psychedelic lights, makeup, and outrageous the December 21 Village Voice says there will two take an ugly turn, indicating that Reed costumes. They even recruit a viola player. be “continuous showing from noon Sunday will kill John when the moment’s right. It After suppression by the Czech govern-thru Thursday” and “from 1pm Friday and might just be payback for a poem Cale wrote ment, The Plastic People Of The Universe Saturday” at the New Cinema Playhouse in to Reed in 1965, ‘Curse,’ which Reed asked will become instrumental in the campaign New York City.) Cale to remove if it really was a literal curse. for human rights in their country, especially Like many of Warhol’s films, **** is inacces- ‘Forewarned Is Forewarned’ is nonetheless after meeting a fellow Velvet Underground sible to the public. Over time, several muse-a disturbing omen of the changes that will fan. That fan? Vaclav Havel, who will even-ums and film festivals will decline offers to erode Reed and Cale’s personal and musical tually oversee the country’s transition from screen it because of the obvious practical dif-relationship in 1968. totalitarian Communism to a more open ficulties. Its extreme length also means that it Also in 1967, frames from Warhol screen democracy. is unlikely ever to be commercially available tests starring Lou Reed and Nico appear in home video formats. alongside poems written in August 1966 by Nico is also heard (but not seen) in another Gerard Malanga in the collaborative book Warhol film from 1967, the 33-minute Sun— Screen Tests/A Diary by Malanga and Warhol, set. While the viewer takes in a sunset, Nico’s published by Kultur Press. recites a poem off-screen. “Sunset actually was taken in Houston,” says Gregg Barrios. “It was

done for the Rothko Chapel, because the de AND FINALLY … Menils [John and Dominique, the wealthy Perhaps the most significant VU-related event Houstonites who founded the building] of 1967 – at least from a global, geopolitical were patrons of Andy’s art, and they wanted perspective – passes by unnoticed when young a peaceful film for the chapel.” Unlike the Czech bassist Milan Hlavsa visits a friend who other films mentioned above, however, Sunset has been getting records sent to him from will not be used as part of ****. relatives abroad. One them, unbelievably Nico features in quite a few mid-60s enough, is The Velvet Underground & Nico. Warhol films, from the short screen-tests she “The vogues of the days were Jimi Hendrix, shot when she first arrived at the Factory to The Rolling Stones, The Beatles,” Hlavsa The Chelsea Girls. Many of them will seldom explains in 1997. “My friend Stevich and I be seen, but the films do undeniably help were a little frustrated because it increasingly increase her media visibility, to the extent that, dawned on us that we were unlikely ever to by the end of the year, she’s probably the most attain those qualities and somehow we didn’t well-known of the musicians to have played as care. We were almost decided to finish with part of The Velvet Underground. But while the band we had at the time. Fortunately I she will appear in quite a few other obscure visited that friend of mine then, and I played art films over the next few years, she’ll never that record in his home. I was totally, abso-appear in another Andy Warhol project. Even lutely in trance. It was exactly what I could

175

One of the most uncompromising rock records of the era, White

Light/White Heat is released in January. It spends just two weeks

at the bottom of the Billboard chart before falling out again,

but the Velvets are continuing to develop as a powerful touring

rock band. They’re slowly building a grassroots following in cities

such as Boston and Philadelphia, but a major rift between the

1968 group’s co-founders culminates in the September 1968 sacking of John Cale for reasons that will remain somewhat murky. Cale’s replacement, Doug Yule, is a capable

multi-instrumentalist and singer in his own right, but not nearly

so quirkily original. Just weeks after Yule joins the group, the

Velvets record their third album, The Velvet Underground,

which is just as fine a record as its predecessors – and just

as shockingly different from White Light/White Heat as that

album was from The Velvet Underground & Nico.

JANUARY 1968 n WHITE LIGHT/WHITE HEAT

January inspired, though, and used to joke around to manager, one wonders whether the group keep everybody in the band light.” or Steve Sesnick are even made aware of the Lewis Merenstein, a close friend of Wilson’s offer. In the end, a live soundtrack to the who first worked with him as an engineer in Warhol exhibition at the Moderna Museet

Undated January the mid 50s, and who will go on to co-produce is played by a Swedish experimental band, John Cale w/ La Monte Young, Steinway Cale’s first solo LP, feels that Wilson gave the Pärson Sound. Hall, New York, NY Velvets “freedom and enthusiasm. Tom did In an unexpected reunion with some old not have a heavy hand. He wanted people to Tuesday 30 musical friends, John Cale spends a couple be who they were. He got along with every-After enduring almost a year between start-of nights in January playing music by Terry body. He was truly a free spirit.” ing recording and finally releasing their first Jennings alongside Jennings himself, Tony album, The Velvet Underground have to wait Conrad, Terry Riley, and La Monte Young, ALSO … only a relatively civilized four months for White the organizer of these concerts. Unlike Lou Disc & Music Echo sounds yet another false Light/White Heat to be issued. Andy Warhol’s Reed and Sterling Morrison, Cale has kept in alarm about the Velvets performing in the UK. name isn’t printed anywhere on the jacket this fairly close contact with these former associ- “Rumors are constantly flying around the pop time, but he does still contribute a vital part of ates, and in fact will be doing some informal scene that The Jefferson Airplane are flying the design. As Lou Reed tells Gerard Malanga recording with Conrad in February. in next week, that the Mothers are setting up in a letter dated December 23 1967, it was another concert soon, that The Velvet Under- Warhol’s idea to use “a black-on-black picture

Monday 1 ground are playing at London’s Roundhouse of a motorcyclist tattoo by Billy [Name]. Beau-Tom Wilson resigns from his position at on Friday [January 12]. Unfortunately these tiful. ALL BLACK!” The laminated image of MGM to set up the Tom Wilson Organi-remain just rumors.” the skull tattoo can only be seen when the LP zation, described in the New York Times is held at a certain angle. as “a general talent agency and record- Monday 8 As Name himself explains in The Velvet ing office.” A January 6 article in Billboard A letter from the Moderna Museet in Stock- Underground Under Review, “That came about gives a slightly different description of the holm, Sweden, where an Andy Warhol exhibi-because when they were going to do the sec-organization, noting that Wilson plans to tion is due to open on February 10, informs ond album, Lou came to me and said, ‘Billy, “produce records on an independent basis the artist that “there seems to be a lot of I want you to do the cover’ … so I said, ‘Lou, for ABC Records,” and that, “in addition to interest” in possible EPI-style performances you know, rather than me trying to come up independent production, [Wilson’s firm] in the country. Among the ideas put forward with a design image, why don’t I let you look Rasputin will also be involved in publishing are some shows at the museum, two at a dance through all my negative files, and you select and management.” hall in Stockholm called the Domino, a night something and we’ll use that for the cover The man responsible for signing The Velvet at the University Of Lund, and several other image.’ So what he selected was an image Underground to MGM/Verve will play no fur-concerts in other parts of Sweden. “All of from one of Warhol’s movies called Bike Boy, ther part in producing their records, and will this depends of course on what you have in with this stud hustler [Joe Spencer]. He had die in 1978 without ever having been intermind to do and how many of the Velvets that that tattoo on his upper bicep forearm, and viewed at length about his association with you can bring,” the letter continues, before Lou spotted it in one of the frames from one the band. Many stories about Wilson make offering an off-the-wall alternative to bringing of the stills I had made on his arm … in a mention to his inattentiveness in the studio, the whole band to Sweden (“which might be 35mm black-and-white frame, it’s like this but he nonetheless played a key role in the very expensive”): why not use instead “a music teeny little thing, you know? So I really had making of the early VU records. “He knew group here that we are judging as a possible to like enlarge it enormously, so it got totally more, uh, ladies of the night than there are standin for the ‘Velvets.’ Maybe you accept grainy. But it was cool. It was funky-looking women on this planet,” John Cale recalls in to collaborate with them in making a light like that.” (The photo on the back of the LP the November 1987 issue of Creem. “He’s a and picture show.” shows the group sitting on the steps of the swinger par excellence. It was unbelievable, The Velvets won’t make it to Sweden, of Boston Tea Party, which is already probably a constant parade into that studio. He was course, and since Warhol is no longer their their favorite venue.) In some respects, the White Light/White Heat

jacket is just as bold and original as the peela-

THE VELVET UNDERGROUND ble banana on The Velvet Underground & Nico.

White Light/White Heat And in the aftermath of the Summer Of Love, with bands stumbling over each other in their

attempts to outdo the Sgt Pepper jacket with all

A1 ‘White Light/White Heat’ (REED) manner of colorful, psychedelic garishness, it A2 ‘The Gift’ (REED/CALE/MORRISON/TUCKER) definitely marks the Velvets out as iconoclas-A3 ‘Lady Godiva’s Operation’ (REED) tic outsiders, determined to follow their own A4 ‘Here She Comes Now’ (REED/CALE/MORRISON) uncompromising vision in concerted opposi-B1 ‘I Heard Her Call My Name’ (REED) tion to the trends of the day.

B2 ‘Sister Ray’ (REED/CALE/MORRISON/TUCKER) The same could be said of the music within, on what John Cale calls “a very rabid record”

US release: January 30 1968 (Verve V-5046 mono, Verve V6-5046 stereo) in the liner notes to Peel Slowly And See. “The UK release: June 1968 (Verve VLP 9201 mono, Verve SVLP 9201 stereo) first one had some gentility, some beauty,” he Chart high: US Number 199 notes. “The second one was consciously anti-

beauty.” Although the band will later express

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WHITE LIGHT/WHITE HEAT n JANUARY 1968

reservations about some aspects of the mix flops so badly, particularly when it fails even to Velvets’ black-and-white, anti-hippie image, an and their inability to capture the sound and pick up much exposure on the underground ad even appears in San Francisco’s most florid fury of their songs without distortion, they stations currently helping to break new rock underground publication, the Oracle.) undeniably feel some exhilaration at having acts such as Jimi Hendrix, Country Joe & The Verve also produces at least one radio made an entire album their way, without hav-Fish, and Verve label-mates The Mothers Of advertisement for the LP, with ‘The Gift’ sur-ing to battle any accusations of their capital-Invention. prisingly pushed to the fore. According to the izing on Andy Warhol’s notoriety. (Warhol in Much of the blame will subsequently be unexpectedly straightforward narration, the fact is not even credited for the jacket concept laid on Verve Records’ ineffective promo-LP “features the tragicomic melodrama of on the original pressing of the LP, which mis-tion, with Maureen Tucker later claiming Waldo Jeffers, whose overwhelming loneliness takenly lists ‘Here She Comes Now’ as ‘There that White Light/White Heat, like other MGM-for his beloved leads him to ship himself by She Comes Now.’) distributed VU records, often doesn’t even mail halfway across the country to Wisconsin, In commercial terms, however, the result make it into stores. But while Verve doesn’t and encounter a most unusual face.” Then is about the same as that achieved by The Vel- seem to understand either the band’s music come a couple of tantalizing sound-bites from vet Underground & Nico – if not worse. White or how to market it, it’s not true to say that the song itself, with John Cale enunciating Light/White Heat will spend just two weeks on the label does nothing to push the record. It some of ‘The Gift’’s most sexually explicit lyr-the Billboard 200 in March, peaking at a lowly takes out a full-page ad in the April 27 issue ics – casting doubt on the claim that Verve is Number 199. This shouldn’t be much of a of Rolling Stone, which is fast emerging as the reluctant to advertise the Velvets because of surprise: there’s no hit single to boost the LP’s first serious rock magazine in the USA, and the various taboo references in their songs. performance; the songs are too weird, and/or runs a smaller version in the underground The ad closes with the youthful announcer too long, to get much FM radio airplay; and, newspapers the East Village Other and the Fifth declaring, “The Velvet Underground pulls no of the four principal VU albums, this is the Estate, which indicates that someone, some-punches. Get their latest album, White Light/ one most out of step with the times. But the what has realized that it makes sense to target White Heat, on Verve today.” band are still disappointed when the record the countercultural audience. (Despite the Verve also places a full-page advertisement The Velvet Underground pose with the jacket for White Light/White Heat. 179

JANUARY 1968 n WHITE LIGHT/WHITE HEAT

in the teen magazine Hullabaloo – teens still by The Blue Öyster Cult, The Dictators, and Reed talks briefly about his days as a Pickwick being at the core of the rock demographic. The Clash.) staff songwriter and the birth of the band; “Come,” the ad begins. “Step softly into the Of the four albums released by The Vel-here’s the origin of the claim that Sterling inevitable world of THE VELVET UNDER-vet Underground while Lou Reed is in the Morrison is shoeless when he runs into Reed GROUND. Where there is no now. Where band, White Light/White Heat is perhaps the on the subway in early 1965. He also outlines yawning yesterdays fade out on timeless least popular, and certainly the least accessi-the plot of ‘The Gift’ before Wilson jumps in tomorrows. Where sounds reflect from ble. But like all of these albums, its stock will with a wordy explanation of how listeners can plastic people. And reverberate in explod-rise tremendously in retrospect, both among hear just the voice, just the music, or both at ing whispers, electrifying echoes. Come. To critics and the ever-expanding cult of VU fans once. For his part, Cale notes he doesn’t just where vinyl virgins devour the macabre mind. who discover the band after 1970. It will even play viola, organ, and bass, but also “all the And flowers of evil bloom in the Elysian-pure end up at the top of a list of the ‘50 Coolest … bowed string instruments that I can find,” atmosphere of White Light/White Heat.” Records’ in the April 11 2002 issue of Roll- including sarinda, sarongi, and dilruba.

Copy such as this might soon sound breath- ing Stone. Of the four key VU LPs, it’s also Cale also betrays his avant-garde origins by lessly naive, but is not uncommon at a time probably the most direct antecedent of the disclosing some of his most ambitious plans when major labels are struggling to come up punk/new wave sound of the 70s, and will be yet. “I was thinking one time about creating with new ways of selling underground rock celebrated by that movement, to some degree, weather by using music, or altering the tem-music. One wonders however whether anyone precisely because of its roughness and inac-perature of this room, for instance, by playing at Verve is aware that using the phrase ‘plastic cessibility. It could also be seen as the album a certain kind of music,” he says. “In brain people’ might irritate the group, considering that separates the mere Velvet Underground surgery they use ultrasonics for cutting away that it is also the name of a song from Abso- fan from the Velvet Underground fanatic. As tissue. And the way they do that is … a heating lutely Free, the second album by the Velvets’ Sterling Morrison will note in an interview process, they heat up the tissue. And I think rivals, The Mothers Of Invention. with LA Weekly in April 1985, around the time high frequencies tend to create heat in mat-

White Light/White Heat is not widely reviewed that the LP is finally reissued in the USA after ter. Now, an example of low frequencies … – not even in the underground press, or even years of being out of print: “That’s the litmus they’re made up of pulses and movements in Rolling Stone, despite Verve’s purchase of a test. If you like that album, then you like The of columns of air, so that an example of an full-page ad for the LP. But there are a few Velvet Underground.” extremely low frequency would be a hurricane scattered signs that, when the Velvets are or a whirlwind. In France a professor has stud—

heard, they’re starting to be appreciated. The ALSO … ied a death-ray machine which propels very June issue of Crawdaddy – the second most Another aspect of MGM’s patchy promotional low sounds. He has this organ pit pipe, which widely read rock magazine in the USA after campaign for White Light/White Heat involves is several hundred feet long and when they Rolling Stone – includes a lengthy and com-including the group on a double-LP, promo-tested it out they almost killed a lot of people plimentary – if somewhat rambling – assess-only set of interviews and music for FM radio, in the factory. He got in a lot of trouble, a lot ment of the group by Sandy Pearlman. Even The Music Factory (MGM MFRS-3). The album of people were sick. They only turned it on more refreshingly, Pearlman mentions Warhol features two full tracks from White Light/White for maybe a minute and a half, and it made and the EPI only in passing, opting instead to Heat (the title cut and ‘Lady Godiva’s Opera-everything vibrate. concentrate almost solely on the music, and tion’), plus one from the banana album (I’ll “The music I was writing about six years sees past the record’s shock value to find the Be Your Mirror’), and an excerpt of ‘The ago was a set of instructions for performers. humor as the band intended it. Gift.’ The two discs also include a radio ad ‘Follow the wind and listen to it’ was one that I

“In mood this LP’s most reminiscent of for Nico’s Chelsea Girl and music from and wrote where the idea was to listen to the wind that last (‘shoot ’em up’) section of Naked advertisements for fellow MGM acts such whistling in between houses [for example] … Lunch, wherein Bill Burroughs actually as Tim Hardin, Richie Havens, The Blues all the variations of sound. Some of the things portrays himself (the arch-doper) shooting Project, The Animals, and The Mothers Of I’ve been finding out about electronics seems some narco cop,” Pearlman writes. “That’s Invention. to suggest that it’s possible to [use] sound how pretentiously humorous it is.” He also It’s likely that the Tom Wilson/Velvet to alter the temperature, and make the air singles out Maureen Tucker’s drumming Underground interview is recorded shortly around you warmer or cooler, according to for praise, declaring it to be “right up there before Wilson’s resignation from MGM. which combinations of pitches you use. I’d with such strong two-fisters as Buddy Miles “Hey, on our next album, why don’t you try like to have a tape for … if you want to cre-(Electric Flag), Tim [Davis] (Steve Miller), out some of these things?” he asks John Cale ate 75-degree temperature, you play this tape, and David Getz (Big Brother).” The album at one point, referring to the various exotic or whatever. And over a period of days you is never boring, he adds, “’cause it’s got that instruments Cale can play, and thereby sug-could have a tape which regulated the heat fascination potential inherent in all mechani-gesting that he expects to continue working around you. The kind of heat that it would cally perfect execution (hypnosis). It’s a with the group. (By the time the Velvets’ next give off would be in some cases like summer, very technological sound. Laden with some album is being recorded, of course, Wilson in some cases like autumn.” Lest this seem more-or-less up-to-date technological blues will no long be producing them, and John like an impossible dream, it’s worth noting ready-mades. The whole album is reminis-Cale won’t even be in the band.) that in 2007, Lou Reed will put out a CD, cent of the Cream/Yardbirds art-rock riff.” The seven-minute interview is the main Hudson River Wind Meditations, that combines (Crawdaddy will cover the Velvets again, and reason why this record, of which only a few electronics with wind and river sounds to help even more extensively, in its August issue; hundred copies are pressed, will become so create a focused yet relaxed mental/spiritual Pearlman, having established himself as one sought after among VU collectors. In the environment. of the more flamboyant members of a new style of the day, the focus of the interview is Reed himself weighs in with some fanciful breed of US rock journalists, will go on to scattered, with Wilson peppering his ques-avant-garde notions of his own when Wilson become a record producer and work on LPs tions with free-associating hipster-speak. asks about what other plans the band might

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have. “We want to ultimately work on a tape Sweden, publishes a large photo book enti- Monday 5–Thursday 8 that would take up every minute of every hour tled Andy Warhol. The book includes numer-In another signpost to the end of an era, of every day of the entire year,” Reed replies. ous pictures of the Factory, including quite the Factory moves from its most renowned “It would just be one extremely long tape, and a few of The Velvet Underground and the location at 231 East 47th Street, where it has it would fit into your wall. And it would be per-individual band-members; there’s even one been situated since December 1963, to a new sonalized … what would happen is that you of Nico sitting on a couch next to British home at 33 Union Square West, on the edge would come to us, The Velvet Underground, folk-rock superstar Donovan. (Although the of Greenwich Village. Perhaps Andy Warhol and say, ‘I want a tape for me.’ And we’d say, book is no longer easy to find, even in its has had enough of the open-house freak-show ‘Here.’ Then you’d take that, and we’d take North American Worldwide Books edition, the Factory has become, and is now looking you by the hand over to [engineer] Gary [Kel-it remains worth hunting down by the serious for a more businesslike environment from lgren], you know, take ’em down the record-fan looking for high-quality reproductions of which to run his various enterprises in art ing studio, and Gary would stare at them a some of the most iconic images of the Velvets and film. lot till he figured he knew them. And then he in their early days.) Shortly after that, Nico moves into an apart-would do a mix that would reflect their per- ment in East 16th Street, opposite the new sonality. Then they’d take the tape back, and ALSO … Factory building, with Fred Hughes, who has they’d install it in the wall, and it would be like Still active in publishing as well as music, recently started working with Warhol and will theirs. And it would go on all day. Kind of like Angus MacLise produces a 20-page folder of act as his business manager from the late 60s one of Andy’s movies, like [his eight-hour film calligraphy and poetry entitled The Inner Pages onward. Here Nico practices her harmonium of the Empire State Building] Empire could be as part of a 68-page portfolio assembled as the and, in dim candlelight, works up some of the on the other wall, going on all the time, the fifth edition in a series called SMS issued by material that will appear on her next album, music going all the time.” The Letter Edged In Black Press Inc. The Marble Index.

While impractical to implement, Reed’s Angus and Hetty MacLise – as well as Jason, A feature in the August 1968 issue of Eye ideas aren’t too dissimilar to the ‘eternal Hetty’s young son from a previous marriage – magazine entitled ‘On The Eve Of Destruc-music’ pieces on which La Monte Young has are currently staying with Jeff Perkins in Los tion, What Was Andy Warhol’s Gang Up To?’ already started to work, and which he will Angeles in a large rented home above the contains a revealing report on life chez Nico/ continue to refine in decades to come. Reed Sunset Strip. The three of them met when Hughes: “Nico sleeps or stays sequestered all clearly has other multimedia projects in mind Angus and Perkins co-produced a poetry day (sometimes playing the organ), then goes too that go some way beyond the means of symposium at San Francisco’s Cinemath-out to Max’s Kansas City, restaurant hangout late-60s technology and music-business prac-eque 16 Theater, a venue managed for a for representatives from art, fashion, and tices. “Like John said the other day,” he con-while by Perkins in the back of a bookstore movie worlds, until the wee hours. When she tinues, “the albums that should come out on Haight Street. Last month, the MacLises returns, according to Freddy, she climbs – … would have a coloring book and kind of attended one of La Monte Young and Mar-fully clothed – into the empty bathtub where toys, and it would be like a complete thing, ian Zazeela’s sound-light-projection concerts she sits all night composing songs … Mean-you know, not just a record. You know, peo-at the Pasadena Art Museum between Janu-while, Freddy stumbles, bleary-eyed, into the ple are starting to do that, but they haven’t ary 28–31; there are also plans for Hetty to bathroom and is always surprised to find Nico really gotten into it. You know, they’re mess-design a mural for a Pasadena theater Perkins sitting in the tub.” ing around with covers trying to be hip and is renovating. But when these schemes fail to doing things, but they haven’t really started develop, the MacLises move back to New York, Thursday 8 what you could have.” getting busted in Oklahoma along the way M RECORDING JohN caLe aNd ToNy coN-

Overall, the tone of the conversation is (see March 24). Rad details unknown. so casual that one suspects the interview to While there are no circulating recordings of have been conducted with little preparation. John Cale and Tony Conrad playing together The trio eat pickles as they talk, with Reed Thursday 1 during 1966–67, the pair must obviously have exclaiming “these are good!” at one point. Aardvark Cinematheque, Chicago, IL maintained their friendship. The Velvets have Although The Music Factory will become one Two days after White Light/White Heat is issued, not been recording or playing much since late of the most scarce and costly of VU rarities, Verve’s Midwest Regional Promotional Man-September, and that gap seems to have given a transcript does at least exist, as featured in ager Jack Katz and his wife host an album Cale a little downtime to revisit old musical the summer 1985 issue of Forced Exposure, but release party co-sponsored by local radio sta-alliances, as he does on ‘A Midnight Rain Of even that is not too easy to come by. A four-tion WCFL. Afterward, the band head over to Green Wrens At The World’s Tallest Build-minute excerpt of the interview does however the Aardvark Cinematheque in Chicago’s Old ing.” feature on the Australian VU boxed set, What Town neighborhood where, according to an With Cale on viola and Conrad on violin, Goes On. account in a local underground newspaper, the set-up here is like a flashback to the musi— the Chicago Seed, 200 teenagers see The Vel- cians’ days with La Monte Young. The music vet Underground on stage and Andy Warhol is not quite from the Dream Syndicate/The-

February films on screen (not at the same time). It’s the atre Of Eternal Music school, however, but

group’s first known live performance since is instead three minutes and 20 seconds of their run of gigs at the Boston Tea Party in groaning languor and slight dissonance. It’s a September 1967, but they appear to be in little like hearing the orchestra of the Titanic good shape; the Seed reports that they take sink into the ocean in slow motion, deter-

Undated February “everyone ten miles high on their unique mined at the last to seize their only chance To mark the opening of its Andy Warhol exhi-hard-rock sound.” to play the drearily avant-garde music their bition, the Moderna Museet in Stockholm, conductor has vehemently disallowed.

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First released on the 2002’s Dream Interpreta- could do songs like this any time we felt like it, erasing the informal chatter, cut-ups, giggles, tion: Inside The Dream Syndicate Volume II, the and this is a good representative of the type.” and spoken asides – which name-check both piece also appears on Cale’s New York In The In its original form, ‘Stephanie Says’ is much Motown and Martha & The Vandellas – the 1960s boxed set. “John played music all the more upbeat, lyrically, than ‘Caroline Says Velvets decide boldly and wisely to include time,” says Conrad when asked if Cale’s New II,’ a portrait of an abused woman that might them, realizing that they work well as part of York In The 1960s recordings are an outlet for have been tailored to fit the effectively deca-the song, even when Reed utters such strange ideas that are too avant-garde even for The dent and depressing mood of Berlin. The song non-sequiturs as “electricity comes from other Velvet Underground. “He was working on his has a lovely melody, and a beautiful blend of planets.” songs. He played every kind of thing, all the folksy guitar picking, delicate lead vocals, and “We recorded the song and it was straight-time, so it was natural for him to be doing dif-cooing background harmonies. Alongside forward,” Morrison will later explain in the ferent things. There’s one recording on there ‘Sunday Morning,’ it stands as perhaps the liner notes to Peel Slowly And See. “Then me, which I like which is just John going ‘plang, best proof of John Cale’s ability to apply his Lou, and John went into this tiny vocal booth plang, plang’ on the guitar for about five classical and avant-garde sensibilities in a pop-ostensibly to lay down the background vocal minutes. I’m not even sure that it’s anything friendly fashion when he sees fit, in the form doo-doo-doo’s. We’re waiting for our big that he wanted to record. I have a feeling it’s here of celeste and heartbreakingly graceful moment while the track is running, so there maybe just like a little exercise or whatever, viola. But ‘Stephanie Says’ is not a pop sellout, are these layers of comments. We thought, to be honest. But it sounds terrific.” and it certainly isn’t a standard love song. An ‘They’ll just close the pot, and open it up at

Conrad also recalls making five other ampli-interior monologue by a mysterious woman, the right time.’ So we’re talking, general non-fied recordings with Cale this month, with it contains more than its share of Reedian sense – Lou commenting, ‘That’s not a bad Conrad on ‘limp-string’ (a section of vacuum enigma, hinting perhaps at a globetrotter solo,’ stuff like that. cleaner pipe with one highly stretchable, slack facing death with bravery. And just why do “One of the comments, ‘Shut the door,’ was string) and Cale on guitar, but none have people call her Alaska? (John Cale will later Lou and me walking in there late. The track been released in the years since. claim, oddly, that the title character is not a was already running. Finally, we hit the last

woman, but VU manager Steve Sesnick.) notes and there’s all this general laughing. My

Tuesday 13–Wednesday 14 ‘Stephanie Says’ is hardly a surefire hit, but parting thing is ‘Was that awful?’ I was refer-

M RECORDING A&R Studios, 112 West 48th would have made for a reasonable A-side. It’s ring not to the track, but to the harmonies. I Street, New York, NY. Producer/engineer Val certainly much more commercial than any-never had any faith in our vocal harmonies.” Valentin. thing on White Light/White Heat, but Verve For all the effort the Velvets put into the track,

White Light/White Heat might only have been decides – with the same unfathomable logic it it too will lie unreleased until it’s rescued for out for a couple of weeks, but The Velvet brings to so many things regarding The Velvet the 1985 VU anthology. By then it will have Underground are already back in the studio. Underground – to leave it on the shelf. The been available as a bootleg since 1976, when It appears that no official MGM producer is song won’t be released at all until it appears a version taken from an acetate first appears present, as when the tracks are finally issued on the 1985 out-takes compilation VU, three on a seven-inch EP. in the mid 80s, production will be credited to years after the appearance of a lo-fi version The Velvet Underground. on a bootleg. Saturday 24

The purpose of these recordings is uncer-The other track from these sessions, ‘Temp- Union, Harvard University, tain, since sessions for the group’s third album tation Inside Your Heart,’ presents the Velvets Cambridge, MA won’t begin until the fall. As Sterling Mor-as they’ve never been heard on tape before. Tonight’s event is a dance at the nation’s most rison will later explain in an interview with For the first time, we hear them as a good-hallowed institute of higher learning, with Bill Bentley printed in the LA Weekly in April time, fun-loving, rock’n’roll band – a direc-proceeds from the two-dollar tickets going 1985, the songs “were actually made to be a tion they’ll explore with increasing regularity to seven charities. It’s also the only Velvet single,” with engineer Val Valentin serving as over the next couple of years, even if it never Underground show witnessed by Doug Yule “nominal producer.” It’s possible that Verve comes to dominate their sound. ‘Temptation’ prior to him replacing John Cale in the band wants to see if it can get anything approaching is a rousing soul-rock tune with audible debts at the end of September 1968. He remembers a commercial 45 out of the band. to Motown in general and Martha & The Van-the Velvets playing this date as a trio without

If that’s the plan, then ‘Stephanie Says,’ a dellas, whom Reed cited among his favorite Cale, which could well be possible as Cale beautiful Lou Reed ballad, is about as close as acts in his December 1966 article for Aspen, has apparently come down with hepatitis (as the label is going to get. It’s the first in a series in particular. True, Motown acts wouldn’t be detailed below). of what might be called the ‘(Woman’s Name) apt to sing about the evil that resides in our “Even so, with Lou on guitar and Sterling Says’ compositions: next comes ‘Candy Says,’ hearts, even in a figurative sense, and the song predominantly on bass and Maureen on as featured on The Velvet Underground; ‘Lisa itself is a bit of a throwaway (and thus might drums, it was just a steamroller,” Yule recalls. Says,’ performed by the group live and then be intended as a B-side), but that doesn’t “It blew me away. I loved it.” In the fanzine The recorded for Reed’s debut solo album; and mean it’s not good. Someone seems to be Velvet Underground, he adds, “The thing that ‘Caroline Says I’ and ‘Caroline Says II,’ both playing congas on the track, but it’s unclear really stuck in my mind was Lou. He was play-of which will be included on his 1973 LP Ber- whether this is an overdub by Maureen Tucker ing that Gretsch Country Gentleman that he lin. (‘Caroline Says II’ is in fact simply ‘Steph-or the work of another musician. had rewired inside and put repeaters and stuff anie Says’ with reworked lyrics, and just one While Reed, Cale, and Morrison are over-in it, and I was just amazed by the amount of example of how Reed will often dig into his dubbing their backing vocals, the mic cap-noise he could get out of that guitar.” bag of unreleased VU compositions for mate-tures some goofing off that reminds us of rial during his early solo career.) how, despite their dark image, these really are ALSO …

As Morrison writes in a letter later quoted three guys in their twenties who like a good Billboard magazine reviews White Light/White in What Goes On’s critical VU discography, “We time and aren’t all that abnormal. Instead of Heat with its usual oddly dispassionate, objec-

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tive tone, while also incorrectly citing Sterling and The Velvet Underground in the ‘S And like small tympani mallets. And she just com-Morrison as one of two lyricists in the group. M Rock’ section. They are in fact the only manded the stage; she was out there alone, a “Dealers who cater to the underground mar-acts in the category at all, although a couple long time, could have been 15 minutes all in ket will find this disc a hot seller, for The of songs by other artists are cited as examples all, and everybody was listening quite quietly. Velvet Underground (minus Nico) feature of this dubious genre: ‘There Boots Are Made She was really quite an impressive display. intriguing lyrics penned by two of the group, For Walkin’’ by Nancy Sinatra, and ‘It Must Be “[But] then when [the rest of the band] Lou Reed and Sterling Morrison,” the maga-Him’ (mistakenly listed as ‘Let It Be Him’) came out, I didn’t feel they had the same com-zine announces. “[Although] the words tend by Vicki Carr. mitment that she had. They seemed either to be drowned out by the pulsating instrumen- tired or somehow distracted, and played

tation, those not minding to cuddle up to the Friday 15–Sunday 17 very briefly. It seemed like a halfhearted speakers will joy to narrative songs such as Trauma, Philadelphia, PA afterthought to Moe’s performance. I didn’t ‘The Gift,’ the story of a boy and a girl.” This weekend marks the Velvets’ second visit feel The Velvet Underground was mythic that

to this psychedelic venue, where they played night. They didn’t cut through the chatter.

, Late February a few times in July 1967. Also on the bill are I had to see my sister, she had just moved

In an interview with Victor Bockris for Up- The Mandrake Memorial, who despite their to Boston; I think if La Monte Young [with Tight: The Velvet Underground Story, John Cale’s obscurity elsewhere are Philadelphia’s most whom Moskowitz and USA founder Joseph fiancée, Betsey Johnson, remembers Cale hav-popular psychedelic band (except perhaps Byrd once performed; see May 19 1963] had ing to go into hospital for four months with for The Nazz, led by a young Todd Rund-been on stage, I wouldn’t have talked to my hepatitis on the very day she’s planned to gren). Rounding out the bill are The Mary sister! send out their wedding invitations. But Cale Jane Company. “I really don’t remember how they actually makes no solid, four-month absence at any sounded or what they played, but I know they

point during the time he’s in the band. Even Friday 22–Saturday 23 tilted one of our amps over [while coming off during the Velvets’ fallow period from late Boston Tea Party, Boston, MA stage]. It could have been a territorial issue. September 1967–March 1968, he still does The Velvet Underground made only a few We had these monster-sized, futuristic Acous-some recording, both with the group and scattered live appearances during the fall and tic Controls, which took up all the floor space on his own, plays at least one VU show, and winter, but now seem determined to return to and it may have ticked them off. Maybe our spends Christmas abroad with Johnson. The conventional live performance. Since they’re road crew insulted theirs or maybe they were length of Cale’s hospital stay reported in Tim apparently refusing to play in New York City, it just into gratuitous nastiness.” Mitchell’s Sedition And Alchemy – four weeks – makes sense that they’re following their shows seems more likely. in Philadelphia with a return to their favorite Sunday 24

If that’s the case, Cale probably goes into city and venue. A few days ago, the wedding of Angus MacLise the hospital no earlier than mid-to-late Febru-These Boston Tea Party shows are signifi-and Hetty McGee took place in San Francis-ary, since he’s present for the Velvets’ record-cant in another respect. Aside from their co’s Golden Gate Park as part of a spring sol-ing session on February 13–14, and departs November 1966 shows with The Yardbirds stice celebration arranged by beat poet Diane no later than mid March, when the group and, as much as they might hate to admit it, di Prima, with Timothy Leary in attendance play the Trauma in Philadelphia; it’s possible the concerts they played in California in May and The Grateful Dead serving as witnesses. that he missed one or two of the shows that 1966 with The Mothers Of Invention, the Vel-McGee comes originally from Wales, but is the group plays in Boston and Philadelphia vets have tended to share live bills with bands well connected on the San Francisco scene. in between times. According to Johnson’s that hardly anybody has ever heard of – and, She worked in the art department of the account in UpTight, Cale leaves the hospital indeed, groups that aren’t particularly com-famed underground newspaper the Oracle; when, to his doctors’ surprise, a sample shows plementary to the VU aesthetic. But here they briefly dated the Dead’s Pigpen; and, accord-his liver to be in perfect condition. are billed alongside a genuinely excellent and ing to an interview she once conducted with

adventurous psychedelic group, The United Bananafish magazine, plays tambura on the States Of America, who are also blending group’s 1968 45 version of ‘Dark Star.’

March rock, electronics, and the avant-garde, but Although friends have tried to convince

in their own original way, and who released them to join them in Maui, the MacLises

their only full-length album a few weeks ago have decided to move back to New York. On

on Columbia. Like the first two VU LPs, it will the way there they are busted in Oklahoma

prove too daring even for much of the under- City for marijuana possession. Hetty has been

Undated March ground audience, and peak at a lowly 181 on diligent about removing all traces of the drug

The debut issue of Eye magazine – a shortlived, Billboard. That hasn’t stopped Nico recently from their vehicle, but in the glove compart-large-format, general-interest magazine with making overtures to join the USA (probably ment, police discover a seed in a gray leather a countercultural bent (albeit one published unbeknownst to the Velvets), but these don’t pouch that a young man traveling with the by the decidedly overground Hearst Corpora-seem to have been taken too seriously. MacLises has borrowed without asking. That tion) – includes Nico among 12 stars pictured As is par for the course with The Velvet young man in question is 20-year-old Loudon in its ‘Star Junction’ spread of horoscopes. Underground, however, the match-up doesn’t Wainwright III, who will shortly embark on She’s evidently still using a false date of birth go quite as smoothly as expected. “Moe a long career as a witty and respected folk – August 8 1942 – that shaves four years off [Tucker] came out first and did a lengthy and singer-songwriter. He’s released five days later her real age, and causes her to be incorrectly fairly interesting solo on toms,” recalls USA when his Life magazine columnist father flies labeled as a Leo. Elsewhere is the issue, Eye’s vocalist Dorothy Moskowitz. “She was quite in from London to bail him out. The incident ‘Guide To Rock’ – a list of hundreds of art-intriguing. She didn’t play with drumsticks. will later inspire a song on Wainwright’s 1971 ists in dozens of categories – puts both Nico She had these tom-tom mallets; they looked LP Album II, ‘Samson And The Warden.’

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As Hetty MacLise recalls, Angus smuggles something that diverted some of Cale’s per-these groups face stiff competition, however, out a letter to his mother, who sends money sonal and creative energies away from the from Traffic, who are in midst of breaking for his bail at once; he then makes his way to partnership on which The Velvet Under-the USA, and are playing across town at the Manhattan to raise the money to get his Welsh ground was founded. It’s possible too that Cheetah. As for the Velvets, she recalls, the bride out of jail and fly her to New York. Reed doesn’t react well to the presence of an audience “didn’t like them. I think they did Tony Conrad puts a slightly different spin on assertive woman who isn’t shy about champione entire set of ‘Booker T.,’ [as if to say] the story in his liner notes for the MacLise oning her new husband’s talents. ‘fuck you!’” compilation Brain Damage In Oklahoma City. As it transpires, the marriage won’t last According to Sterling Morrison, it’s at one In his version, both the MacLises are still in very long, with Cale and Johnson divorcing in of these shows that John Cale and Lou Reed jail when Angus calls him in New York asking 1971. But it does have considerably longer to come to blows after Cale accidentally steps on for help. Conrad raises money from various run than Reed and Cale’s musical partnership, a distortion box and increases the volume of friends, including John Cale, Betsey Johnson, which will end in just a few months’ time. Morrison’s guitar fourfold during his solo in La Monte Young, and Marian Zazeela, and ‘Pale Blue Eyes.’ Cale then shuts it off and

then on March 24 wires a money order for ALSO … kicks the effects box across the circular stage. the grand sum of $30 to spring the MacLises MGM Records publicist Sol Handwerger puts In fact it’s not the first time Reed and Cale out of confinement. out a press release about The Velvet Under-have physically fought, and might be a sign

However it happens, the pair are soon reu-ground this month that seems surprisingly that whatever stage they’re on is too small to nited in New York City, and by April 28 are accurate when judged against much of the hold them both. jamming with Conrad and his wife Beverly hype of the period. Lou Reed is described (formerly Beverly Grant, star of the Warhol as “one of the finest guitar players on the Friday 26–Sunday 28 films Dracula and 13 Most Beautiful Women). contemporary merry-go-round now and La Cave, Cleveland, OH Several of these jams are recorded, but none the tops at writing songs”; Sterling Morri-This weekend marks the Velvets’ first appear-will be released. son “helps Lou with the writing and they ances at what will become one of their favorite

exchange some of the greatest solos and venues, perhaps second only to the Boston

rhythm pieces performed live today”; and, Tea Party. On April 26, a blurb in the Cleve-

more whimsically, Maureen Tucker’s “sym- land Plain Dealer gives advance warning of the

April phonic simplicity is like that of a human group’s “stranger and more startling musical

computer putting emphasis on that which images,” referring to them, somewhat inac-

really matters in the time and life of the curately, as an “avant-garde quintet from

song – look for no zany drum skiffles but New York’s Greenwich Village rooms … often

dedicated rhythms to perfection … bounce described as a pace-setter in dynamic hard-

Undated April … bounce … bounce.” Given the Velvets’ rock sounds.”

At some point this month John Cale mar-feelings about Verve’s competence (or lack ries Betsey Johnson at New York’s City Hall. thereof), however, they might get a rueful Among the attendees are Lou Reed, Sterling laugh out of the anonymous writer’s asser-Morrison, and, more surprisingly, Nico, who tion that, after their break with Warhol, the clearly hasn’t completely cut her ties with The group “are now on their own with MGM Velvet Underground despite having left the guiding their ever brightening path.” band almost a year ago. The press release also claims that the

The original plan was for Ladies’ Home Jour- Velvets’ music “is peculiar to most due to a nal to pay for the whole wedding, using it as mixture of feelings and some fogginess sur-an opportunity to take photos of the celebrity rounding their image.” Hard facts about the bride and groom. (As far as the magazine is band and their origins certainly seem to be concerned, Johnson, a noted fashion designer, thin on the ground: when the first rock referis much more of a celebrity than her new ence book (Lillian Roxon’s Rock Encyclopedia) husband.) But when the date is pushed back appears in 1969, much of the information after Cale is hospitalized with hepatitis, Ladies’ used is obviously taken from this very press Home Journal asks Johnson to go through the release.

wedding ritual on her own, with a picture of

Cale to be pasted in later. Friday 19–Saturday 20

Whether or not the magazine is in attend- Kinetic Playground, Chicago, IL ance when the wedding finally takes place, the This weekend’s shows are at a Chicago The April 27 show might well be the one event is not without drama. Johnson is turned nightclub run by Aaron Russo, who will described by student and future rock critic away from City Hall for wearing pants – still later become the manager of Bette Midler Glenn O’Brien in Transformer: The Lou Reed unusual for a woman anywhere in 1968, let and producer of the hit film Trading Places. Story. (The performance is placed right after alone at a wedding ceremony – before return-According to Susan Pile, who gets a speeding the release of The Velvet Underground & Nico ing in a micro-mini skirt. ticket while driving the band to the Saturday in that book, but the Velvets appear not to

As petty as it might seem in retrospect, the night show, the opening act at one of the have played at La Cave at all in 1967.) “That marriage widens the growing divide between nights is Blue Cheer, whose ‘Summertime spring The Velvet Underground were on tour Reed and Cale. In his autobiography, Cale Blues’ has just entered the US Top 20. Pile and they were coming to this club, La Cave, notes that he feels with hindsight that Reed also recalls The Velvet Underground opening which I went to all the time to see people saw the marriage as a betrayal of sorts, and for Steppenwolf this weekend as well. All of like [folk-rock singers] Carolyn Hester and

184 The bootleg LP pictured above features a performance of the legendary ‘Sweet Sister Ray’ taped in Cleveland in April 1968.

WHITE LIGHT/WHITE HEAT n MAY 1968

Ian & Sylvia,” O’Brien recalls. “It was a Sat-

urday night and the club was full. They came

out one at a time. John came out first and he

looked so fucking weird. He had this really

long hair and this diamond rhinestone collar,

which you’d never seen anything like. And

then Moe came out and you couldn’t tell

what sex she was. The first song took about

20 minutes and Lou was the last one to come

out. He just looked amazing. His neck looked

so muscular and he had this weird kind of

Roman haircut. It was hip to have long hair

then, but he had pretty short hair and these

amazing sunglasses and a [hollowbody] Gibson guitar. We were all sitting there thinking,

‘These are really junkies!’”

Several unofficial live tapes of the Velvets

will be made at La Cave during the late 60s;

the first is from this weekend. Much of it is

devoted to a marathon, 39-minute version of

‘Sweet Sister Ray,’ a song that will for many

years become a sort of holy grail among serious VU fans. It’s highly sought-after partly

because no official version exists, but also

because of the many raves about how good

the tune is by those fortunate enough to have

seen it performed in concert. There are also

the high expectations that go along with any

song whose title leads one to believe that

it might be a ‘sister’ of sorts to ‘Sister Ray’

itself.

Based on this admittedly poor-quality

tape, the reality, as is so often the case with

these things, is more prosaic. At least in this

form, ‘Sweet Sister Ray’ isn’t so much ‘Sister Ray Part Two’ as it is a rather languid

and mostly instrumental, bluesy jam. The

band does manage to coax some interesting pirouetting riffs, feedback surges, and

fluttering, shimmering effects out of their

instruments, but the hazy fidelity makes Lou

Reed’s occasional, apparently off-the-cuff lyrics all but indecipherable. And if Maureen

Tucker’s playing at all, she’s not audible. All

in all, it’s like waiting for an apocalypse that

never comes, at least if you’re holding out

for something extraordinary.

Also included on the tape is a good per- May formance of ‘Heroin’ and a half-minute snip- Tuesday 30 pet of ‘Venus In Furs.’ The rest of the show Czech playwright Vaclav Havel attends the is missing, according to Michael Carlucci, English-language premiere of his play The the former owner of the New York store Memorandum at the Public Theater in New Subterranean Records, because the Cleve-York. During his six-week stay in the city, he’s Undated May land fan who recorded it “[left] it in his car. urged by a Czech-American friend to buy Hullabaloo gives the Velvets a full-page ‘fea-His sister used the car, saw the tape, put it either White Light/White Heat or The Velvet ture’ that makes some mention of the new in a cassette player, and started recording Underground & Nico. It’s unclear which of the White Light/White Heat LP but is mostly given her friends laughing and being stupid. He two he buys, but he certainly gets one of them, over to a large photograph of the band in “vel-wanted to kill his sister.” Among the casual-and will remain a fan of the group through-vet, leather, satin, and brass stuff … designed ties, Carlucci believes, were ‘Sister Ray’ and out the next two decades, during which time by Betsey Johnson of Paraphernalia.” Much ‘Hey Mr. Rain,’ “apparently … one of those his struggle for human rights in the Czech more bizarre is an advert elsewhere in the songs that went on and on, like half an hour Republic results first in jail time and then, issue for Verve’s “design your own psychedelic sometimes.” eventually, in the Czech presidency. subway token contest!” First prize is one of

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MAY 1968 n WHITE LIGHT/WHITE HEAT

five “MGM play-tape machines”; runners up Press, in which Gene Youngblood hears “the the Angus MacLise compilation Brain Damage receive one of 200 Velvet Underground LPs, same driving, hypnotic, relentless rhythm that In Oklahoma City, Tony Conrad mentions mak-or 300 VU 45s (of which there must be a lot was irresistible in The Velvet Underground & ing a recording of the band’s appearance. of unsold copies lying around). “What you see Nico. Nico no longer is with them. It doesn’t Rock critic Ben Edmonds also remembers above is a blank subway token – a free trip on matter. The Underground’s music says ‘We’re seeing the Velvets on Upbeat. “I could swear The Velvet Underground!” the ad continues. not kidding.’ It is sincere … and on the new that when I saw them on the show in 1968, “All you have to do to win this contest is to fill album, ‘The Gift’ and ‘Sister Ray’ exude a it was ‘White Light/White Heat’ they played, in the token – with crayons, oils, watercolors scathing, soulless genius that conjures up and that they were filmed so deep in shadows – in the psychedelic way!” Bosch debacles and sadomasochistic dream that you almost couldn’t pick them out,” he

MGM also sponsors a contest in Jazz & Pop states. Listening is like a visit to hell with-recalls. “But I was tripping at the time, so who magazine this month that gives the impression out getting burned, and we’d all like that, knows what I saw …” that the label is dying to literally give away cop-wouldn’t we.” ies of its Velvet Underground records. After More than any previous reviewer, Young- Tuesday 14–Friday 17 simply filling in a coupon, readers stand the blood plays up the group’s sensationalistic Angus MacLise, Wooster Street chance of winning an MGM Play Tape 2 (“the attributes but also pays intelligent tribute to Cinematheque, New York, NY most exciting breakthrough in tape cartridge them. “The Underground’s music is cruel, sav-Advertised on posters (designed by Hetty history”), or a “complete set” of VU albums. age, animal,” he writes, “for balling wildly on MacLise) as a “gala benefit for Angus and (There’s no mention of the fact that there are a big white bed under black light, stoned out Hetty MacLise,” this four-night run of multi-just two such LPs in existence.) And the third of your mind, the smell of sex and incense media shows is billed as Brain Damage In Okla-prize? A “life-size poster – 30 inches wide by mixed in ambrosial madness, and suddenly homa City and has been staged to raise money 40 inches high, mounted, with easel – of The you lose everything, all inhibitions gone, and to cover the cost of the couple’s release from Velvet Underground.” A reproduction of the you step outside yourself and see the beast jail. The shows amount to a reunion of sorts poster, showing the Velvets reclining moodily with two backs sweating in reality. Their elec-of many of the principal figures associated on a hillside, is also included in the full-page tronic music doesn’t make pretty arabesques; with the avant-garde side of The Velvet Under-advertisement, which adds that there will be it grates and grinds, rasps, and rattles, grabs ground. Playing alongside the MacLises are five winners of each of the three prizes. your groin and trembles you. Makes Blue Tony Conrad, Piero Heliczer (who physically

As tacky as all of this might seem in later Cheer seem weak with half the volume. It’s pushes the ‘swinging speaker’ through which years, it should be noted that the Velvets are the Rock Of Reich, the Noise Of Nihilism. Conrad has decided to play), La Monte Young, not the only underground to be subjected to A ruthless howling cry swirling up from the Marian Zazeela, Terry Riley, and Henry Flynt. promotional gimmicks such as these. One bottomless neon depths of East Village speed “Images” by Don Snyder and Jerry Jofen are need look no further, for example, than dens and Jack Smith’s transvestite orgies. shown; John Vaccaro’s Theatre of the Ridicu-The Mothers Of Invention, whose debut LP “The Velvet Underground’s atonal, lous performs; and work-in-progress scenes Freak Out! was promoted in June 1966 with cacophonic first album was ahead of its time,” are screened from experimental filmmaker the giveaway of 1,000 cardboard jigsaw puz-Youngblood concludes. “If time has caught Ira Cohen’s film The Invasion Of Thunderbolt zles of the jacket art to radio stations. And at up with White Light/White Heat, style has not: Pagoda, in which the MacLises and Conrad least the winners of the Jazz & Pop contest the style is still unique, if not polished. And appear. (Music recorded at one of these shows had to buy the magazine and fill out a cou-uniqueness is rare these days. My only com-is later incorporated into the soundtrack of pon. According to an MGM rep quoted in plaint is there’s not enough of John Cale’s the film.) a June 1966 Billboard article, copies of Freak electric viola.” A couple of musical performances from Out! were supplied to “radio stations in most the final show – the half-hour ‘Dreamweapon

of the major markets [to] give away without Saturday 11 Benefit For The Oklahoma City Police Dept. strings attached.” I TV WEWS Studios, Cleveland, OH. Pt 1,’ and the 13-minute ‘Pt. 2’ – will even-

Upbeat tually be released on the 2000 compilation

The only television show known definitely CD Brain Damage In Oklahoma City. MacLise

, Early May to have featured The Velvet Underground in plays barrel conga, accompanied by his wife

Nico runs into Jim Morrison, with whom she 1967 invites the band back, this time alongside on tambura, Conrad on limp string, Flynt on had a fling last year, in Los Angeles. According The Yardbirds, Bobby Goldsboro, Mary Wells, song flute and voice, and Jackson MacLow on to a report in the May 18 New Musical Express, The Outsiders, The McCoys, Kim Weston, recorders and voice. The music is as freeform “Zoot Money made his American debut with The Short Kuts, Bob Francis, and Harumi, and unclassifiable as it gets, with traces of both Eric Burdon & The Animals at a special mid-a Japanese singer-songwriter signed to Verve free jazz and Asian music, although Conrad’s night show at the Whisky A Go Go last Thurs-and produced by Tom Wilson. It’s unlikely limp string sometimes produces twanging day night, which brought in a jammed house the Velvets get to see The Yardbirds again, buzzes and fierce scrapes that hover at the of enthusiastic followers … The highlight of however, as the great British band pre-taped very edge of The Velvet Underground’s most the evening – which was witnessed by Al Jar-their appearance on April 25. outré improvisations. Another slightly similar dine, Dennis Wilson, Jim (Doors) Morrison Although Upbeat is not shown on national point of reference might be the least struc-and Nico (Andy Warhol’s Superstar) – was network television, it’s still pretty good expo-tured sections of ‘Sing This All Together (See the introduction of The Animals’ new single sure, as the show is also broadcast in quite a What Happens),’ the critically panned jam ‘Sky Pilot.’” few other cities. This episode definitely airs on The Rolling Stones’ Their Satanic Majesties

Chicago, as the May 10 edition of the Chi— Request, although MacLise’s rhythms are (as

Friday 10 cago Tribune mentions that it will be broadcast usual) so frenetic and random that he has

An unusually detailed review of White Light/ “tomorrow at 4:30pm” and lists the Velvets trouble keeping up with himself. White Heat appears in today’s Los Angeles Free among the featured acts. In the liner notes to This is the world that John Cale, Lou Reed,

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WHITE LIGHT/WHITE HEAT n MAY 1968

ground’s first, troubled trip to California in

May 1966. They’re now ready to try the West

Coast again at a pair of concerts promoted by

Pinnacle Productions, one of whose partners,

Sepp Donahower, knows Paul Morrissey. The

organization’s other partners are Marc Chase

and John Van Hamersveld, who directs a large

budget for the environments and the media,

and designed a striking poster for these shows

using a publicity photo of the Velvets as the

centerpiece of a cartoon strip.

“I [was] trying to do a spoof on an S&M

sensibility,” he explains. “The congregation of

the band, and then putting the beautiful princess in the centerpiece as a kind of perverted

dichotomy of good and evil or whatever, sets

the stage for The Velvet Underground.”

The Velvets are advertised as part of an

8:30pm–2am bill alongside The Chambers

Brothers, Dr John, and Salvation, with tickets priced at three dollars in advance or four

at the door. A review in the May 27 edition of

the Los Angeles Times, however, lists The Electric Flag in place of The Chambers Brothers.

Reporter Pete Johnson doesn’t like the Velvets, but they do at least inspire him to come

and Sterling Morrison left behind around the blues syndrome.” Opening Thursday’s show up with a new term to describe their “sado/ time MacLise left The Velvet Underground. are The Hallucinations, whose lead singer, maso/medico/necrochistic lyrics,” backed The music the Velvets are playing at the Bos-Peter Wolf, will go on to stardom with The by what he calls “a muddy Chuck Berry beat. ton Tea Party on a couple of these same eve-J. Geils Band; on Friday and Saturday, the Sometimes they are exciting, sometimes they nings is commercial pop by comparison. slot goes to local group Bo Grumpus, who are pretty, often they are dull.”

have recently released an obscure Atco LP Jeff Perkins, who previously saw John Cale

Wednesday 15 produced by Felix Pappalardi, better known at the Pocket Theater way back in his La

Brooklyn Academy Of Music, Brooklyn, for his work with Cream. Monte Young days, and watched the Velvets New York, NY Although Wolf will later claim in the Boston play in New York in 1966, is now working at In the midst of the Velvets’ virtual boycott of Phoenix that The Hallucinations opened for the Shrine as a member of the Single Wing New York, the closest they come to actually The Velvet Underground at least 40 times, this Turquoise Bird light show. “The hall was a giving a concert in the city is this benefit for must surely be an exaggeration. It might well very big open space, with no chairs,” he Merce Cunningham And Dance Company. be that they play some shows as an unbilled recalls. “Basically, the Shrine was a hall for John Cage and the two David Rockefellers, opening act – perhaps at concerts whose dates trade shows and even animal shows – I think Sr and Jr, are among the guests, unfazed by haven’t been documented. But these are the they even auctioned animals in there. It had picketers from The Committee Against Disonly Boston Tea Party gigs for which they’re a balcony running along the whole perimeter crimination In The Arts. Women’s Wear Daily listed as appearing. of this rectangular space. I don’t know that can usually be relied upon to report the The Exploding Plastic Inevitable might be they had ever played in something that big, Velvets’ high-society events, having already a thing of the past, but that doesn’t mean and it was perfect for what they were doing written up the group’s 1967 shows at Philip that light shows don’t still play their part at as far as the sonic aspect of the music was Johnson’s house and the Lincoln Center, and VU concerts here and elsewhere. “We had concerned. comes through again with a notice about how things going on on all the walls,” recalls Ken “In this long, long piece, ‘Sister Ray,’ I the group “broke the sound barrier,” leading Brown, who works in-house light-shows for got this sort of sonic experience from their the picketers to “drop their signs and [try] to the Velvets and other groups at the Boston performance that I was aware of through La join the party.” Tea Party during the late 60s. “I remember Monte Young. Because La Monte was explor—

the Velvets as being one of the more frequent ing the phenomena of sound, really, in a

Thursday 16–Saturday 18 of the groups that we performed with; they very technical kind of way. Cale was aware of

Boston Tea Party, Boston, MA were the house band in a way. Their sort of that, and so was Lou Reed, I believe. So in This latest run at the Velvets’ home away from steady, rhythmic sessions worked with the the middle of this one song, they created this home comprises three 8pm shows with an lights once we would get into the rhythm of harmonic that sounded like the roof of the admission fee of three dollars. The announce-what they were doing. They were always very building was cracking open! It was just wild; it ment of the VU’s appearance in the May 14 lively performers.” went on for a long time. It was really the ulti-edition of the MIT student newspaper, the mate in trance music, even beyond what La

Tech, is brief but memorably weird: “Next Friday 24–Saturday 25 Monte was doing, because it was so loud, and week the Tea Party will showcase The Velvet Shrine Hall Exposition, Los Angeles, CA there was so many instruments involved. The Underground and their hard-rock/talking-Two years have passed since The Velvet Under-dissonance combined with the phenomena of

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the sound waves was quite an extraordinary the EPI in May 1966. The light show, he adds, mildly atonal strokes of John Cale’s viola. Just kind of event.” “wasn’t behind the stage, it was above, on a a hint of hillbilly-dipped Bob Dylanisms have

Despite getting the thumbs-down from mural-like screen that wrapped two sides of crept back into Lou Reed’s vocal delivery, the Los Angeles Times, the event is appar-the arena. It wasn’t at the same level, visually.” while the words, by his own high standards, ently enjoyed by much of the crowd. “I was (Hot on the Velvets’ heels are The Yardbirds, are not particularly penetrating or complex. astonished that they were so popular in LA who are set to play the Shrine the very next Frankly, ‘Hey Mr. Rain’ is one of the group’s at that time,” Perkins continues. “Los Ange-weekend.) least memorable songs, and indeed will fail les in ’68 … West Coast flower-power, really, to find a place on either a 45 or an LP until

was the tone of the day. They started play- Wednesday 29 two versions end up on the 1986 out-takes ing ‘Heroin’ and people were yelling and M RECORDING TTG Studios, 1441 North collection, Another VU. applauding. It was a surprisingly enthusiastic McCadden Place, Los Angeles, CA. There’s not much difference between ‘Hey reception.” As another means of standing out In a last-ditch effort perhaps to cut some-Mr. Rain (Version One)’ and ‘Hey Mr. Rain in bold opposition to the flower-power vibe, thing Verve can release as a standalone sin- (Version Two),’ as they’re billed on Another Perkins adds, “Peter Mays and I did a black-gle, The Velvet Underground record at least VU. The second version is perhaps more and-white light show for them. We focused on a couple versions of a song that’s been part of appealing: it’s taken at a slightly quicker just doing black-and-white images with movies their stage show since at least mid 1966, ‘Hey tempo; Reed’s vocals sound more comfort-and slides. It wasn’t like a psychedelic, liquid-Mr. Rain.’ If that’s the intention, however, ably like his own; Cale gets into markedly light kind of show.” they sure pick a strange tune to use to try to more uninhibited territory with his viola; and

Van Hamersveld however feels that the Vel-crack the hit parade. Anchored by a nagging, there’s a blast of wicked fuzz-guitar in one of vets “were good, but not as good as they were circular, and none-too-catchy riff, the song is the instrumental breaks. Both versions bear at the Trip,” where the group played as part of embellished by disquietingly elongated and a Reed/Cale/Morrison/Tucker credit, sug-

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gesting that they might have grown out of a Saturday 1 Warhol upset that Reed hasn’t called or vis-group improvisation. This week’s New Musical Express contains ited sooner – they get back on good terms. In This is it, however, from the final studio one of the first British reviews of The Velvet The Autobiography & Sex Life Of Andy Warhol by session cut by The Velvet Underground while Underground, but the newspaper seems at a John Wilcock, Reed laments, “Andy’s gone John Cale is still in the group. It’s rumored loss as to what to make of the group’s latest through the most incredible suffering. They that the band also records a studio version album, White Light/White Heat. The full text of let [Solanas] off with three years. You get of ‘Beginning To See The Light’ with Cale the review is as follows: “Velvet Underground more for stealing a car. It’s just unbelievable on fuzz bass. It has never been released, but have a raving, out-of-tune, distorted sound … But the point is the hatred directed at him might well stem from around the time of on their long tracks – ‘I Heard Her Call My by society was really reflected.” these sessions. Name,’ and ‘Sister Ray’ take up a whole side. Similarly distraught after the shooting is The flip has only four numbers and the vocal- Nico, who lights candles and meditates in a Friday 31 guitar-piano leader Lou Reed of the quartet prayer of sorts for Warhol’s recovery. She also In their final days, The Yardbirds have takes composing credits for all six. Weirdo writes a song for him, ‘The Falconer,’ which taken to performing ever looser improvisa-stuff.” she will eventually record for her third album, tions on stage, sometimes segueing several 1970’s Desertshore. cover versions together into one pseudo- Monday 3 jam, and sometimes leaving one song for At the Factory, Andy Warhol is shot by Valerie Thursday 6 another before coming back to the first. A Solanas, a mentally unbalanced writer who The UK’s Disc magazine gives the Velvets their rough-sounding audience recording exists of appeared with Nico in I, A Man but is irate best mainstream review so far. “With The Vel-tonight’s show at the Shrine Auditorium in that he has lost a script she submitted to him, vet Underground, you either groove mightily Los Angeles, with Jimmy Page on lead gui- Up Your Ass (and hasn’t paid for it, either). on their music or find it utterly repellent,” tar. On one such number, they start out with Warhol’s wounds are serious, and his life an anonymous scribe notes. “Their first LP seven-and-a-half minutes of the Howlin’ Wolf hangs in the balance as he’s operated on at was brilliant, and White Light/White Heat, their classic ‘Smokestack Lightning,’ a live favorite Columbus Hospital. Warhol pulls through, second LP on Verve, is staggering. It must be since 1963, before segueing unpredictably but neither his health nor his demeanor will the first pop record ever to feature a long into ‘I’m Waiting For The Man,’ which they ever be the same, while the Factory will cer-horror story – ‘The Gift’ – with the group’s first heard when sharing a bill with the Velvets tainly never again be the same freewheeling hard, distinctive music grinding away in the in Detroit in November 1966. way-station for all manner of misfits. (Mean-background. ‘Sister Ray’ is a marathon freaky The Yardbirds only get through three verses while, just to add to the general confusion, hard-rock track, which extends the moods laid before retreating back into a burst of ‘Smoke-presidential candidate Robert F. Kennedy is down on the first album – an amazingly excit-stack Lightning’ for the sign-off. But it’s an assassinated a day later.) ing sound. Produced by Tom Wilson (Bob effectively hard, blues-rock arrangement, even Hetty MacLise recalls arriving at the Fac-Dylan, Mothers Of Invention), the Under-if vocalist Keith Relf is barely audible on the tory with her husband and Gerard Malanga ground are a very American, very hip rock tape. This is the first known live recording by right after the shooting. As the elevator doors band with meaningful and often evil lyrics a big-name act of a Velvet Underground song, opened, she says, “a man ran toward us with which combine to exert a powerful hypnotic but won’t appear on bootlegs until 1979. More a white shirt on with a red stain on the front state on the listener. Hear it – if you dare!” than three decades after the concert, bassist of it, yelling, ‘Shooting, shooting!’ So we Chris Dreja expresses regret that a proper backed up against the lift door, thinking that Friday 7–Sunday 9 Yardbirds recording of ‘I’m Waiting For The we were getting in camera range, ’cause they Avalon Ballroom, San Francisco, CA Man’ isn’t available, telling Ugly Things maga-were always shooting [film]. Then I saw these “We left California alone for two years, because zine, “That’s another one we probably should feet sticking up behind one of these big work they’re so determined to do their own thing, have recorded in the studio.” benches, and we ran over, and there was Andy their own San Francisco music,” Morrison tells lying on the floor. He looked up from the the Vancouver newspaper Poppin this summer. floor and saw us standing there, and said, ‘Get “We were just rocking the boat. They don’t

June Hetty out of here immediately’” – knowing want to know about that. ‘There’s only one

the MacLises are on bail from Oklahoma, and music, and we all know what it is … it’s what that they risk further trouble if they’re still The Grateful Dead play. That’s the very best around when the police arrive. As she tells it, rock’n’roll can ever get, and everybody else the MacLises go down the back staircase with imitate me or hang up your ax.’ We said, like, Undated June Malanga just as the cops are coming up the ‘You’re full of shit, your city, your state, and I TV WEWS Studios, Cleveland, OH. elevator. (Malanga is on his way to attend to everything else.’” Upbeat Warhol’s aged mother.) The fact is however that the city has such a According to Tom Cramer of The Velvet Andy Warhol might have stopped manag-thriving live rock circuit by the late 60s that Underground Web Page, “The Velvets per-ing The Velvet Underground almost a year it would be foolish for the Velvets to ignore it formed live on the Upbeat TV show in June ago, but the band are deeply shocked and on principle, whatever animosity they might 1968 … they performed a blistering, buzz-saw upset by the incident. As Steve Sesnick recalls, feel. That hasn’t stopped them refusing to version of ‘Run Run Run.’ Their rendition of Lou Reed learns about the shooting from the play in New York City, of course. But they have ‘Run Run Run’ went beyond their allotted newspaper headlines on the elevator at the returned to San Francisco, despite not having time: thus, Upbeat cut away to a commercial Beverly Wilshire Hotel, where the Velvets are a good time on their first visit in May 1966. while the Velvets were engaged in feedback staying in Los Angeles. He calls Warhol at Unsurprisingly, the Velvets are not playing frenzy with Lou’s back to the camera.” Columbus Hospital later in the month, and at the Fillmore – still run by Bill Graham, with after an uneasy start to the conversation – with whom they had a run-in on their first visit –

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back and did a second, completely different set (one of the bonuses of SF ballroom shows of that era). They did first and second— album stuff, of course – I’m sure ‘Heroin’ was

included, I’m pretty sure I recall a mind-bog—

gling ‘I Heard Her Call My Name,’ probably

‘White Light’ and ‘Waiting For The Man.’

“I definitely recall one or two third-album

songs being introduced (at least as far as I was

concerned) – ‘Beginning To See The Light’

and ‘What Goes On’ are the titles that spring

to mind. ‘Pale Blue Eyes’ does ring a bell too

as something they may have done. The second

set included (and probably concluded with)

an extended ‘Sister Ray’ that seemed to go

on for a half-hour and was mesmerizing. I’ve

always remembered this show as one of the

best I saw during that period, overall.

“The most memorable aspects were just seeing such a phantom, legendary band in the flesh,” Barnes continues, “plus the interplay

between the musicians and the sheer intensity they boiled up together on ‘Sister Ray’

and the other extended tunes. Lou was one

of my guitar heroes at the time (still is), and

he was ablaze.” As far as the absence of the

Exploding Plastic Inevitable is concerned, “I

didn’t miss any of the Warholian trappings

I’d read about. This was a stunning display

of rock’n’roll without frills. I always felt very

lucky I got to see a show while Cale was still

in the band. The viola/guitar interplay and

texturing was remarkable.”

Friday 14–Saturday 15

Hippodrome, San Diego, CA

Having scheduled a series of gigs up and

down the West Coast in June and July, The

Velvet Underground seem finally to be following something approaching the touring itinerary of a conventional rock-band. This

weekend’s shows, which begin at 8:30pm and

have a $2.50 admission fee, are the group’s

first in San Diego, but are not as celebrated

as the ones they’ll perform at the same venue

three weeks later. The band probably aren’t

too pleased either that posters for these shows

bill them as Andy Warhol’s Velvet Under—

this time, but the Avalon. It might not have around with heavy-metal progenitors Iron ground, but Warhol’s name is at least in a the international reputation of the Fillmore, Butterfly, who are about to storm the charts much, much smaller typeface. Support comes but the Avalon puts on almost as many excel-with their mammoth-selling In-A-Gadda-Da- from San Francisco bands Clover and Maya. lent shows in the 60s as does its better-known Vida LP. Also on the bill are the rather more In a review of the Friday show for the San competitor. In any case, the group now seem obscure Seattle-based group Crome Syrcus, Diego Union, Dick Barnes hails the Velvets as ready to make their peace with San Francisco, while the audience includes Ken Barnes, “one of the East’s finest rock groups.” It’s as they will return to play the Avalon on quite who will shortly become a professional rock one of the most positive reviews the band has a few subsequent occasions. One assumes that critic and eventually the music editor of USA received in a major daily newspaper to date. they certainly would not be able to do so had Today. “The Velvet play rock music with a rare and they not started to build a considerable Bay “Crome Syrcus were kind of overambi-delightful honesty and intensity that pervades Area following (in spite of their reservations tious prog-rock, then the Velvets did a set,” anything they do regardless of the form or about the region’s homegrown rock scene). he recalls. “That was followed by a long set pace of the composition,” he writes. “These The Velvets probably aren’t too thrilled, by headliners Iron Butterfly, most of which subtle qualities were what captivated a crowd however, to be sharing the bill this time I endured in the lobby. The Velvets came of about 1,600 … One senses a tremendous

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inner tension in the Velvet; a tension and Mirror,’ ‘Lady Godiva’s Operation,’ ‘Sister music by Nico. The lead sheet for the enig-intensity that catches the audience and wrings Ray,’ and ‘Winter Song’ – the last of which, matically titled ‘Thought Things’ contains them out.” of course, is not even a Velvet Underground repeated references to light and supplications Surprisingly, Barnes singles out two as yet song, but a John Cale composition recorded for forgiveness. It’s possibly a working title for unreleased songs as highlights. The first is by Nico for her Chelsea Girl album. “In an a song cut during the Marble Index sessions ‘Foggy Notion,’ which he describes as “a very age of hype – local enthusiasm fogging real-or later on; the title phrase doesn’t appear heavy piece sparked by some fine drumming ity and general lack of integrity the Velvets, in the lyrics. by a girl who stands up while turning in one who at first were put down so often … appear of the best jobs since Ginger Baker was here to be the most positive new sounding group Thursday 27–Monday 30 with Cream.” The second is ‘Sweet Rolling,’ “a around,” the unnamed journalist writes, in Retinal Circus, Vancouver, British 40-minute long, strangely dissonant, swelling a piece that often has the tone of a press Columbia, Canada piece that ended the last set.” The Velvets will release. “They are on tour right now on the The Velvets’ next series of gigs takes them way never record a song called ‘Sweet Rolling,’ West Coast thru July. They found the audi-up the West Coast and into Canada, where so it seems reasonable to assume that Barnes ences to be generally very seriously interested they’re supported by local groups The Seeds is referring either to a long version of ‘Sister in music and just happy to be alive.” Of Time (June 27), Black Snake Blues Band Ray’ (or ‘Sweet Sister Ray’), or to the sup- (June 28), My Indole Ring (June 29), and posedly lost VU song ‘Sweet Rock And Roll,’ , Late June both Papa Bear’s Medicine Show and The which the group will play a few more times in Guest-edited by Gerard Malanga, the summer Don Thompson Trio (June 30). This is pre-Southern California in July. 1968 issue of Film Culture includes about a sumably the Vancouver club that John Cale Another review appears in The Teaspoon couple dozen photo-booth pictures of Nico, calls a “heroin supermarket” in his autobiog-And The Door, a local underground newspa-as well as an article about The Chelsea Girls by raphy, having apparently partaken in some per. “The New York-based Underground, who Susan Pile. of the substance himself during his stay. It’s are distinctly unaffiliated with the West Coast also here that he falls off the side of the stage rock-blues sound, were well received by the Wednesday 26 just after lifting some speaker bins onto it; large crowd which mentally wallowed in the As an indication of the fact that Nico now has x-rays reveal a broken wrist. He manages to orgasmic Underground sound,” writes Steve an official relationship with Elektra Records, go ahead with the show as planned, despite Gifford. “Saturday night the Underground ten of her songs are registered today with the having to play with a cast on his wrist (a look played an extremely involving two-hour set label’s publishing division, Nina Music. Six of he will later disparage in an August 1975 inter-which completely destroyed the audience, left them will appear on her forthcoming album, view with Let It Rock magazine). limp at its conclusion. The music was earthy The Marble Index: ‘Ari’s Song,’ ‘Facing The Famed science-fiction author William Gib-with a heavy beat and moderate use of elec-Wind,’ ‘Frozen Warnings,’ ‘No One Is There,’ son and his wife are in attendance for one tronics and feedback. The sound it created and a couple of others whose titles are not of the Velvets’ shows at the Retinal Circus, was all-enveloping. Catharsis was particularly yet finalized, ‘Can You Follow Me’ (an early either this weekend or later in the year (Octo-strong in ‘Heroin’ and the 45-minute conclud-name for ‘Lawns Of Dawns’) and ‘Midnight ber 31–November 3). “She says that Gerard ing number [most likely ‘Sister Ray’ or some Winds’ (which becomes ‘Evening Of Light’). Malanga, in leather jeans, while attempting to variation thereof], which included electronic Two others – ‘Nibelungen,’ which becomes dance sinuously with his bullwhip, managed violin and organ as well as the regular guitars ‘Nibelungen Lied,’ and ‘Roses In The Snow’ – to injure himself with it, and that that was … they’re a heavy group.” will later surface as out-takes included on CD what she and her friends most enjoyed about It’s probably around now that a strange arti-reissues of the album. That leaves two songs the gig,” Gibson recalls in a piece written on cle appears without a byline in an undated that aren’t included on The Marble Index or January 22 2007 for the catalog produced issue of the Los Angeles publication World any other Nico record. ‘Loreley’ is a Heinrich to accompany the same year’s c/o The Velvet Countdown. Most of the ‘story’ is actually Heine poem (originally titled ‘Die Lorelei’ Underground, New York, NY exhibit. It all makes given over to reprints of lyrics to ‘I’ll Be Your when written in the early 19th century) set to for a great story, but one wonders whether it

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really is Malanga on the stage, as mid-to-late ass out there and do the worst thing that you 4am, Morrison tells Denisoff that the group 1968 seems very late for him still to be doing can think of. You know, like Freud [said] … is on “the Top 40 blacklist,” while Reed adds his whip routine, particularly all the way across find the worst perversion and degradation that “they think we’re obscene. They misin-the continent in Vancouver. that, to you, is most repulsive, and do it. You terpret the songs … We’re too complex for It’s probably while they’re in town for these know, it’ll straighten you out. So people who teenyboppers.” shows that the Velvets are interviewed by Den-react to a song like that … well, you’ve hit a nis Hill for a piece that eventually turns up in nerve, you know, ha, ha ha. I just think it’s a

the second issue of the local rock magazine very pretty song. It has, like, an anthem qual- July Poppin in May 1969. As with many interviews ity to it.”

conducted during the infancy of rock journal-Less contentiously, Morrison offers some ism, more space is given to questions about reserved praise to both The Beatles and The drugs and social change than the group’s Rolling Stones. “I do like the Stones very actual music. (This, surely, is the only time much, because they’re a hard R&B group, Thursday 4 Lou Reed is asked, “Do you think that your far superior to The Beatles, you know, at the In the BBC magazine The Listener, Tim Souster music has social utility?”) Reed clarifies that beginning … the Stones, I think, went off the gives The Velvet Underground one of their he’s not in favor of drugs. “All of those people deep end. You know, they abandoned what first pieces of substantial, enthusiastic British sit around staring at candles all day,” he says. they were best at, and now they’re coming press. “‘Sister Ray’ shows that recorded pop “The action is taking place, but most people back to it, mercifully.” (The Stones’ last LP, is at last making decisive steps in a direction aren’t in there … drugs are encouraging a the psychedelic Their Satanic Majesties Request, with far-reaching implications for the creative tendency to sloth.” had put them out of favor with many critics, development not only of pop itself but of ‘seri— Sterling Morrison handles most of the other but their latest single, ‘Jumpin’ Jack Flash,’ ous’ music too,” he writes. Even more refresh-queries. His answers are pretty rambling, but has restored them to good standing.) The ing is his praise of the in-the-red production he does make a few important points about always opinionated Morrison goes on to hail that so vexes other critics of the group: “A The Velvet Underground’s music. “You’re not Rubber Soul as “the best album The Beatles final note of congratulations to the producer hearing us 100 per cent, because of the cast ever did,” to which Reed exclaims, “Oh, no!” Tom Wilson for having got onto a record a on John’s arm,” he notes. “He plays bass and “Yes,” Morrison replies, “only because it was very creditable replica of a pop group’s live viola and organ, and now he’s reduced to half-their album, as opposed to everything after sound. I have never before heard the aura of organ … and it makes a difference.” that, which was them plus other people.” high frequencies and distortion which binds Morrison also makes clear his anger at com-The Velvets also give an interview to R. the sound together into a single phenomenon parisons being made between ‘Heroin’ and Serge Denisoff at the Cove Hotel for a story coming out of a gramophone record.” some of the other ‘drug songs’ making the in the Peak, Simon Fraser University’s student rounds. “I hate the way people write really newspaper. Having “blown the minds of over Thursday 4–Saturday 6 heavy lyrics, and they tell you where it’s at 500 people” an hour earlier, the group is not Hippodrome, San Diego, CA on a very direct level,” he says. “Usually, it’s in the best physical shape. Cale is still “bat-The Velvets’ return to this shortlived venue, a complete bullshit. You know, all the songs tered and bruised” from his fall off the stage, converted roller-skating rink, comes just three that I’ve heard about drugs, the only one that and Tucker’s fingers are swollen and band-weeks after their first visit. They play alone made any sense to me was ‘Heroin.’ [Jefferson aged from pounding her twin kettle drums. on July 4, according to the San Diego Union, Airplane’s] ‘White Rabbit’ is pure bullshit … When the conversation turns to music, before sharing the bill on July 5 and 6 with [The Beacon Street Union’s] ‘Speed Kills’ Reed rejects a comparison of his singing style Quicksilver Messenger Service. It’s an incon-… to operate on such a literal and simplistic with Dylan’s, and Morrison puts down “the gruous match on the face of it, since Quick-level is, you know, literal, simplistic, and stu-whole folk scene.” The group cite Fats Dom-silver are venerated as one of San Francisco’s pid. The world is full of bad lyrics, and they’re ino-style rhythm & blues, The Beatles, The finest psychedelic-rock groups, and noted bad because they’re trying to tell you some-Rolling Stones, The Byrds, “and some Beach for the virtuosity of lead guitarist John Cipol-thing … trying to tell you how to live, you Boys stuff” among their favorites, but find lina, their clean, intricately woven guitar-lines, know, how to be cool … ‘do your own thing, The Doors “tedious.” Reed calls ‘The Gift’ a extended instrumental jamming, and hippie but don’t do this and don’t do that,’ just like “comedy in the Kafkaesque sense,” and feels anthems such as ‘Pride Of Man’ and ‘Light mommy and daddy told you, except now it’s that “acid is now an opiate of the people,” and Your Windows.’ And yet the curmudgeonly underground press, or it’s some bullshit art-perhaps even “a Johnsonian plot.” Sterling Morrison, who has little enthusiasm ist in music. I don’t want somebody telling “The Underground, according to Reed, generally for Californian psychedelia, is sur-me what to do, I don’t want somebody say-Cale, and Morrison, is producing serious lit-prisingly lavish in his praise of the band, and ing ‘Speed Kills. Don’t take it. It’s very bad. erary music which is basically a Wagnerian Cipollina in particular. Heroin very bad.’” tale coupled with a Phil Spector approach to The Hippodrome usually plays host to San When the conversation turns to ‘Venus In music,” Denisoff writes. “Cale explained that Francisco groups such as Quicksilver, The Furs,’ which Morrison has already called “one on their first album with Nico certain char-Grateful Dead, and Steve Miller, so it’s per-of my very favorite songs” and “a love song,” acters and ideas were developed. The second haps not surprising that at least one young he proceeds to live up to every protective LP, White Light/White Heat, added on to this, fan in attendance is let down by The Velvet parent and peace-loving hippie’s worst fears especially in ‘Sister Ray.’ The third album Underground. Darice Murray-McKay, who 40 about the band. “The people that ‘Venus In will expand upon these actors and themes in years later works as the reference librarian for Furs’ gets uptight don’t want to be aware of different setting and situations, and so on to the Haight-Ashbury branch of the San Fran-that option,” he says. “If it makes anyone’s album number 12. Not unlike the Teutonic cisco Public Library, reports that the concerts hair stand on end, I think they should go out epochs of Wagner.” are quite well attended, so the Velvets “must and do it. Like in the Freudian sense, get your Shortly before the interview wraps up at have been liked and known to the local com-

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munity to play the Hippodrome and draw them they appreciate what they’re doing.’ good to your soul …’ We used that as a pream-a crowd … [but] the VU sounded (to me) And as usual she was right, as Lou confirmed ble to ‘Sister Ray,’ it kind of just goes along and just like their records, while Quicksilver had when I talked to him.” then hits the chords, which were very heavy. the long improvised jams. I remember being It’s the first of several exchanges over the It was good. It was heavy, serious. Cale played bored. The sets were all the same: same songs, ensuing years between Reed and a man who keyboard on ‘Sweet Rock And Roll,’ and that same beat, same sound, same order … of the will do for rock journalism what the Velvets was really what carried it.” depressing drug-type songs. Very heavy, very are doing for rock music. Unfortunately the The song makes for an almost too perfect, dark, very heroin, with a dangerous (under-relationship will grow testy over time, but for typically Velvetian anecdote: a band so perverse ground) feel … while Quicksilver was light now Bangs has already anointed White Light/ they play a great song only once, never return-and color and acid and mind-wandering. The White Heat the best album of 1968 in a review ing to it live or in the studio in the belief that band seemed to be very East Coast: all dark he sends to Rolling Stone (which the magazine this mythical version can never be surpassed. colors, not a lot of patter between songs, and declines to print). And yet there is evidence that the song will very serious about the music and being true This particular gig will become well known be played at least once more. Robert Gold’s to the recorded sound.” among Velvet Underground aficionados for review of a show at the Shrine Auditorium in So much, then, for Morrison’s oft-quoted the unveiling – possibly for the first and only Los Angeles a week later mentions a “sour, rau-declaration (to Mary Harron of the New Musi- time – of a new song called ‘Sweet Rock And cous version of ‘Sweet Rock And Roll.’” cal Express in April 1981) that “the unanimous Roll’ (which bears no resemblance to Reed’s The song must have made an impression opinion was that we were ten times better live similarly titled ‘Rock & Roll’). As Bangs writes, on Gold for him to cite it in his review. But it than we were on records. We never played “Right in the middle of all these bad vibes, the seems unlikely that anyone else will ever get to a song the same way twice – never wanted Velvets launched into a new song that was one hear the ‘Sweet Rock And Roll.’ According to to, never could. And Lou changed lyrics all of the most incredible musical experiences of Morrison’s unpublished interview with M.C. the time. One of his great talents is that he my concert career. Lou announced it as ‘Sister Kostek and Phil Milstein of What Goes On, can spontaneously generate lyrics on stage – Ray, Part Two,’ but it sounded nothing like “That was a great performance … [but] the just like the old blues singers, Lou can go on the previous song. It was built on the most tape was stolen that very night. Stolen within forever rhyming.” (Ironically, given Murray-dolorous riff imaginable, just a few scales rising seconds, actually. As soon as it ended, it van-McKay’s remarks, Morrison will also later cite and falling mournfully, somewhat like ‘Venus ished, never to reappear on earth.” one of the Hippodrome gigs as the greatest In Furs’ but less creaky, more deliberate and ever VU show.) eloquent. The lyrics, many of which Lou made Saturday 6

Another rabid young fan in attendance is up as he went along, seemed like fantasy from The UK’s Melody Maker prints its first Velvet Lester Bangs, who will shortly become one of an urban inferno: ‘Sweet Sister Ray went to a Underground record review, but it’s not a the most widely read American rock journal-movie The floor was painted red and the good one. “Utterly pretentious, unbelievably ists. He supplies a rather different take on the walls were green “Ooohh,” she cried / “This monotonous,” is the newspaper’s dismissive show in a 1971 article for Creem. “In a way it is the strangest movie I’ve ever seen …”’ appraisal of White Light/White Heat. “It even was the ultimate Velvet Underground concert,” “But it was the chorus that was the most has one track taken up by a long bit of sto-he writes. “The audience was terrible; those moving: ‘Ohhhh, sweet rock and roll - it’ll rytelling.” that weren’t downright hostile kept interrupt-cleanse your soul.’ That’s classic, and no other Some retrospective accounts would have it ing the announcements between songs to yell group in America could have (or would have) that The Velvet Underground relished such out what they wanted to hear, like ‘How about written and sung those words.” negative reactions, but Martha Morrison sees “Heroin”!’ and even ‘Play “Searchin’ For My As Sterling Morrison will later explain in a different, more sensitive (and sensible) side Mainline”’ [i.e. ‘Sister Ray’]! his 1986 interview for Spanish television with to the band. “I always knew that they were “They were on with Quicksilver Messenger Ignacio Julia, “We also did a four-track tape trying hard to get recognition,” she recalls. Service, and much of the audience was apa-when we played with Quicksilver. We did the “I knew that they weren’t gonna change any-thetic or put off; they wanted those Califor-show and then went to a party, and Lou and I thing in order to get it. They worked hard at nia acid-vibes instead of what they took for and John Cipollina were sitting on this couch. their music, and I think were kind of puzzled cold New York negativism. Lou Reed, him-I’m sitting there and I heard Quicksilver – when they didn’t get good reviews and also self, came out from the dressing room and [who] had played first – and it was fabulous. disappointed. They really cared.” walked around the audience with his hands So then I hear us tuning up and I said to Lou: in his pockets, a slight, calm figure with a ‘Well I think I’m getting out of here!’ I didn’t Friday 12–Saturday 13 noncommittal expression on his face. Seem-want us sounding terrible compared to Quick- Shrine Auditorium, Los Angeles, CA ingly, nobody noticed him, because nobody silver, and I figured we had to sound terrible The Velvets find themselves on a great bill said anything to him – although almost every-compared to them, because I’d just heard how this weekend at the Shrine alongside a just-body in that place was so busy being cool they great they had sounded. Cipollina is a real past-their-peak Paul Butterfield Blues Band, could barely get up the gumption to dance, good guitar player. a fast-rising Sly & The Family Stone, and so it probably doesn’t matter. My girl and I “After tuning, we started with ‘Waiting For The Rockets, who after making one obscure wanted to go up and say something to Lou, The Man’ and it didn’t sound so bad, so I stuck album will evolve into Crazy Horse, Neil shake his hand and tell him how much we around. Then came ‘Sweet Rock And Roll,’ Young’s backing group. The first of the post-dug his music, but I was afraid. I thought he which was never recorded and never played ers designed to advertise these shows, how-would be some maniac with rusty eyeballs or again. We wanted that tape, it sounded so great, ever, is made up of lettering so fluid and florid something, the image made me nervous so we so there was no point in recording it. I think we that it’s absolutely unreadable, even by the didn’t approach him, even though she said: did it a time or two after that, but it was noth-standard of late-’60s psychedelic rock post-‘It seems to me like that was all they really ing compared to this first one. I remember the ers. Perhaps the promoters soon realize that wanted, for someone to just come up and tell chords and some words: ‘Sweet rock’n’roll is no one can figure out who’s appearing, as a

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handbill is made in stark black-and-white with

lettering as clear as you’ll find on a relic from the late 60s. Tickets for the 8pm–2am show

are priced at $3 in advance and $3.50 at the

door, a bargain even accounting for inflation

over the ensuing decades.

As Robert Gold writes in the Los Angeles Free Press, “The Velvet Underground [are without]

Nico but feature a drummer named Maureen

who beats the shit out of the tom-tom and the

bass drum. Her heavy continuous 4/4 outpour—

ing on the drums slams into your bowels and

crawls out your asshole. Meanwhile, the rest

of the band makes a sound that can only be

compared to a railroad shunting yard, metal

wheels screeching to a halt on the tracks. It’s music to go out of your mind to, if that’s your bent. Lead singer Lou Reed, who looks like

Clark Kent, sings original lyrics which can’t be understood due to the loudness of the group.

VU did a sour, raucous version of ‘Sweet Rock August And Roll.’ Velvet indeed!” not for the Velvets’ performances but for an incident during one of Tim Buckley’s sets, Friday 19–Sunday 21 when a Hell’s Angel is fatally stabbed near the Avalon Ballroom, San Francisco, CA stage. Buckley improvises lyrics about fearing The Velvets make a return visit to one of the for his life as the Angels glower nearby. Some Undated August bastions of hippiedom alongside another in attendance aren’t sure he’ll make it out of Unknown venue, Sag Harbor, Long underappreciated cult act of the late 60s, the Avalon alive, but the young singer man- Island, NY singer-songwriter Tim Buckley, who passed ages to escape unharmed after being bustled A story in the March 1969 issue of Screen Life through the outer rings of the VU orbit when off stage by venue staff. by Margo Rose mentions a Velvet Under-he accompanied Nico during some of her gigs ground performance at “a very hip resort in at the Dom early last year. Also on the bill are Monday 22 Sag Harbor, Long Island [on] a hot August All Men Joy (who are not The Allman Broth-Nico registers another Marble Index track Saturday night” (presumably not August 17, ers, who started out as The Allman Joys but with Nina Music, ‘Julius Caesar (Memento when the Velvets are otherwise engaged at the became The Hour Glass in 1967.) Hodie),’ under the abbreviated title Boston Tea Party). In a breathlessly enthusias— The weekend’s shows are most memorable ‘Memento Hodie.’ tic piece, Roses claims the show “was packed.

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Artists, writers, all the beautiful people in the produced by most new groups. They are lyrics cool, and seldom gyrated. I once remember New York show-business scene, were on hand. which breathe of real life, not empty conjec-Louis really shaking his ass to ‘Foggy Notion,’ Young people, teenyboppers, marrieds, the ture, and reveal a very human and loving side, a super hard-rock song. Recently the Velvets crowd was thickening, braving the heat, for-an almost Wagnerian sentimentality.” have become even more basic. They now wear getting about it even, as they sat rapt … The article also includes detailed analysis of simple clothes …

“The sound was hard-rock, electronic, with ‘Sister Ray,’ ‘I Heard Her Call My Name,’ and “The Velvets and The New York Art Scene a lot of fuzz and a primitive, pulsating rhythm ‘White Light/White Heat,’ as well as some are about the same thing,” he continues. “The that dared you not to become part of it. Soon unusual praise for Cale’s viola work on ‘The same old people [have] been around since the dance floor was full. It was difficult to just Story Of My Life,’ a song that the Velvets have early Pop. The ideas are the same. They Loved hear the music without getting up and m-o- yet to record, but have been performing live. honesty. The Velvets are honest. The scene v-i-n-g! Hot, intricate blues, worked in with By the time the song has made it onto tape has had a sense of humor and functionality. sophisticated harmonies and rhythms, and – as ‘That’s The Story Of My Life’ on 1969’s The Velvet Underground personifies this stuff. piercing strains of sometimes beautiful, yet The Velvet Underground – there will be no viola It can’t really be defined, I guess. more often cynical and pointedly sardonic in the arrangement, and no John Cale in the “The New York art scene has a unity that lyrics, floated in the air. Four figures at the band. must be indefinable. If I could say what it was, guitars, organ, and drums were silhouetted in it would be dead. Many of the New York Peo— the darkened, smoke-filled room, lean bod- Thursday 15–17 ple seem to have a unifying sense of humor. ies punctuating the music. Motion, sound Boston Tea Party, Boston, MA Also deep passion for basic honesty in people. permeated the lounge, leaving the listener After returning from their extended stay on Actually, outside of general stuff like that, it helpless. the West Coast, The Velvet Underground gets tricky. The image of sexual perversion, “The Velvet Underground has been tak-seem to take it easy for the rest of the summer. leather stuff, and general coldness aimed at ing the country by storm,” Rose continues. But they do return to the Tea Party for these the scene and specifically the Warhol crowd is “A slow storm – yet a persistent one as they shows – all at 8pm for a three-dollar admission inaccurate to the point of being a good joke. rage on, rising up, up above ground, making fee – for which they are supported by Eden’s The scene has lots of jokes. an indelible impression on all who hear their Children, a minor local psychedelic group “I don’t know why the Velvets or any of powerful, sexual hard-rock sound. Whether who put out two late-60s LPs on ABC. the others turned out that way,” Richman they are playing on the Coast, selling to Stand- concludes. “Apparently artists can make art ing Room Only crowds in Chicago, bringing sexual because of the eroticism – power of

the house down in Boston at the Boston Tea their minds. The Velvets are erotic, New York September

Party club, or making the Long Island summer is erotic, sex can be erotic, music is erotic, crowds (where I first had the pleasure of see-art is erotic.” ing them) come back again, they prove that they are a foursome not to be reckoned with, ALSO … an interesting and unique combo, compelling Undated September White Light/White Heat gets its highest-profile both as individuals and as a rock group which In this month’s Vibrations, a teenage Jonathan review to date – more than six months after has already proved its endurance powers, but Richman pens an appreciative piece entitled its release – in the latest issue of HiFi/Stereo whose fame and fortune is about to catch on ‘New York Art And The Velvet Underground.’ Review. Like so many other music journalists, like brush fire!” “Artists can do anything,” he writes. “If you ask Peter Reilly dismisses the band as “another [Pete] Townshend or [John] Lennon or Lou creation of the L.B. Mayer of the under-

ALSO … Reed of The Velvet Underground to change ground, Andy Warhol. One thing I’ll say about Crawdaddy runs an extraordinarily enthusias-media on the spot, they would all do it with Warhol and the movement he claims to spear-tic essay about The Velvet Underground by aesthetics and stuff.” head: you are never quite sure just how much Wayne McGuire that’s easily the longest and The comparison with The Who probably of it is put-on and how much is supposed to most positive piece about the band to date. appeals to the Velvets, who were likely among have ‘meaning.’ In this album I would say the It’s a hectic, gonzo appreciation that also the British group’s first American fans. Rich-put-on proportion is about 100 per cent. Take takes in references to philosophical commen-man continues by contrasting the two group’s ‘The Gift,’ for example; it seems that poor taries by C.S. Lewis, Friedrich Nietzsche, and stage acts: “The Who – acrobatic, excited, Waldo does not have enough money to go Jonas Mekas while making a series of some-obvious humor, Townshend – acts skinny, to the city to see his sweetheart Marcia, so he what vague points. (As unpopular as it might looks benevolent, great facial expression … decides to mail himself to her in a large box. be to say so, the article is downright hard to plays through two Sound City amps, four Marcia receives the box and in her effort to read.) speaker cabinets – of four 12-inch speakers open it uses her father’s speed saw. In the One thing is clear, however: McGuire is a apiece … which are in despicable condition. process she neatly cleaves not only the box big fan of the group. “Put quite simply, The The Who (Townshend) talk to the audience. but Waldo’s head. Lou Reed [actually John Velvet Underground is the most vital and sig-They are involved with the ‘big show’ concept. Cale, of course] chants this little tale against nificant group in the world today,” he writes, They are easily understood. Exciting but not a counterpoint of mediocre rock.” before hailing John Cale as “the heaviest bass astounding! Reilly is no doubt ignorant of the fact that player in the country today” and Lou Reed as “The Velvets are astounding! They used the Velvets and Warhol have gone their sepa-“an incisive lyricist, creating a folk mythology to look much more sinister. Often, Lou and rate ways by the time White Light/White Heat of New York City and our generation which John, the viola player, with Maureen, the is recorded, and indeed that Warhol never rings deep and true through the pap of fum-drummer, and Sterling, guitar, also near used the group as a front for his own ideas. bling unfocused artificial surrealistic imagery black. Three black Vox amplifiers, black lyr- “There must be an audience for this sort of and facile pseudo-mystical-morality lessons ics, black rhythms! They seemed unexcited, thing somewhere, and I congratulate Warhol

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Nico compilation The Frozen Borderline 1968– 1970, the recording of her second album, The Marble Index, takes just four days in early September. But there’s reason to believe that the

album is finished sooner than that, or at least that some sessions took place at an earlier

date. The May 24 1968 edition of the East Village Other reports that “Nico has just finished recording her first Elektra album, arranged by John Cale,” while other reports suggest

that the album is released in September – an

impossible turnaround if the recording sessions really do take place this month.

Nico has been recommended to Elektra

president Jac Holzman by publicist Danny

Fields. It’s possible that she might have played some of the album’s songs live, accompanying herself on harmonium, at after-hours performances at the Scene before entering

the studio, but no specific dates have been

confirmed.

“Originally I brought her up to the office

and she just sat at her harmonium and sang,

although she had done some sort of bathroom tape of those songs before,” Fields tells Mick Houghton in the liner notes to Forever Changing: The Golden Age Of Elektra Records 1963–1973. “Jac simply recognized good songs – that was the essence of Elektra. And he saw that in Nico even though that was the last

thing you imagined about her. Nico wasn’t

known as a songwriter but Jac saw something

beyond the fact that she was an actress and

had been in the Velvets and was associated

with Andy Warhol.”

The Marble Index will be very different to Chelsea Girl, in terms both of production and material. All of the songs are Nico’s own compositions. She and Fields originally wanted John Cale to produce the record, but Holzman is put off by his inexperience. The job goes instead to Frazier Mohawk, whose credits

include records by The Paul Butterfield Blues

Band and the eclectic West Coast folk-rock—

psychedelic group Kaleidoscope. He’s also

about to produce another record that’s just as

far outside the mainstream as The Marble Index, The Moray Eels Eat The Holy Modal Rounders by acid-folk favorites The Holy Modal Rounders. As Fields explains in the Forever Changing liner notes, Holzman “felt that Nico needed an unadventurous producer, and that’s how

for pulling off yet another swifty in getting aced by the usual HiFi/Stereo Review ratings for Frazier Mohawk came in, but John was the this recorded and released,” Reilly concludes Recording (“fair”), Stereo Quality (“distinct”), real producer. Frazier Mohawk was the pro-haughtily. “There are times, however, when I and Performance (“not so good”). ducer simply because Jac wanted somebody harbor the suspicion that Andy Warhol smokes connected with Elektra to be there.” Chesterfields, has a stock broker, and has been , Early September Cale is certainly heavily involved in The Mar-laughing up the sleeve of his leather jacket all M RECORDING Nico Elektra Studios, 962 ble Index sessions. Not only does he handle the along.” For all the subsequent complaints North La Cienega Boulevard, Los Angeles, arrangements, he also plays everything except about White Light/White Heat’s sound quality, CA. Producer Frazier Mohawk, engineer John harmonium, which Nico plays herself. As a however, Reilly rather surprisingly has nothing Haeny. testament to his multi-instrumentalism, Cale to say on the matter, although his review is pref-According to the liner notes to the 2007 contributes glockenspiel, bells, mouth organ, A shot of Nico from the photo session for her LP The Marble Index. 197

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and bosun’s pipe as well as the expected elec- “The viola was useful in this way because of ‘Julius Caesar (Memento Hodie)’ is, in as tric viola, piano, bass, and guitar. He’s by some the long notes and drones I could play on it much as such a description can be applied to distance Nico’s most important collaborator to set up the tuning right from the start, like so unusual an album, a typical Marble Index on the record, and his success here will soon in ‘Frozen Warnings.’ Then I used ‘noises’ song, with a swirling, trance-like mix of har-pave the way for him to start a parallel career to vary the texture. Each song needed fresh monium, viola, and stoic, free-associating lyr-as a producer without ever abandoning his detail, and I had to present contrasts of pitch ics. Some of the repetitive pulsations of Cale’s own performing and recording activities. as well as timbre. I wanted to highlight an minimalist schooling come into play on ‘Fro—

Nico herself is no longer the fragile folk-extreme of range – I just had to do something zen Warnings’ – Nico’s favorite track on the pop ballad-singer of Chelsea Girl, or even the to leaven out the unrelieved low chords of the album – with its vibrating, circular musical girl who sang The Velvet Underground’s harmonium. Bells were best. That’s where the backdrop and the singer’s even-tempered yet ‘Femme Fatale’ and ‘I’ll Be Your Mirror.’ glockenspiel and the piano came in at the resolute meditations on frozen warnings and She’s now singing gothic, glacial, and somb-head of the album, a little prelude to estab-borderlines. erly poetic songs of loss, loneliness, and emp-lish the extremes of texture. All the rest was The merest hint of mythic folk graces the tiness that bring to mind images of a Nordic assisted by the nature of the songs.” LP’s closing track, ‘Evening Of Light,’ on princess surveying endless snowy fields and Of the 12 songs known to have been which a ringing pattern weaves around buzzes barren moors under sunless skies. Her voice recorded at the sessions, only eight appear and groans that grow progressively more dis-is far more full and commanding than before on The Marble Index. The one selected as the traught. Here Nico announces the landing – and far more on-pitch – but there’s a slight leadoff track, ‘Prelude,’ lasts only a minute. of midnight winds and sinking dungeons stentorian quality as well. The melodies are As a reasonably soothingly and ethereal yet with all the fatalism of a town crier during almost unrelentingly bleak and ominous, fall-abstract tone poem, with plenty of Cale glock-the Black Plague, resolutely unmoved as the ing somewhere between art song and – with enspiel, it’s perhaps a deliberately misleading madness mounts around her. Her detached Cale’s assistance – neo-classical settings. But introduction to what follows. ruminations explode into shrieks of pain – while Cale might find this to be fertile ground The real mood of the record reveals itself embellished by Cale’s viola – as the album for his contemporary classical aspirations, in force on the vaguely nightmarish ‘Lawns approaches its white-noise-like conclusion he has the taste and sensitivity to make the Of Dawns,’ Nico’s first ever composition, before fading into oblivion in a welter of criss-arrangements far more listenable than his written at the urging of Jim Morrison. The crossing electronic sounds. According to her avant-garde home-taping experiments, even up-and-down, side-to-side sway of the harmo-1980 interview with Jim Condon in What Goes if said arrangements are still quite out-there nium merges with dreamy, mildly dissonant On, Nico herself plays “a little spinet [a type by pop music standards. bubbles of strange sounds as Nico intones lyr-of harpsichord] that somebody stole for me”

“The songs were all ready in Nico’s head,” ics that don’t quite express specific feelings on the track. Cale explains to Mick Houghton in the Frozen but convey a state of uneasy restlessness. It’s Four other songs are also recorded dur-Borderline liner notes. “All we had to do is get not at all like the songs Lou Reed wrote for ing these sessions. They aren’t included on her in the studio and try to separate the vocals her in the Velvets, but in a way it expresses a the album, although the LP ends up being from the harmonium. The whole modus oper-vision that’s just as unique and immediately so short that there would have been room andi for the arrangements was that I would do identifiable as something only its composer to accommodate them. ‘Roses In The Snow,’ track after track of instrumentation, and every could have written. which first shows up as a bonus track on the one would be totally different from the previ- ‘No One Is There’ might be the most 1991 CD reissue of The Marble Index, is simi-ous one. Then you’d play all of them together accessible of the songs from these sessions, lar to most of the record with its seesawing, and make sense of what was left. What you had but that’s a highly relative term – even more harmonium-led arrangement and general really was four separate, independent parts. It so than with The Velvet Underground – given no-chuckles observations, but it benefits was kind of a compositional technique, mak-how far out of step with current trends The from some booming, bassy rumbles. Perhaps ing sure you didn’t write conjunctive string Marble Index lies. The melody could be from it’s just felt to be a little too similar to some parts. They were always working against each a simple, ancient folk song, but if so, its danc-of the other songs on the album to demand a other. Each take, you didn’t have any idea of ing demon is more like something from The place in the final running order, but the title the center of the song. They had an implied Seventh Seal than a Renaissance ballad. Cale’s lyric is as indicative of Nico’s new sensibility core, and then a real core.” imaginative viola accompaniment almost as any other image on the record. A slightly

The harmonium might offer a sound unlike resembles chamber music at times. less dissonant alternate mix is included on that of many other pop records of the time, ‘Ari’s Song,’ written for Nico’s young son, the two-CD compilation The Frozen Borderline but the instrument presents its own special is altogether more chilly and more typical 1968–1970 (which, annoyingly for complet-challenges. “The first problem to overcome of the album. The storm-force gloom of the ists, does not include the version issued on was the harmonium,” Cale recalls in Nico: The harmonium comes to the fore, while the lyr-the 1991 reissue, but does contain almost Life & Lies Of An Icon. “It was not exactly in ics – as will be the case with many of Nico’s everything else that’s been released from the tune with itself, or with anything else. Its notes songs from now on – are filled with images album sessions). were ‘in the cracks’ – getting a guitar to play of the sea, wind, dreams, and journeys from Another track that first appears on the 1991 along with it was a bloody pain. Sometimes which there might be no return. The wind reissue is ‘Nibelungen,’ which seems like an we had to vari-speed it via the tape. The best and the rain are the main elements behind unfortunate omission from the original LP. solution was to ignore it or, rather, use instru- ‘Facing The Wind,’ on which the atmosphere A cruel generalization might dismiss it as ments that were consistently out of tune with gets even more dank and forbidding with har-more of the same in terms of its grim, semi-it. The guitar would be in and out of tune with monium, coffin-door percussion, dramatic apocalyptic mood, but it’s not notably inferior it all the time – really annoying – so I used descending piano, and vocals that sound as to many of the songs that do make the cut. instruments that your ear could accommodate though they’ve been filtered through a fish-The version included on the 1991 CD has a because of their consistency. bowl. haunting, a cappella arrangement that might

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WHITE LIGHT/WHITE HEAT n SEPTEMBER 1968

have made a nice contrast to the harmonium-LP; and ‘Evening Of Light’ is presented in a Thursday 19 soaked ambience of most of the rest of the much brighter – and to these ears superior – As with Chelsea Girl, the exact date The Marble songs. An entirely different ‘complete version’ mix on the original album than it is here on Index is released is unclear. Various dates will is included on The Frozen Borderline, and fea- The Frozen Borderline. be suggested over the years, without definite tures instrumentation with an eerie, shimmer-Just in case you’ve missed it, there’s yet proof for any of them. What is known for sure ing quality, as though the sound-waves have another alternate version of ‘Frozen Warn-is that, at some point around now, invitations been processed through a shredder. (Once ings’ at the end of the second disc of The are sent out announcing: “Andy Warhol and again, and just as infuriatingly, the a cappella Frozen Borderline that plays as an unlisted ‘hid-Elektra Records invite you to the premiere of version from the 1991 CD is not included on den’ track after a ten-minute gap of silence. The Marble Index, a new album of original songs the 2007 release.) This one starts off pretty close to the version by Nico, to be placed in conjunction with The other two songs that fail to make the used on The Marble Index itself, but includes filmed portraits of Nico by Andy Warhol. At cut for the original Marble Index LP might sim-a 25-second instrumental introduction. And the Factory, 33 Union Square West, New York, ply have been left off because of a reluctance where the album version adds some appar-on Thursday September 19 1968, at 8:30pm. toward foreign-language tunes in an English-ently electronically treated riffs after about a Playing of the album will begin promptly at speaking market. The German-sung ‘Sagen minute, this take seems only to use Cale’s viola 8:40. Wine, supper, and dancing will follow.” Die Gelehrten’ contains nasty-sounding (if as accompaniment the whole way through. (The invitation itself is reproduced inside The slightly submerged) electric guitar and over- The Marble Index sessions are remark- Frozen Borderline 1968–1970.) lapping, double-tracked vocals that might ably productive – particularly if, as Mohawk This is in fact the first party held at the have offered a neat change of pace. Overlap-recalls, he and Nico are stoned on smack at Factory since Warhol’s shooting on June 3. ping vocals are used to more graceful effect the time. By the end of the four days, Nico According to Kay Bartlett of the Associated on the French-sung ‘Réve Réveiller,’ which as has laid the foundations for an album just as Press, “The 200 or so guests, dressed in Indian the title indicates is full of dream imagery, as uncompromising as either The Velvet Under- headbands, dresses that opened to the waist, well as references to the night, lonely fields, ground & Nico or White Light/White Heat. If one wedding gown, a few tuxedos, velvet suits, flowers, and falling and embracing. Typical anything, it’s even less commercial, as she and and dirty blue jeans sat on the floor of Andy’s Nico ’68 fare, in other words, but the inter-Elektra will soon find out when The Marble studio to sip wine, 1947 vintage, and eat picnic mingling mists of harmonium, glockenspiel, Index is released. lunches.” Bartlett describes The Marble Index as and occasional, dramatic low tones work well “an ear-piercing 16 minutes [sic] that every— toward conveying a suitably dreamlike ambi- Wednesday 4 one said was beautiful” – everyone in this case ence. “I could not speak informally about Nico’s including Ingrid Superstar, Brigid Polk, Viva, Alternate versions of seven of the songs music,” the poet and songwriter Leonard and Ivy Nicholson. Nico tells Bartlett that the from The Marble Index – everything except Cohen writes today. “Nico’s music is part of album is “like a movie. It has all the senses in ‘Prelude,’ in fact – appear on The Frozen Bor- her photograph in the New York Times. Nico’s it and it is in my line.” Asked if it will succeed, derline 1968–1970, almost amounting to an music is frightened and strong. It has been the singer responds, “Of course. There’s very entire alternate album. Some of these, such stolen from everywhere, from all the mined little good music around.” as ‘Lawns Of Dawns,’ might be interesting to temples of the world. Everyone strives to be Included on the somewhat over-optimistic collectors, but are not too different to the naked: Nico has hung robes on the embar-guest-list are photographer Richard Avedon, familiar LP versions. That’s not the case, how-rassed statues. Nico’s music is filled with clar-film director Michelangelo Antonioni, Judy ever, with the alternate version of ‘No One ity: it frees you not to listen and welcomes Collins, John Cage, Bob Dylan, Linda East-Is There,’ on which Nico is backed by her you into the room. This was written to be man, Allen Ginsberg, Tim Hardin, Timothy own harmonium, rather than the viola that spoken by someone else.” (It’s possible that Leary, Norman Mailer, George Plimpton, Ed appears on the album version. The original Cohen writes this for prospective use in the Sullivan, and Stevie Winwood; local radio version is undeniably better in every respect, promotional campaign for Nico’s forthcom-deejays Murray The K, Bob Fass, and Scott however, and John Cale deserves a tip of the ing Elektra LP, but it appears not to have been Muni; and most of the era’s leading popular cap for coming up with so imaginative an used.) music journalists, including one-time VU man-accompaniment – as does the whole team for recognizing the variety added by the viola version. NICO

The alternate take of ‘Ari’s Song’ is not The Marble Index quite so radically different, but is notable in that Nico’s harmonium is the only instrument heard, leading one to wonder whether ‘Prelude’ (NICO) this and the second version of ‘No One Is ‘Lawns Of Dawns’ (NICO) There’ are demos of sorts. ‘Frozen Warnings’ ‘No One Is There’ (NICO) is another ‘harmonium-only’ take. It last 20 ‘Ari’s Song’ (NICO) seconds longer than the album version, but ‘Facing The Wind’ (NICO) lacks whatever Cale or whoever else added ‘Julius Caesar (Memento Hodie)’ (NICO) to the mix to give it a more brittle, electronic ‘Frozen Warnings’ (NICO) feel. The alternate ‘Facing In The Wind,’ ‘Evening Of Light’ (NICO) meanwhile, has less vocals, but they’re not processed through special effects (as they are US release: September 19 1968 (Elektra EKL-4029 mono, Elektra EKS-74029 stereo) on the original). ‘Julius Caesar’ is missing the UK release: May 1969 (Elektra EKS-74029) viola part that can be heard, faintly, on the

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ager Al Aronowitz, Robert Christgau, Albert end Warhol doesn’t have anything to do with magazine’s March 15 1969 issue, “[but] it Goldman, Richard Goldstein, Nat Hentoff, the design of the LP. His willingness to host exhibits sound trips that have found their way Mike Jahn, Paul Nelson, Lillian Roxon, Ellen the premiere party does however indicate that onto many a rock record – electronic cham-Sander, Robert Shelton, Jann Wenner, and he’s still involved with Nico’s career to some ber music, various sound effects, instrumental Paul Williams. Nico’s former band-mates from extent.) Gregorian chant. It’s mood music, with an The Velvet Underground are also invited, as Webster, who shot the picture used on the obscure and delusive text recited over it.” By well as John Cale’s wife, Betsey Johnson. Since front at his ranch in Beverly Hills, has become the time you get to ‘Ari’s Song,’ she continues, this shindig takes place just as Lou Reed is one of the most noted photographers in the “you begin to develop a faint suspicion that about to fire Cale from the Velvets, the small relatively new field of rock album jackets, perhaps the words are not what’s important talk while Nico’s record is not playing must having also worked on LPs by The Rolling after all. The harder you try to hold them be particularly awkward. Stones and The Byrds among others. “Elektra (like the natural state of affairs with things

In the Toronto-based underground news-Records wanted me to shoot her, ’cause I had in the universe), the more easily they escape. paper Harbinger, Danny Fields explains, “Tra-done The Doors and many other albums for Once you’re on to this, you’re home free, and ditionally, works of art are unveiled before an them,” he recalls. “I remember her being side two is a really worthwhile venture into audience as an event, such as a gallery open-very beautiful and striking. I wanted to show musical infinity (or at least a try at it). It’s ing or a first night. In recording, the product, that beauty, and center in on her face. I know mood, escape, consciousness, unconscious-the work of art, is an album, so why not have a Andy Warhol loved the photograph, and he ness, vacuity, yes, Wonderland.” premiere for it rather than a live performance had a big blow-up of it in his studio.” Webster In the eyes of Ramblin’ Jim Martin from the by the artist?” took the picture used on the back of the LP Los Angeles underground newspaper Open

This doesn’t necessarily mean that tonight’s on the top of a ridge in Benedict Canyon, City, “Nico’s index world is a bizarre one – event is a record release party, or that the about 300 yards from his home. (Additional rather like musical versions of de Chirico album is released to coincide with it. Cer-material from these sessions can be viewed on surrealist/metaphysical paintings: cold, bar-tainly, if the album really was recorded in early his website, guywebster.com.) ren, dehumanized. Cale weaves a labyrinth September, as claimed in the liner notes to Regardless of when it is actually released, of musical structures through, around, and The Frozen Borderline, it’s impossible that an LP The Marble Index isn’t a wholly complete rep-about Nico’s fey voice. Her poetry is simple could have been mastered, pressed, and made resentation of the material recorded, as only and repetitive, deriving [its] power from these ready for release two weeks later; but, as noted eight of the 12 finished songs are included on qualities. Her imagery depicts landscapes above, the album might actually have been the LP. As producer Frazier Mohawk admits beyond our ordinary consciousness – ‘fro-finished much earlier. It’s also possible that in the liner notes to The Frozen Borderline, “The zen borderlines,’ ‘the edge of time,’ and the what is played at the premiere is simply a pre-reason it’s only 30 minutes long is because ‘lawns of dawn.’ One of the songs, ‘Evening release tape or acetate. The true release date that’s all I could listen to. Fifteen minutes a Of Light,’ is some kind of masterpiece: it might be closer to November, as the Novem-side seemed about right. Myself and [engi-builds into a thundering, screeching explo-ber 7 edition of the Village Voice includes a full-neer] John Haeny spent maybe a day or two sion of sound terminated by looped electronic page advertisement announcing the release mixing it. We couldn’t listen to it all the way signals. Index will be too heavy for some, but of the album. (The same ad also appears in through. It kind of made us want to slit our I tend to agree with Crawdaddy’s prediction a December 1968 edition of the New York Free wrists … After it was finished, we genuinely that the album will ‘blow people’s heads off.’ Press and, more bizarrely, in the New York High thought people might kill themselves. The It’s blown mine.” School Free Press, an underground paper “of Marble Index isn’t a record you listen to. It’s a It’s not until June 1969 that Jazz & Pop and by liberated high school students.”) hole you fall into.” review the record, and even then it’s discussed

A new Nico album on Elektra is however Elektra Records is a well respected label, (by a young Lenny Kaye) in tandem with the mentioned in both the August and Septem-and president Jac Holzman genuinely respects third Velvet Underground LP. But Kaye too ber issues of Harbinger – not exactly the lead-Nico’s music, but selling The Marble Index has praise for The Marble Index, hailing John ing source of industry news, it must be said will prove impossible. It’s just too weird and Cale’s creation of a “series of bleak terrains, – which indicates that the record is at least uncommercial even for most of the rock perfect landscapes for the Poe-like qualities planned for a late-summer release, even if it underground; indeed, some might say that of Nico’s voice. And Nico – she sings now in isn’t finished in time. Furthermore, the invita-it’s not a rock record at all, but something dark abstract phrases, plowing through shat-tion to the September 19 event makes use of wholly unclassifiable. It’s not so much panned tering images of technological madness … the photograph reproduced on the LP jacket, as largely ignored, and will for a time be even For if the Velvets celebrated (celebrate?) their which implies that the image has at least been harder to find than Nico’s other early solo own visions of insanity, Nico too creates the commissioned and selected for the album by albums, Chelsea Girl and 1970’s Desertshore. universe of her despair, an existential world the time the listening party takes place. The rock press is however much bigger now of absurdities and contradictions.”

The photograph itself, a headshot by Guy than it was when The Velvet Underground & Nico The Marble Index is so hard to classify – or Webster, shows Nico to have changed her was released, and even in this relatively short make comparisons to – that some critics don’t image since her Velvet Underground days. period of time has become more open to giv-know what to make of it at all. In the Febru-Her hair is no longer blonde, but pitch black; ing fairly lengthy and considered reviews to ary 1969 issue of Eye magazine, the album is it’s blonde – or some sort of reddish hue – unclassifiable albums such as this one. Roll- described as Nico’s “first nonrecord for Ele-on the back jacket, but the dark robe Nico ing Stone magazine takes the peculiar decision ktra … after two nonrecords for Verve that is wrapped in seems like something more to review The Marble Index and folk-rock-pop are an acquired taste. If you can acquire the likely to be worn by a monk than a model. singer Melanie’s entirely different Born To Be taste for bleak, lovelorn incantations, sung (In Famous For 15 Minutes: My Life With Andy together, but critic Anne Marie Micklo still like an IBM computer with a Garbo accent, Warhol, Ultra Violet writes that Nico wanted has some good things to say about Nico. “The sung, say, the way Rosa Kleb in From Russia, Warhol to design The Marble Index, but in the Marble Index is hardly rock,” she writes in the With Love might sing, if you can surrender

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to mystique … if you can accept Nico, and up and, in her low moan, tell you, ‘I’ll be in Marble Index is the greatest piece of ‘avant-Nico’s nonrecords, not so much as a bunch of on Tuesday, set up some interviews.’ Tuesday garde classical’ ‘serious’ music of the last half tunes but as a series of emanations, then The would come, and no Nico. Eight months later, of the 20th century so far.” New Wave Rock Marble Index is her triumph. It’s all arranged she’d call again. ‘I’m back in town.’ You would folds before it can print Bangs’s review, but by John Cale of The Velvet Underground, and say, ‘What about those other times?’ ‘Oh, I the piece eventually appears in January 1983 he’s caged Nico into undulating, ululating couldn’t do those, I had to go to Rome.’” in the third issue of the Velvet Underground concertinas and organs and cellos and elec-Holzman might admire Nico’s music, but he’s fanzine What Goes On. tronics. She sounds mesmerized by it all, and also a businessman. The Marble Index will be The ultimate significance of The Marble she never, not for the least uncool moment, her only album for his label. Index is as the record on which Nico finds her allows a warm and tender feeling to destroy The difficulty in getting Nico to promote true artistic identity – with one bold stroke, the arctic beauty of it all.” herself through conventional means is all and after more than a decade of searching. In

In the UK, Nico is described in advertise-too vividly illustrated by a 20-minute tape doing so, she not only sets the musical model ments as “the first ladye of the Underground” recorded in Los Angeles, perhaps with a view for the rest of her career, but also provides a and “a super star to end super stars.” But the to its release for promotional purposes. A well-crucial musical and visual prototype for the country’s two biggest weekly music papers are intentioned, anonymous interviewer struggles goth-rock movement of the post-punk era. The poles apart in their critiques of The Marble to elicit coherent responses from the singer, Marble Index is also the album that jumpstarts Index. “I can’t make out a single real word,” who greets his queries with painfully long John Cale’s career as a producer, which in writes a journalist for the New Musical Express. dead-air pauses before offering – in the spirit time will become almost as influential as his In a March 1970 feature for Melody Maker, of Andy Warhol, perhaps – vague, languor-work as a musician. however, Richard Williams calls the album ous, and blankly minimal replies that reveal (In 1991, when The Marble Index is reis-“one of those records which just might in ten little at all about her or the album. (It’s pos-sued on CD, a promotional film is made to or 20 years’ time be regarded as some sort of sible that the tape is made before the LP is accompany it, entitled Frozen Warnings. Those milestone … the LP is a journey through a finalized, as both Nico and her interviewer expecting a clip of Nico performing the song landscape not unlike Berlin, where she lived seem to be mulling over prospective album of the same name will be disappointed, how-as a child: desolate and wind-blown, scarred titles, including Now, Today, and On A Day ever: instead, it’s a montage of film footage yet futuristic.” The International Times isn’t Like This.) and photos of the singer and the Factory quite as decisive in either direction. “The Nico claims that she wants the album to be crowd from the mid 60s, when she was a mem-haunting, vibratory quality of her voice is “my autobiography. It’s really me. It’s really ber of The Velvet Underground.) certainly something,” it writes. “‘Facing The a reflection. I can’t really tell until I hear it Wind’ is an event in modern music – a geyser again.” But when asked what she wants people Friday 20–Saturday 21 in a landscape of petrified trees, an ice blue to know about her, she replies, flatly, “I don’t.” Electric Factory, Philadelphia, PA mountain in a plain of gusty winds.” Beyond that, and the assertion that Donovan By 1968, the Electric Factory has become not

In a piece written in early 1970 for the Brit-initially found himself unfairly criticized as only the top rock venue in Philadelphia, but ish magazine ZigZag (and reprinted in May of a Bob Dylan imitator, there’s little passion, also one of the top venues of its kind in the the same year in Creem), Robert Lightfoot sug-or even opinion, in anything Nico says over USA. Here the Velvets share the bill with The gests that The Marble Index “could be a sound-the course of the entire 20 minutes. Perhaps Nazz, a popular local group led by a young track for 2001; a droning, circular succession sensing how ill at ease Nico is, at one point the Todd Rundgren. Also playing are another of mantric chants, like the slow motion colli-interviewer assures her, kindly yet laughably, Verve Records act, Colwell-Winfield Blues sion of two mouths. The influence of Warhol “You explain yourself very well!” Band. “It was hot as hell,” recalls local musi-is evident in the timeless, frozen quality of Even if Nico had completed the obligatory cian George Manney. “That was really a great the songs … From a musical point of view, round of press and gigs, however, it’s doubtful show, with both bands [the Velvets and The The Marble Index is difficult to criticize, since that The Marble Index would have sold much Nazz] in their prime.” it is so bound up in Nico’s own mystique and better. It’s just too gloomy and uncompromis-An advertisement in a Philadelphia-area personal philosophy. Arranger John Cale ing. “It’s an artifact, not a commercial com-newspaper, the Distant Drummer, indicates of The Velvet Underground employs elec-modity,” notes John Cale, one of the record’s that the Velvets might at one stage have been tronic sounds, chamber music and Georgian biggest champions, in a 1977 interview with booked to play at the Electric Factory again rhythm in an imaginative and inventive fash- Sounds. “You can’t sell suicide.” the following weekend, but they end up play-ion – never allowing them to drown Nico’s And yet, like so much of The Velvet Undering at their favorite venue, the Boston Tea plaintive voice. ‘Facing The Wind’ and ‘Fro-ground’s work, The Marble Index will go on Party, instead. zen Warnings’ are minor masterpieces; the to find belated cult appreciation that verges sounds crystallizing into a wailing, awesome on the fanatical at times. In a 1978 review Friday 27–Saturday 28 hymn of sorrow and isolation. Nico’s voice of the album for New Wave Rock magazine, Boston Tea Party, Boston, MA achieves a strange intensity, blending like Lester Bangs writes, “In the autumn of 1968 It’s not entirely clear whether he (or anyone another instrument.” an album came out which changed my life.” else) knows it yet, but these shows – with sup—

In spite of such devoted cult attention, the (In 1978, it should be noted, such hyperbole port from local group Fire And Ice – are John ultimate commercial failure of The Marble has not yet become commonplace in rock Cale’s final performances with The Velvet Index comes down in part to the same mun-criticism.) Much of what follows is as much Underground until the group’s 1993 reunion. dane factors that helped sink Chelsea Girl: about Bangs himself and other unrelated But if he has to go, he does so in style. A pho-Nico’s unwillingness to perform live or take subjects as it is about the album, or Nico, tograph of a splendidly attired Cale backstage part in any other promotion in support of who is not mentioned until the eighth para-on Saturday 28 appears in most editions of the record. As Elektra president Jac Holz-graph. But when he does address the actual UpTight: The Velvet Underground Story. man recalls in Follow The Music, “She’d call LP, Bangs’ praise is unqualified: “I think The Steve Grant of the MIT student newspa-

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per, the Tech, is not impressed, however well murky, decades after the event. As far as interview later published in full on the Perfect dressed the Velvets might be. They are, he Morrison and Betsey Johnson are concerned, Sound Forever website at furious.com/Per-writes, “amusing at first, titillating as time Reed is simply jealous of Cale and the atten-fect/yule.html. “The fact that John got kicked goes on, and mostly a bore after a while. The tion his striking figure commands on stage. out just meant that he had control.” VU, like everybody else, draw heavily from Cale himself points to disputes over musical Cale however will soon see the need for The Byrds’ stylebook – an all-encompassing direction, with Cale generally favoring the both he and Reed to move on. “There wasn’t 12-string lead, and an overall sound that more experimental ideas, but Reed keener any point in carrying on,” he tells Max Bell of drives like mad without really going anywhere. on relatively more song-oriented concepts. the NME in 1975. “We weren’t working on the But whereas this type of sound is a matter of There might be some truth in this. The songs, the product wasn’t interesting, and it form with The Byrds, the VU merely plays a Velvets are about to record a quieter, more wasn’t satisfactory to Lou or me. I don’t like gimmick to death. They’re a tremendous yuk listener-friendly third album, and it’s possible the third album.” when taken in small doses – listen to ‘The that Cale, who already feels that the group is As Sterling Morrison will later explain in his Gift’ from White Light/White Heat. But if you putting too much emphasis on a conventional interview with Ignacio Julia, “We were having try to listen to a whole album of this, you rock’n’roll beat, is reluctant to go along with good times in the band, so that’s why it was may fall asleep. Most displeasure with a VU it. But these are the kinds of tensions that, so strange that Lou wanted John out. I don’t performance, therefore, is going to be due once resolved, have helped make the Velvets’ remember any reason really being given, it to programming them to appear in a time music so special. What’s more, Cale has of late was some general statement that he couldn’t slot longer than 15 minutes. Less than that, been playing as well as he ever has with the stand playing with John anymore for ump-they’re a panic. band – perhaps even better. teen inexpressible reasons … John was play-

“Part of the VU’s problems can be analyzed “I told Lou I’d swallow it, but I didn’t really ing great, so it was nothing to do with him by watching Maureen Tucker (an honest-to- like it,” Morrison explains to the NME. “John falling down musically. His personal habits goodness chick playing percussion – do you was playing great at the time. He was always were commendable, he was running around believe it?). She plays almost like she’s never exciting to work with. If you listen to his bass with Betsey Johnson, was very well dressed and seen a drum set before, and it’s a riot. She’s part on ‘Waiting For The Man,’ it’s illogical responsible, so he was doing fine, a true story actually got the nerve to try to sound naive in – inverted almost. He had really good ideas of the successful rehabilitation of a classical front of a paying, consuming audience. This on bass. Or take a song like ‘What Goes On’: musician. So I don’t know, maybe Lou got put-on, and the VU’s entire put-on approach, if you’d heard us play that in the summer of jealous.” only surfeit one’s appetite for musical humor ’68 with Cale on organ you would have known It hardly seems like the straw that breaks after a while, however. what it was all about.” the camel’s back, but another recollection by

“Somehow, their closing number, ‘Heroin,’ Asked about Cale’s dismissal by the Metro- Morrison, in the July 1993 issue of Q maga-managed to dispel yawns,” Grant concludes. politan Review in 1971, Reed simply states, “It zine, hints at the friction caused by one of the “The alternate accelerating tempo created was time for a change, it was time to move projects Cale is involved with in 1968. “One unbelievable tension in place of the previous on.” He’s similarly vague when pressed for thing that really rankled was John insisting grins. It was the only song they ever did that an explanation during the course of his on building this bass amp of his with band I’d care to hear more than five times.” unpublished interview with ZigZag magazine money. Something to do with acoustic sus—

in 1972. “I think it’s very private,” he says. pension speakers producing this great wall

, Late September “That’s between John and I.” Even 30 years of sound. Thousands were spent on these

Lou Reed asks Sterling Morrison and Mau-later, when asked about the incident in BBC goddamn things – and then they didn’t reen Tucker to meet him at the Riviera Cafe Wales’ John Cale documentary, his response is work. Meanwhile, we were on endorsement on Sheridan Square, in New York’s West Vil-just as brief: “That’s really personal, and just to Acoustic Amplifiers, who made this fabu-lage, where he drops a bombshell: he wants probably something I wouldn’t talk about.” lous bass amp, the Acoustic 360. John refused John Cale out of The Velvet Underground. Likewise, as manager Steve Sesnick tells Vic-even to accept a free one from the factory. Neither Morrison nor Tucker are happy with tor Bockris in UpTight: The Velvet Underground Later on, John found out that if only he’d the idea. They try to talk Reed out of it, but Story, “That’s a real long story and I don’t want had a pre-amp, it would have worked. All this are then faced with an ultimatum. As Morri-to get into it.” money for what I called the Tower Of Babble. son will explain to the New Musical Express in For his part, Cale accuses Sesnick of height-There was a general dissatisfaction with his April 1981, “I said that we were the band, that ening tensions within the group by pushing free-spiriting – and free-spending. It really did it was graven on the tablets. So then a long Reed forward as the leader. He calls Sesnick “a piss everybody off. What the hell was he was and bitter argument ensued, with much bang-real snake” in an April 1974 interview with the up to? … But it was an ugly business, stupid ing on tables, and finally Lou said, ‘You don’t NME, before explaining, “Lou was calling us and counter-productive.” go for it? All right, the band is dissolved.’” ‘his band’ while Sesnick was trying to get him According to Michael Carlucci, a long—

Faced with a choice either of no Cale or to go solo. It was sad in a way because there time friend of Robert Quine, the VU fanatic no band at all, Morrison and Tucker decide were still some great songs to be recorded like and Lou Reed sideman of the 80s, “Lou told reluctantly to go along with Reed’s plan. ‘Here Come The Waves,’ which later became Quine that the reason why he had to get rid “Now I could say that it was more important ‘Ocean’ on his first album, and a bunch of of Cale in the band was Cale’s ideas were just to keep the band together than to worry about others.” too out there. Cale had some wacky ideas. Cale,” Morrison admits in his NME interview, Even Cale’s replacement, Doug Yule, gets He wanted to record the next album with “but that wasn’t really what decided me. I the sense that Sesnick helped hasten Cale’s the amplifiers underwater, and [Reed] just just wanted to keep on doing it. So finally I exit. “I’m sure part of the split between Lou couldn’t have it. He was trying to make the weighed my self-interest against Cale’s inter-and John was expedited by Sesnick because it band more accessible.” ests and sold him out.” was a way for him to control the situation,” he The Velvet Underground will continue to

The reasons for the firing will remain explains to Pat Thomas in October 1995, in an make great music over the next couple of

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years, the best of which is arguably as great They will continue to work together from time plugging away at the outer margins of the as anything they recorded or played with Cale to time, sometimes quite closely, over the next avant-garde. At some point in October they in the band. But they have lost someone who few decades. record the 32-and-a-half minute ‘Thunder can never be replaced. There’s his viola play- (It’s possible, incidentally, that Cale and the Cut,’ as featured on the 2002 MacLise com-ing, for one thing: the instrument is instantly Velvets play their last few gigs together after pilation, The Cloud Doctrine. The piece might retired from all live and studio work. But of the decision has been made to fire him, since well involve some multi-tracking, given that more vital importance is the overall musical Morrison will later recall that the Riviera Cafe MacLise handles cimbalom, drum, and tam-vision Cale has contributed to the band since meeting between Reed, Tucker, and himself bourine, with Conrad on horn, violin, reed-co-founding it with Reed in 1965. More than takes place in August. Cale however recalls organ drone, ‘thunder loop,’ and drone (and any of his band-mates, Cale has been behind being given the bad news right before a trip his wife Beverly also playing a drum). ‘Thun-many of the group’s most radical, avant-garde to Cleveland, suggesting that he doesn’t find der Cut’ is an unremittingly mordant, percus-ideas. And while he is not often credited as out he’s been fired until after he plays his final sive piece, featuring death rattles, subliminal a co-songwriter on VU material, he has also shows with The Velvet Underground at the booms that sound like the stamp of distant been the one to push Reed the hardest, Boston Tea Party on September 27–28.) machinery, faint violin squeals, and muted helping to shape the arrangements and spur groans like those of a rhinoceros. If you want Reed on toward greater and more innovative your last rites to be read the darkest day of

achievements, both as a songwriter and as a the year, here’s your soundtrack. October musician. It’s certainly not true, as some critics will later argue, that The Velvet Underground become ordinary or insignificant after Cale Wednesday 2 gets the boot, or merely a backing band for Ever since Lou Reed and John Cale formed Lou Reed. But it’s undeniable that the sound Undated October The Velvet Underground, new members of the group changes forever. Eye magazine runs a bizarre three-page article, have been recruited on almost whimsical As Maureen Tucker puts it in The Velvet in which “Nico guides you on a tour of the leg-impulse. Sterling Morrison was absorbed Underground Under Review, “I think we became endary Rock Castle in the hills of Los Angeles into the line-up after running across Reed a little more normal. Which was fine. It was – the dreamlike mansion where the stars stay by chance in the subway; Maureen Tucker good music, good songs. It was never the when they can’t bear being away from home.” got the call largely because Reed and Mor-same, though … the lunacy factor was gone.” Sadly, there are no salacious stories of The rison happened to know her brother; Nico In a 1985 interview with the Independent Florida Velvet Underground’s brief stint at the Castle was installed in the group at Paul Morrissey Alligator, she adds, “I would have liked to have in May 1966, or even of Nico’s wild scenes and Andy Warhol’s behest. So it goes when had the opportunity to do even one more with Jim Morrison there during the Summer the Velvets need someone to take the place of album with John. We were all much more Of Love. The Velvets in fact are mentioned John Cale. Instead of considering one of the attuned to each other after two years than only once in passing, and nothing at all is said musicians who have played informally with on the first album.” about Nico’s solo career, even though her sec-the group at the Dom or the Balloon Farm – Now however the Velvets are faced with ond album has just been released. “The Castle or even someone who’s already played in an the more immediate problem of finding a used to seem so happy to me,” she muses. “But established recording group – they extend replacement for Cale, particularly as they now it seems sad. I had some wonderful times the invitation to an unknown that even they will be busy touring and recording for much here, but I could never live in it again. It is a barely know. of the fall. Before that, Reed gives Morrison very unusual place in the world.” The new recruit, Doug Yule (born February the job of delivering the bad news to Cale in As Danny Fields reveals in The Age Of Rock 25 1947 in Mineola, New York) was, like Reed, person. As Cale himself recalls in Transformer: 2, Eye magazine also takes him up on his sug-Morrison, and Tucker, raised in Long Island. The Lou Reed Story, “We were supposed to be gestion to set up a photo shoot with Nico and He grew up in Great Neck, but since his late going to Cleveland for a gig. Sterling showed Jim Morrison for “a series on beautiful cou-teens has been playing in bands in Boston, up at my apartment and effectively told me ples.” Morrison however refuses to take part. home of the Velvets’ favorite live venue. He that I was no longer in the band. Lou always “He said don’t ever do that without asking played organ in a covers band, The Argonauts got other people to do his dirty work for him. me about it first,” Fields continues. “He was (with whom he has made a few unreleased Lou never confronted me, saying, ‘I don’t really pissed at me, and Nico was hurt that he recordings, and who later become known as want you around anymore.’ It was all done didn’t want to pose with her … But you just Argo), and guitar in a few other acts, includ-by sleight of hand.” don’t tell him what to do.” (One assumes that ing, most recently, The Grass Menagerie, a Fortunately, Cale has at least already begun Morrison might also be wary of angering his group formed in 1967 by two former members – probably unconsciously – to prepare him-volatile ‘main’ girlfriend, Pamela Courson, of a fondly regarded mid-60s Boston act, The self for going out on his own by establishing by posing with another beautiful woman.) Lost. (These two men – singer Willie Alexan-himself as a creative arranger and pseudo-According to Fields, the former UCLA film der and multi-instrumentalist Walter Powers producer on Nico’s recently completed Ele-student Morrison “said that someday he would – will later play notable roles in the Velvet ktra LP, The Marble Index. But the bad feelings do a movie and Nico would be in it, but he Underground story, but only after Lou Reed continue to fester when Cale plays a tape of wasn’t going to have his picture taken with leaves the group.) Yule himself isn’t an origi-the album to Reed in Los Angeles shortly after her for Eye magazine.” As it transpires, he will nal member of The Grass Menagerie, and in leaving the band. When Sesnick interrupts the never make a film with Nico, either. fact must only have joined fairly recently, as conversation, an irritated Cale gets up and a December 1967 article in the New England leaves, “leaving Lou speechless,” according to M RECORDING aNguS MacLiSe 111 West Teen Scene doesn’t list him in the line-up. It’s What’s Welsh For Zen. The relationship between 42nd Street, New York, NY. possible, however, that he played with the the two men is not over completely, however. Angus MacLise and Tony Conrad are still group at the Boston Tea Party on February

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9–10, on the same bill as singer-songwriter Even more bizarrely, Yule tells the author, looks a lot like Reed, so much so that Reed Eric Andersen, and on June 23–24. at the time of him being approached to join sometimes calls him “my brother Doug” on

The Velvets have gotten to know Yule while the Velvets, “I had never played electric bass. stage – as he does when introducing the other playing in Boston; Morrison and Reed have But keep in mind that from fourth grade, my musicians before ‘Some Kinda Love’ on the sometimes stayed at his apartment. Exactly training was in baritone horn and then tuba, 1969 Velvet Underground Live album – lending how (and by whom) he is invited to join the so I essentially played bass all from fourth a certain visual symmetry to the band. group is unclear, however. Some will later grade through the end of high school, in Yule might lack Cale’s personal flamboy-suggest that Steve Sesnick extends the invita-terms of having sort of intuitive understand-ance and musical idiosyncrasies, but he plays tion, but Sesnick himself claims, in UpTight: ing of the lower end of any musical structure. both bass and organ well, and in styles that The Velvet Underground Story, that Morrison I still find that, when I play electric bass in quickly mesh well with the rest of the group, as brought Yule in. Morrison in turn will later a rock band, I have a very different kind of proven by both live tapes and the two albums speculate that Yule is brought to the group by outlook than your average garage band bass he’ll shortly record with the Lou Reed line-up. VU road manager Hans Onsager (the son of player. It’s much more harmonic, or a lower As Maureen Tucker admits in Victor Bock-Lars Onsager, the winner of the 1968 Nobel melodic structure, than it is just a rhythmic ris’s UpTight, “I don’t think [replacing Cale Prize in Chemistry), who has invested money fill.” with Yule] hurt the music that much. I don’t in The Grass Menagerie, confirming, in his Whichever way the actual invitation arrives, think it changed it to weaker music, it just interview with Ignacio Julia, that Yule doesn’t Yule is certainly quick to accept it. By Wednes-changed it.” And for all the kudos Cale gets have to audition, as the Velvets already know day October 2 he’s in New York for a meeting as the most important member of The Velvet he can play. with the rest of the band at Max’s Kansas City; Underground after Lou Reed, Yule will actu-

“Sterling’s input would have helped to a day later, he’s on a two-day crash course of ally end up playing on more of their commer-get Lou’s attention,” Yule himself recalls. “I 30 VU songs in Lou Reed’s loft. “It was very cially released recordings than Cale does. But think my own value at that point to Lou was intense,” Yule recalls. “Any day with Lou is it’s Cale, not Yule, who’ll be inducted into the that I was a much more deferential person. intense, especially then.” Rock And Roll Hall Of Fame with the other I’m much more of a facilitator than I am a Although Yule has only seen the Velvets Velvets in 1995. leader. I like to take what’s going on and make perform once, the decision to join is prob-Yule will also shortly begin to take an active it work, and that really was helpful to Lou, ably an easy one. The Grass Menagerie aren’t role in helping to arrange and polish Reed’s ’cause he’s not an accomplished musician. going anywhere – they won’t ever release a songs. “In countless hotel rooms and empty He’s a self-taught, self-made, seat of the pants record, despite cutting material for Vanguard clubs, I sat and played guitar with Lou, work-kind of musician, instinctive, intuitive. I think and RCA. The Velvet Underground might not ing the kinks out of new songs,” he writes in 69 certainly I took away some of the stress that have sold too many records, but have at least On The Road: Velvet Underground Photographs. “I was there between John and Lou. made two albums for a major label, and are picked up the changes by following his hands

“What I wanted from music all along, was building a solid, cult reputation in several and added harmonies over his vocal as we just to be making music with people who parts of the country. They’re touring more went along, harmonies that came from years liked to do it and not have to chase a dream, or less constantly, most often in Yule’s Bos-in church choir tempered by The Beatles and or be a star. I’m not a performer, I’m really ton base, although he’s set to make his live Chuck Berry, The Everly Brothers and The a musician. Lou’s much more a performer debut with the group this coming weekend Platters. When he could hear a melody in his than I ever was. Sterling’s like that too. He in Cleveland. head but couldn’t find the chords, he’d sing was very content to be in the background, In later years, Yule will sometimes be it without guitar and I’d fill it out for him, and just stand at the back of the stage and play unfairly characterized as somewhat faceless; make it whole.” (Unfortunately, this will later his stuff, and not dance around and flirt with an ordinary yet capable musician recruited cause friction when certain parties feel Yule chicks. That wasn’t his thing at all. out of convenience as much as anything else. is given more credit than he deserves on the

“But I think the thing that would have Some critics will also suggest that he’s chosen 1970 VU album Loaded.) turned it was that Sesnick,” Yule continues. in part because, unlike John Cale, he won’t “I think [Yule] brought a kind of musical-“[He] was firmly in control of everything at threaten Lou Reed’s leadership of the band. ity to it that wasn’t there before,” notes Steve that point, [and] felt that I looked like some-In truth, Yule is less experienced than his Nelson, who sees the band perform with both one he could handle, that he could control new band-mates. He’s younger than anyone Cale and Yule on more occasions than most pretty well. That’s pretty much what his out-else in the Velvets – Reed and Morrison are between 1966 and 1970. “He could sing and look at that point was – how to keep this just both a good five years or so older – and has harmonize, he could play a lot of instruments. kind of under his thumb, so he could keep it never made a commercially released record. John was also a brilliant musician, but he was going the way he wanted it to.” But to dismiss him as a mere cipher of sorts kind of edgier. Doug had more of a pop

Morrison has at least heard Yule playing in is unfair. He will quickly prove himself to be a sensibility. So that whole transition of them the living room of his Boston apartment, and good multi-instrumentalist, adept not only on becoming more accessible was really partly told Reed and Sesnick how good his playing bass, but also organ (on which he sometimes due to Doug. is getting, which probably influences the final plays bass parts with his left hand), guitar, “John’s departure had a huge effect on Ster-decision to recruit him. A more unlikely influ-piano, and drums. He also contributes not ling,” Nelson adds. “While John was around, ence that nonetheless helps seal the deal is just backing vocals, but also the occasional you had Lou and John, and pretty much eve-Yule’s birthday. As he explains in 1995 to Pat lead vocal, both on stage and on record. This rybody else was just a back line. Sterling pretty Thomas, he gets the job “partly because I was in itself is a substantial asset, because Reed much was confined to playing the bass. Ster-a Pisces and they needed a Pisces to balance it doesn’t have the most durable voice – which is ling really opened up tremendously, because out. John was a Pisces, Lou was a Pisces, Moe part of the reason, according to Morrison, why he had an opportunity to step forward, ’cause and Sterling were Virgos, they wanted to have the Velvets don’t play all that often, at least in Doug was brand new, so [Doug] wasn’t going this astrological balance.” comparison to other touring bands. Yule even to assert himself. He wasn’t really an assertive

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kind of guy, anyway. It also freed Lou tremen-release several albums but never quite receive ering one long wall, the stage on the other, dously, because he became the undisputed as much attention as fellow Michigan groups and tables in between. The PA was Voice Of leader of the band. That whole question went MC5 and The Stooges. The Theaters powered by a low-tech amp and away, there [was] no conflict over that. He Asked four decades later about how he mixed by a rudimentary board. The stage was had written most of the material anyway; it manages to cope so well playing electric bass a platform ten inches high with barely enough wasn’t that he wasn’t really the leader of the on stage for the first time – having learned the room for the Velvets’ stage gear, which was band. But I think without John’s personality group’s repertoire in a mere two days – Yule comprised at first of double cabinet Vox amps, there – ’cause he was definitely a strong figure modestly points out that The Velvet Under-later changed to Acoustic amps. The drums – that it was much clearer that Lou was the ground’s music has “a very open structure. had to be put on Lou’s right, on the floor next leader of the band, and everybody knows it When I joined The Grass Menagerie, they to the PA cabinet.” just became more accessible.” had this one tune that they did; they called it Although the vocals on these tapes are

Steve Nelson also stresses that, contrary to their show-tune, and it was a very structured, sometimes faint and muffled – as is often some later critical assessments of the post-Cale arranged song. In order to play that, you had the case with audience recordings – they’re era, “the band [wasn’t] Lou Reed’s back-up, to learn that structure and arrangement and nonetheless fascinating to diehard fans, and because of Sterling stepping forward and the work within that, and it was fairly complex. not just because they illustrate how the group interplay between Sterling and Lou. When But The Velvet Underground stuff was very sounds right at the start of the Doug Yule era. they were soloing, the interplay between open in terms of its arrangements. I mean, They also include the first known versions of a them was fantastic. Sterling wasn’t there just there were arrangements, but they were not few songs from the group’s yet-to-be-recorded playing rhythm and backing Lou up by any complex or complicated. It was like, first cho-third LP, as well as a few others that won’t see means. Quite the reverse. He was more often rus, play a solo for half an hour, and we’re out. official release before Lou Reed leaves the on lead. They used to play those two guitars So it was a lot of easier to fit in, or to sound band in August 1970. [on ‘What Goes On’], and the sound com-like you’re fitting in, because if you make a On a set widely believed to have been pletely twisted your head around. I think live mistake in a situation like that, it doesn’t stand recorded during the early October 4 perform-sometimes, even though you were looking at out as much. If you miss a chord, [you could] ance, the Velvets start off with ‘What Goes them, you weren’t sure who was doing what. just sort of morph it into the next one and go On.’ The song will shortly become a high-Sterling was [a] really fantastic guitar-player. with it. As long you don’t stand up and go, light of The Velvet Underground; here it’s pow-He was sort of underrated, because he was ‘Oh my god, no one knows I made a mistake!’ ered by some satisfyingly berserk lead-guitar mostly sort of behind the scenes and kind of Two months down the road, stuff was happen-breaks with searing fuzz-tone and feedback. in Lou’s shadow. ing that wasn’t happening at that show at all, (As Yule later reveals to the fanzine The Velvet

“And then Doug added so much to it. They because I knew what to expect, and we were Underground, “You can hear [Reed] stomp could still play the hell out of the stuff like sort of getting settled with each other and on the fuzz box at the beginning of the solo ‘Heroin’ and ‘Sister Ray’ – I heard those finding our stride.” and then try to adjust the knobs with his feet things live, and they were still great. That’s a Yule’s presence serves also to free Reed while playing.”) ‘I’m Waiting For The Man’ is tribute to Doug being able to fit in there. It’s and Morrison to engage in guitar duels of followed by another preview of a track from a pretty hard thing for somebody to step into, new intensity, with Reed generally taking the the group’s third album, ‘Pale Blue Eyes,’ and I think Doug has gotten a bum rap. He more fiery and idiosyncratic solos, and Morri-one of Reed’s finest romantic ballads. This was a big part of the band and brought a lot son following more conventional routes. Who version includes lyrics not found on the stu-of musicianship to it, and I don’t think he’s took which solo, Yule points out, “was based dio cut about a devil who looks like “a mad gotten fair credit for that.” strictly on personal preference. Lou was not monk from Afghanistan.” They’re testament

an accomplished guitar player. He’s sort of a to Reed’s unsurpassed talent for onstage

Friday 4–Sunday 6 seat of the pants, self-taught, balls-to-the-wall improvisation – it sounds in fact like he’s

La Cave, Cleveland, OH kind of player. Sterling, on the other hand, is actually testifying, such as the fervor of his Just a couple of days after joining the group, very precise and analytical, just the way he is half-spoken delivery. Doug Yule is thrown right into the hot seat, in everything, and thinks a lot about what he ‘Foggy Notion’ has been part of the group’s playing three shows in a city where the Vel-does, whereas Lou tends to just do it. Which live set for some time, but the La Cave ver-vets have carved out a following more devoted isn’t to say he doesn’t think, but I mean, sion is the earliest known recording of it. than anywhere except Boston. Not only that, there’s a lot more sort of gut in what Lou The lyrics might not be among Reed’s most he’s playing from a setlist that includes does than in what Sterl did. In terms of the profound, but they’re underpinned by a pul-plenty of unreleased songs that he couldn’t parts that were going on while there was sing-verizing rock-dance rhythm and great call-have learnt by listening to the records. And, ing going on, pretty much Lou came in with and-response vocals. The song also heads perhaps unbeknownst to the band, some of the song and played it, and his guitar work into a much longer and often thrillingly noisy this weekend’s shows are recorded by an audi-was basically sort of the core around which improv section (on both lead and rhythm gui-ence member, and later bootlegged. These everything else was attached. Sterl would put tars) than heard on the later studio out-take, tapes are not exactly of releasable quality a part to it, I’d put a bass line to it, and Mau-which is four minutes shorter than this ten-(although one track will be included on an reen would play drums, so it would all kind and-a-half-minute cut. official release in the 90s), but find Yule to of blossom out from that core.” The Velvets might already have begun to be already fitting in well with the Velvets, and According to the anonymous liner notes to delve into this kind of guitar-dueling during the group as a whole playing well and enthu- Live ’68, the bootleg LP that features record-the later Cale era, but this recording is a good siastically. They play two shows per night, at ings from these shows at La Cave, the venue indication of where the band are headed dur-8:30pm and 10:15pm, for a three-dollar admis-measures 60 by 125 feet, “with a seating capac-ing the first year or so that Yule plays with the sion fee. Also on the bill is an early hard-rock ity of 250–300,” and resembles “a dimly lit group. The backbeat is by no means main-band from Detroit, SRC, who will eventually rectangle with burlap and church pews cov-stream, but is certainly more in line with

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straightforward, hard-charging rock’n’roll ‘I Can’t Stand It’ is a delightfully stomp-some point this fall. The exact date is unclear, than it was before. The jagged rhythm guitar ing and compelling hard-rocker. The lyrics but damning evidence appears in the form of builds up a roar like that of no other band; might be a little lightweight by Reed’s stand-a photo in the school’s 1968–69 yearbook of this coupled with the wildly zigzagging and ards, but this is a monstrously powerful eight-the band sitting amiably on stage with what distorted lead-guitar riffs creates a wall of minute rendition that might qualify – were it looks like an assortment of school officials and sound that at times threatens to spill over into not for the low fidelity – as the best existing students. The quartet’s wardrobe and haircuts the avant-garde. But it never quite does so, recording of the song. Once again, the later make it virtually certain that the show must and never loses the fundamentally hypnotic studio out-take is rather more restrained, and have taken place around now, so similar are rock’n’roll beat, almost reining in the free shorter, at three-and-a-half minutes. The song they to promotional photographs taken of the improvisation and returning to the heart of will eventually appear on Reed’s first solo LP. group during this period. It’s likely therefore a song before the instrumental break outstays There’s also another tune that the Velvets will that the shows take place somewhere between its welcome. Perhaps this is something the shortly lay down for their third album, ‘That’s late October – when the Velvets make their Velvets have learnt from one of their favorite The Story Of My Life,’ which is another one debut at the Whisky A Go Go – and Decem-bands, The Yardbirds, who did more than any that they’ve been playing live for quite some ber 1, by which time they’ll have left the West other group to innovate just such an approach time. Coast for shows in Cleveland, Ohio. both on stage and on record. The Velvets, as These La Cave tapes illustrate not only the The Velvet Underground are unlikely candi-usual, are taking it to wilder and more raw band’s in-concert proficiency (and ferocity), dates to be chosen to play for teenagers at one and experimental territory. but also their willingness to road-test songs of the most affluent public high-schools in the After a dip back into the ‘classic’ VU rep-that are still many months – or in some USA, but this appearance is apparently not ertoire with ‘Heroin’ – sans viola, as it will be cases many years – away from being officially atypical of the programs staged in the build-played from now on – it’s time for another released. Some of these recordings are first ing’s auditorium. Around the same time, the song that will shortly be recorded for the bootlegged in the early 80s on the Live ’68 school arranges speaking engagements by the Velvets’ third album, the quiet ballad ‘Jesus.’ LP, the liner notes for which claim that they novelist James Baldwin and Hakim Jamal – the This early arrangement features somewhat were recorded “on a mono Norelco cassette cousin of Malcolm X and one-time president more prominent drums at the end of the recorder using a hand-held mike and a Nor-of his Organization Of Afro-American Unity. verses and a far longer, tenser instrumental elco C-120 cassette.” One of them, ‘What Goes A few years later, the house band of Father break (with typically abstract guitar-lines) On,’ will even finds its way onto Peel Slowly And Yod’s hippie cult, The Source Family, will give that pushes the performance over the five- See in 1995, where it’s erroneously credited as a concert on the school’s grounds. More con-minute mark. ‘Venus In Furs’ is next, after having been recorded on October 2. ventionally, pop-rock hit-makers Three Dog which comes yet another song earmarked for Night and country-rock pioneers Pogo (better The Velvet Underground, the joyous ‘Beginning Friday 18–Sunday 20 known later on as Poco) are also booked to To See The Light.’ Avalon Ballroom, San Francisco, CA play at the school this semester.

‘Sister Ray’ wraps up the set. Unusually, The Velvet Underground and San Francisco Doug Yule has no memory of the show. “I this version is shorter than the White Light/ seem to be getting over their longstanding don’t remember that at all,” he admits. “Maybe White Heat cut, lasting a mere ten-and-a-half enmity toward each other, since this is the I was abducted by aliens or something!” One minutes. It’s significantly and pleasingly dif-group’s third appearance at the Avalon in audience member who does remember the ferent, however, with a quicker tempo and a about four months. Also on the bill this time show however is Nancy Conrad, a student of greater emphasis on somewhat more conven-are blues-harmonica virtuoso Charlie Mus-Beverly Hills High School and the daughter tional (but still powerful) rock-guitar riffing selwhite and an obscure local band, Initial of actor Robert Conrad, star of the Wild Wild of a distinctly raunchy nature. The biggest Shock. West TV series. “As I remember, the school (and coolest) surprise is the sudden shift after “I didn’t enjoy that one,” Reed admits a few students voted them in,” Conrad recalls. “As about six minutes to a circus-like tempo, after days later when asked about these shows by a young girl, I was shocked when I went to which the beat evens out and accelerates into Ramblin’ Jim Martin in Open City. “We’d never see them, as they were singing about things an out-of-control express-train rave-up. The been in a room that big in our lives,” he con-I never knew about. The auditorium was song then slows to a crawl, but only for a mat-tinues, perhaps forgetting that this is group’s practically empty. That was because only this ter of seconds, before the mayhem builds up third visit to the Avalon, “and [our] ampli- [one] group of guys voted for the group they all over again … fication wasn’t ready for it, and we couldn’t wanted, and they seemed to be the only ones A few other songs from these La Cave shows really hear what was going on, so it was really who knew they could vote someone in! will appear on other bootlegs over the years, very difficult for us. You should always try to “Several guys in the group who attended three of which likely come from the late show show up wherever you’re going to play two died many years ago,” she adds, in a sad post-on October 4. ‘I’m Gonna Move Right In’ is days ahead and get a chance to test out the script to the tale. “Many used hard drugs at another song that won’t be officially released sound system.” school. There was so much money there that until it appears on an out-takes compilation they could trade off some things for drugs.

in the 80s, but is the kind of repetitively hyp- , Late October–November A friend of mine – actually my best friend’s notic one-chord number that might work bet- Beverly Hills High School, Beverly Hills, friend – had already been in and out of rehab ter live than on record. The sound quality CA at 15; he and his friend were on heroin a might not be so hot on this version, but the The Velvet Underground spend much of lot.” performance is actually more exciting than its October and November in Los Angeles, gig-relatively tame studio counterpart, even if this ging there and in various other West Coast cit-one lasts only about two-and-a-half minutes. ies, and recording their third album. As much Wednesday 23–Sunday 27 (The September 27 1969 studio cut rambles as it sounds like an outrageous hoax, they Whisky A Go Go, Los Angeles, CA on for more than six minutes.) really do play at Beverly Hills High School at A few days after finishing their third stint

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at the Avalon Ballroom, The Velvet Under-are The Chicago Transit Authority, widely third album. It might also be around now ground begin a five-night run at the Whisky A regarded currently as a fairly credible jazz-that Hendrix “expressed disbelief to us that Go Go, the club famed for giving residencies rock-soul band. (They will end up heading we weren’t bigger than we were,” as Sterling to The Doors and Buffalo Springfield before toward middle-of-the-road pop after shorten-Morrison will later recall in the BBC’s Curious either group even had a recording contract. ing their name to Chicago.) documentary. About five years later, Lou Reed Them, Captain Beefheart, Love, Cream, The It’s probably during one of these shows will pay tribute to Hendrix as one of several Mothers Of Invention, and The Jimi Hendrix that Jimi Hendrix comes by after the first set, stars interviewed for the 1973 documentary, Experience are just a few of the many great as Doug Yule recalls in a 1996 issue of the A Film About Jimi Hendrix. Reed is certainly bands to have already played at this legendary fanzine The Velvet Underground, “to tell us he aware of Hendrix by now, as Susan Pile recalls venue; this, then, is one of the most prestig-loved the music and the energy.” Hendrix is in tagging along with him and John Cale to see ious venues at which The Velvet Underground Los Angeles recording at TTG Studios, which Hendrix at the Salvation in New York during will ever play. Also on the bill for these shows is where the Velvets will shortly record their the summer of 1967.

The Flowers Of Evil bootleg, featuring a shot of The Velvet Underground taken shortly after Doug Yule joined the band. 207

208

The Doug Yule line-up of The Velvet Underground: Doug Yule, 209

Lou Reed, Sterling Morrison, and Maureen Tucker.

OCTOBER 1968 n WHITE LIGHT/WHITE HEAT

“There was somebody out in the audience edgy, audacious experience. The difference is not written.” On why the Velvets don’t play who was jumping up and down, banging a the difference between the second and third ‘Venus In Furs’ anymore, he says, “We have to beer mug on the table, and making a lot of albums. They were really masters of the white be careful that we enjoy doing it each time … noise,” Yule recalls. “And it turned out to be sound; so much of the White Light/White Heat when we don’t enjoy [it], we don’t do it.” [Hendrix]. He came up afterward and said album is about reaching that moment of com-Finally, when asked whether he likes elec-he was really into it. I was sitting with Lou at plete obliteration at the end of a song. John tronic music, Reed says: “Not at all. I think if a table and I was like, ‘is that you?!’” he adds, had a lot to do with creating that big sound. electronic composers could play rock’n’roll his jaw dropping. “I was kind of in shock. But Not to say that the sound is not enjoyable after then electronic music might get interest-he really liked [us], and I can see why. I don’t John left. But they’re pop songs, as opposed ing.” think I’ve ever heard a recording that really to these radical rock songs.” gives you the feeling that the group put out Pile will soon get a closer look at the Thursday 31–Sunday 3 live. It was a locomotive; it was a good beat, change in the group as a guest at several of Retinal Circus, Vancouver, British and extremely compelling.” (Also in the audi-the recording sessions for The Velvet Under- Columbia, Canada ence for a couple of these performances is Jim ground. “I was at the studio for a lot of the Although largely based in Los Angeles at the Morrison. He is accompanied at the October recording, and I knew that they were making moment, The Velvet Underground make the 26 show by his buddy Tom Baker, star of Andy this dramatic turn,” she recalls. “I think that trek this weekend up to Vancouver for their Warhol’s I, A Man.) Lou wanted to assure me that the group was second stint at the Retinal Circus, where they

On October 29, in a letter to her friend happy without John.” first played in June. The first of four nights’ Edward Walsh, Susan Pile gives her immediAt some point during this five-night run, performances takes place on Halloween; sup-ate impression of the Whisky shows and men-Lou Reed is interviewed by Ramblin’ Jack port comes from a local band, Black Snake tions that the Velvets are planning to make Martin for the Los Angeles underground Blues Band, whose entire recorded output Los Angeles their main base while they work newspaper Open City, resulting in the long-amounts to two tracks on a benefit album. on their third album. “John is no longer est pre-1969 question-and-answer session In the Georgia Straight (also published as with the Velvets,” she writes. “The new kid with the VU leader ever to see print. The the Vancouver Free Press), Dan McLeod praises is named Doug(ie)(las) – he’s from Boston, interview includes a number of noteworthy the closing show on November 3 as “some plays bass and organ and is really neat-looking quotes, including the following explanation of the best rock’n’roll music I’ve ever heard. (more so – perhaps – from a strictly objective of why ‘Sister Ray’ always finishes the group’s It was also the best Velvet Underground I’ve viewpoint – than M. Reed). They have a lot second set: “You don’t want to follow it with ever heard, because the electric drone which of new material, like one song [‘Beginning anything. Mainly, the instruments are wrecked obscures much of the work on their records To See The Light’] that ends (in joyous two-by the time we finish. We close out with it. You was not present, and in its place, in ‘Sister part harmony of sufficient unintelligibility) see, ‘Sister Ray’ depends on whether we’re Ray’ especially, were rock’n’roll wails of ‘How does it feel … to be dumb?’ Plus, things playing part two, part three … ‘Sister Ray’ in pure delight. Hopefully this fuller sound will like ‘Waiting For The Man’ slowed to an easy its entirety might run three days sometime, come out in their next album, which will be Booker T. depending upon the energy level of the group recorded in a better sound studio than the

“Louis doesn’t really dominate the group … we have tapes of this, but we won’t release first two.” any more – in fact, I would consider Sterling them because it’s more than an hour long During the afternoon before the final show, lead guitar. You won’t believe how strong they already.” McLeod goes to interview the group at their are musically now … The Velvets will record Of The Byrds, Reed notes, “I think Jim hotel on Denman Street, taking with him Al their third album here in LA sometime within McGuinn is a very good guitar player, really Sorensen, Nancy Taylor, Phil May, and Fred the next five weeks, and I am convinced it’s exciting, you know: to this day, no one has Davidoff. The resulting two-part feature, going to be incredible.” done a better solo than ‘Eight Miles High.’ I published later in November in the Georgia

Of the transition between the Cale and Yule mean, people should really support The Byrds; Straight, is one of the most extensive interviews line-ups, Pile tells the author, “It was becom-The Byrds are divine.” Asked about the new with the Velvets to date, although Reed does ing [a group] without the edge of Cale, which arrangement of ‘I’m Waiting For The Man,’ most of the talking, and the group’s other then Lou steps up to match one-on-one. It was Reed says, “We were tired of [playing] it fast guitarist is mistakenly identified as John Mor-like a nice group as opposed to a completely … The lyrics are made up on stage; they’re rison.

210 The Velvet Underground relax on stage in the auditorium at Beverly Hills High School.

WHITE LIGHT/WHITE HEAT n NOVEMBER 1968

Reed takes the opportunity to discuss ‘The back that he’s “the Dostoyevsky of rock.” Over the studio. We knew we were going to play Murder Mystery’ – for the first time in print. time, the comparison will come to be seen some songs in the studio, we didn’t know “‘Sister Ray’ is part of the novel that’s a mur-not so much as comically egotistical as dead-which they would be, and there was never der mystery,” he reveals. “We’re gonna have on accurate. any way to tell. We would do what we felt like a song on the next [album] that’s a horror doing on a particular night. I think our mood movie, but a really safe one. The kind you overall when we were doing the third album

went to see when you were a kid where you was subdued for some reason or other, maybe November

could get scared but you knew nothing would because of the Cale thing. We were just sub-

really happen. Then there’s comedy, then dued – I was – and so we made that kind of

there’s a ‘jig’ … about a king and queen who record, even if not by design, that’s the way

are in a store buying heads.” it came out.”

As far as the Velvets’ previous LPs are , November–December Doug Yule however has no recollection concerned, Reed admits, “I think they’re M RECORDING TTG Studios, 1441 North of such an incident. “I don’t know anything really badly recorded. In about three years McCadden Place, Los Angeles, CA. Engineer about that legend,” he tells Pat Thomas in we spent three days in the studio.” He agrees Val Valentin. 1995. “No one was using fuzz boxes as far as with McLeod that his voice has not been well It’s not entirely clear why The Velvet Under-I know. We didn’t have any effects on stage. served by the production on those records. ground have decided to record their third We walked on, plugged into the amps, and “That’s not intentional either,” he adds. “We album in Los Angeles, rather than New York, that was it. We didn’t have pedals. That’s just tried to do something in recording that a cou-where they’ve cut almost all of their previous what we were playing then. We were playing ple of people do now, and they do it better material. They have spent time at TTG Stu-much more melodic stuff.” than we did. And that was the idea of having dios before, however, and have been doing a In an interview with the Velvet Underground the voice … not do an overdub. I know the lot of touring on the West Coast of late. Since fanzine, Yule adds, “If the story were true Stones do a lot of it, and they’re really good they’re going to be out in California for a and the effects boxes had been stolen and at it. Really do admire the Stones. You know, while, it might make sense to combine touring they were so important, why wouldn’t some the idea of the whole band playing with the and recording on the same extended visit. replacements have been found? Certainly singer at the same time sets up a problem of While working at TTG, the Velvets stay in in LA there would have been some kind something called leakage. Which means one West Hollywood’s famed Chateau Marmont of substitutions.” In fact, as Vic Briggs con-instrument leaks into another instrument and hotel on Sunset Boulevard. The sessions run firms, “Right around the corner from TTG, you don’t have a clean track, you have a dirty through November and December, presum-there was an equipment rental place [Studio sound. Now if you go to a good studio you ably broken up by gigs in Los Angeles and/ Instrument Rentals, commonly abbreviated can get away with it, but we didn’t, we went or elsewhere. It’s likely that the bulk of the to SIR]. It was run by Ken Berry, who was to a bad studio.” work is completed in November, as the group the brother of Jan Berry [from] Jan & Dean.

Reed goes on to describe Andy Warhol are set to play in Cleveland and Boston in And of course, they had everything. They as “one of our best friends,” and claims to December. were not on call 24 hours a day, but almost. have “sold a lot of records, steadily.” He cites For the first time, The Velvet Underground They could have anything there in five min-‘I’ll Be Your Mirror’ as the composition with are producing themselves, but Val Valentin is utes flat.” which he’s most pleased, and points out that still around, and is credited here as director Whether or not it has to do with the sudden ‘Heroin’ doesn’t idolize the drug, as “the song of engineering. (Former Animals guitarist Vic absence of equipment capable of reproduc-wasn’t putting it down or up.” Asked about his Briggs also makes a brief attempt at producing the loud’n’fuzzy sounds the Velvets sum-writing process, he says, “[I] pull them out ing the band; see November 16.) Each of the mon up on stage, The Velvet Underground of the air. We all collaborate. I don’t know. group’s LPs so far has been a surprise, but will be a much softer, gentler album than It’s so easy that you can’t keep track of it. If The Velvet Underground, as this third album either of its predecessors, and one that even it was hard I’d know it specifically, but it’s so comes to be known, might give listeners even approaches a folk-like mood in places. But easy. It doesn’t have anything to do with me.” more of a jolt than White Light/White Heat did the album might well have ended up this way Reed also raves about The Kinks, calling their earlier in the year, albeit for very different even with access to the Velvets’ usual bag of Something Else LP “probably the finest album reasons. The change in sound is down partly, sonic tricks. Lou Reed has of late begun to ever made” and singling out ‘Lazy Old Sun’ according to Sterling Morrison, to the fact show a growing inclination toward romantic for specific, ecstatic praise. that much of the group’s equipment is stolen balladry and more contemplative (yet still Reed shows a bit of the prickliness for from JFK Airport just before the Velvets fly to forceful) medium-tempo rock. And while which he’ll become legendary when asked the West Coast. Without their special effects Morrison might claim, in the Peel Slowly And how old he is. “I hate questions like that,” and high-powered amps, they’re forced to See liner notes, that few of the songs have been he replies. “That reminds me of, ‘What color play at a lower volume and make use of more performed live before the Velvets enter the are your eyes?’” (He’s happy enough to reveal conventional, less distorted textures. studio, surviving tapes and setlists prove this to that he’s a Pisces a few questions later.) Some “All our electronic gizmos, that were stored be untrue. ‘Pale Blue Eyes,’ ‘What Goes On,’ of his other responses hint at a devilish, put-and carried around in ammunition boxes, ‘Jesus,’ ‘Beginning To See The Light,’ and on sense of humor, such as his claim that his were stolen at the airport when we were on ‘That’s The Story Of My Life’ were all played 1958 single with The Jades was a Number One our way to the West Coast to do the album, recently at La Cave, and some of them date hit “in Nevada,” and his description of the so all our electronic bag of tricks had evapo-back even earlier. Velvets’ use of drone as “a result of listening rated,” he tells Ignacio Julia in 1986. “Rather “Essentially, all those songs were already to telephone dial tones, prolonged conversa-than try to replace them we thought about being played,” Doug Yule confirms in The tions with dial tones.” When asked how he what we could do without them. We never Velvet Underground Under Review. “The album could write a song about heroin, Reed shoots made fixed plans about what we would do in itself, when it was recorded, was done basically

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as a live album. All four of us played together recording to pure folk-rock, particularly with “It gave him a break from singing,” Yule for the tracks, and then we went back and the prominence of delicately picked guitar adds in an interview for this book. “It also overdubbed the vocals and any solos … It and almost crooning vocals. There’s no per-switched the focus from him to me for a while, was very organic. One of the reasons it has cussion save for a lonesome, rattling tambou-which was like a psychological break, ’cause that particular sound is that it was just pulled rine, while the subtle organ lends the song a he was at the forefront of the group all the out of the band while it was touring, and so dreamy, almost hymnal quality. Morrison will time. To have like a song when he could sort it wasn’t a lot of time to over-think it. It was later single out the song, in an April 1981 of stand back, just play the guitar, and not just played.” interview with the New Musical Express, as a front for a few minutes was like a coffee break.

In the May 1971 issue of Creem, Reed lets red flag for the emergence of Reed’s “sensi-I’m flattered that he would let me tear it apart Lester Bangs in on his growing affection for tive, meaningful” side now that Cale’s out of the way I did.” (In a May 1972 interview with the more soothing side of the Velvets’ later the band, having apparently told him, “Lou, Time Out magazine, Reed himself explains that career. “I’ve gotten to where I like ‘pretty’ if I wrote a song like that, I wouldn’t make he figured Yule “won’t understand a word of stuff better,” he says. “You can be more subtle, you play it.” what he’s singing; which is perfect, because really say something and sort of soothe, which Even so, those outside the band are glad [the character] asking the questions doesn’t is what a lot of people seem to need right now. of the song, and Reed himself is particularly understand anything either.”) Like I think if you came in after a really hard appreciative of Morrison’s contribution. Years Perhaps the biggest individual surprise of day at work and played that third album, it later, in an obituary for his former band-mate these sessions is ‘Jesus,’ another gorgeous, might really do you good. A calmative, some for Rolling Stone, he writes, “It had that beauti-folksy ballad, performed this time with no per-people might even call it muzak, but I think it ful stutter in it. I could never do that. I always cussion whatsoever. It’s another lower-than-can function on both that and the intellectual wondered how the hell he did that. But it was low-key triumph, and one that demonstrates or artistic levels at the same time. Like when just the way he played – intuitive, but intuitive the band’s increasing comfort with vocal har-I wrote ‘Jesus.’ I said, ‘My god, a hymn!’ and matched with brain.” monies, with Reed’s low singing fitting so well ‘Candy Says,’ which is probably the best song ‘Candy Says,’ which will ultimately be with Yule’s high parts that the song is almost I’ve written … Those and things like ‘Sunday chosen as the album opener, is not as well a duet. What’s more surprising is that, having Morning’ have always been my favorite Velvet known, but is similarly impressive, and one of written and sung the most explicit lyrics about Underground songs.” the most underrated items in the entire VU hard drugs and kinky sex yet heard in pop

At any rate, The Velvet Underground’s catalog. The inspiration behind this song is music, the tough, streetwise Lou Reed is now decision to follow so low-key and introspec-a quite different character: Factory transves-pleading for redemption. tive a path will prove, if anything, to be just tite Candy Darling, a female psyche stuck in This lyrical turnaround will never quite be as subversive as their previous albums, par-a man’s body. The song is proof that Reed is explained. Reed is from a Jewish background ticularly when coming straight after the continuing to draw on the Factory crowd for and, as far as can be ascertained, never under-sonic assault of White Light/White Heat. This material long after the Velvets ended their goes a religious conversion to Christianity by extension makes the record utterly char-formal association with Warhol. The song (as Bob Dylan famously will about a decade acteristic of the group’s perverse pleasure in has one of his loveliest, most heartbreaking later). The Velvets often sing about weak-shocking and confounding their audiences melodies, and some of his most sympathetic ness, redemption, and salvation – more on and critics. Having made perhaps the loud-lyrics. Surprisingly, these are sung not by Reed this third album, it should be noted, than est album of all time, it’s almost as if they’ve but by Doug Yule – perhaps, as Morrison will anywhere else – but never before or since in now decided to make the world’s quietest LP. later suggest, because Reed’s voice has been such an explicitly religious context. The band’s use of 12-string guitars on several worn down by all the live work the Velvets Reed goes some way to addressing the ques-tracks helps differentiate the material even have undertaken in between studio dates. And tion of whether he is truly seeking redemp-more from their previous output. But even yet somehow Yule’s thin, tremulous delivery tion for himself in his 1971 interview with the this drastic reduction in volume can’t quell fits both the song and the overall vibe of Metropolitan Review, in which he notes that his the dark themes that continue to permeate the album, which seems to be as quiet and songs are “supposed to be little plays. I would the lyrics – or indeed the occasional outbursts restrained as possible. He’s helped along too see myself as the lead part because I’m a ham, of distortion and random noise. by some gentle backing vocals and a refrain of so I would give myself the lead singer role and

‘Pale Blue Eyes’ is perhaps the oldest song wordless doo-wop harmonies at the end. I would write myself out this dialogue, then tackled at these sessions. It’s included on a “I didn’t know I was gonna sing that song I would play different characters. You notice handwritten setlist from a mid-1966 Chicago until we were doing the vocals,” Yule reveals they all have characters which are completely show, and was inspired by Shelley Albin, in The Velvet Underground Under Review. “[Lou] different. And so people used to say ‘that must Reed’s old Syracuse girlfriend, whom he still sang one, then he came back and said, ‘Why be you’ or ‘THAT must be you,’ but they sees on occasion in New York, even though don’t you sing one?’ When I sang ‘Candy couldn’t figure out how I could be the same she’s now married. Certainly, the line about Says,’ we’d only been playing the song for person because the people in the songs were the subject of the song being married – and a little while, and I didn’t know, really, what different, sometimes they would be opposite. the reassurance that what they did yesterday the song’s about, or the history involved in For instance you’d have ‘Heroin’ and then isn’t a sin, but in fact proves that she’s his it. And at some point when Lou and I were you’d have the opposite with ‘Jesus.’” best friend – seems to fall in line with their on the outs, he kind of made fun of me for A similar vein of almost gospel-like spiritual-current situation. Reed sounds ambivalent, that – for not knowing what it was when I was ity runs through several other songs recorded even guilty, but is unable to let go of a deep singing it. And certainly had I known, I prob-for The Velvet Underground (and in fact is an emotional attachment and desire. ably wouldn’t have sung it, because it wouldn’t underrated quality of Reed’s writing for the

‘Pale Blue Eyes’ is justly hailed as one of have been relevant. But I think part of the group as a whole). ‘Beginning To See The Reed’s greatest love songs. Its melody and reason that it worked was because for me, it Light’ certainly makes much of a phrase arrangement come closer than any other VU meant something totally different.” widely associated with religious redemption,

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with Reed announcing his revelation with the one you do, we’ll have to kill another one, different lyrics). Texture is added to the fervor of a preacher. Few sermons are as bois-because we don’t have any more open tracks.’ backing track in the form of Morse code-like terously joyous as this one, however, although So I said, ‘Why don’t you play one more, and bleeps, cymbal crashes, funeral-parlor organ, in fact the song and the power chords on we’ll play them all at once,’ and it worked. It and progressively crazed piano-bashing that which it rests will become even more force-sounds like bagpipes.” In an interview for this makes one wonder if the ghost of John Cale ful and mesmerizing when performed live in book, Yule adds, “Lou has a tremendous sense has invaded proceedings while Lou Reed’s 1969. of melody. He played three or four solos for not looking.

‘I’m Set Free’ is another underrated gem that, and they were remarkably similar, simply Like ‘Revolution 9’ from The Beatles’ White of a ballad, and one perhaps that will be over-because he had sort of a basic roadmap for Album – released while the Velvets are working looked later on because it is not included on a melody he wanted to play in his head, and on this LP – ‘The Murder Mystery’ is a defi-the various live LPs recorded with the Doug he stuck to it.” antly amelodic noise-collage wedged into a Yule line-up. It’s also another song that hints ‘Some Kinda Love’ provides a complete batch of very song-oriented material. It’s also at a release into a state of beatific grace, par-change of mood. It contains some of Reed’s one of the few songs from the four principal ticularly on the exultant chorus. And yet it’s most salacious singing, while the lyrics explore Velvet Underground albums that’s never per-tempered by ambiguity; yes, Reed and the all manner of carnal possibilities and combi-formed live (at least not in its entirety). “It’s Velvets have been set free, but only to “find a nations. But it’s still somewhat subdued instru-too hard,” Morrison explains in the March new illusion,” suggesting that all such revela-mentally – at least by past VU standards – with 6 1970 issue of Fusion. “Anything involving tions have their limitations. The idea of being Tucker once again demonstrating her knack narration is really ridiculous to try and do set free is also contrasted with the concept of for less-is-more percussion by keeping time before a live audience.” (Incidentally, Doug being bound, which to some listeners sounds with nothing more than an ominous cowbell Yule is certain that ‘The Murder Mystery’ was like another VU reference to sadomasochistic and bass-drum pedal. Two different takes will cut not in Los Angeles but at an in-house sex. Whatever the case, it’s another great tune eventually be issued on different mixes of MGM studio on Sixth Avenue in New York, and arrangement, with superb, ghostly har-the album. One features a noticeably hoarse with Val Valentin once again engineering. monies, dramatic, muted drums, and one of Lou Reed vocal and two guitars, one for each It could be that some post-production work the group’s most tastefully understated, fluid channel; the other has only one. (For more is done on the track in New York, or even guitar-solos. on the differences between the two mixes of that more recording sessions take place in

Susan Pile is in attendance for some of the LP, see the March 1969 entry about the the Velvets’ home city, but the Peel Slowly And these sessions, and in December writes a let-release of The Velvet Underground.) See liner notes state that the entire album is ter to Ed Walsh in which she notes that ‘I’m The three songs eventually chosen to close made at TTG.) Set Free’ “contains a small salute to Lou’s the LP are each anomalous in their own way “The idea was simple – have two lyrics run-perennial panacea, Phil Spector, where very and by comparison to what comes before ning at the same time so you get hit with one quietly from the background … come two them. ‘That’s The Story Of My Life’ is as monologue in one ear and the other mono-small ‘ba-by’s, identical to the overdub in The easygoing and jaunty a song as the Velvets logue in the other ear, like two guitar parts,” Righteous Brothers’ ‘You’ve Lost That Lovin’ have recorded to date, and seems somewhat Reed explains in the Peel Slowly And See liner Feelin’.’” Reed of course specifically praised throwaway, although it dates back to at least notes. “Just as two guitar parts are supposed this very moment in the Righteous Brothers the middle of 1966. It’s pretty minimal from to interweave, so are these two poems. But it song in his December 1966 article for Aspen, a lyrical perspective, too, consisting of no didn’t work because you couldn’t hear either while Pile confirms, “I was aware of the Spec-more than three identical four-line verses one well enough to hear what was being said. tor sound and how fixated Lou was with it. most notable for their reference to another It was supposed to be fun with words, fun with In a way it’s the sweet opposite of the [White Factory regular, Billy Name. rhymes and sounds. One piece was written to Light/White Heat] sound.” Listeners are in line for a shock when the be read faster, the other slower, so you would

The harder-rocking, raunchy elements song is followed by ‘The Murder Mystery,’ a be absorbing the slow one while the other of The Velvet Underground are much less nine-minute epic almost as avant-garde as any-one is going at you. Haven’t you ever had that prevalent on the group’s third album, but thing cooked up by the Cale line-up. There’s happen in your own head? I have, and I was they’re not entirely absent. ‘What Goes On’ little melody here, with the instrumentation trying to capture that. It’s not even supposed is one of the their most driving, hypnotic, and alternating between an enervating, ascending to mean anything, only whatever it sets off in upbeat rockers, but like ‘Beginning To See riff and a spacey, bluesy groove that eventu-your head.” (In his Metropolitan Review inter-The Light’ seems only to be the blueprint ally mutates into an uneasy, repetitious, and view, Reed claims that, had Nico still been on record for the magnificent, extended ver-childlike piano sequence. The music is lit-around, he would have let her take his vocal sions the group will perform in 1969. Even in tle more than an excuse for a backdrop to a part. “I do a part where I talk like I am a robot, the studio, however, the song contains some spoken narrative that combines Morrison’s I take like a machine,” he adds. “I would have exceptional blends of chunky rhythm-guitar, speed-rapped recitation with Reed’s low, used her for that.”) the sweet, piercing buzz of overlapping lead drooping tones. It’s like hearing 78rpm and Without wanting to make too much of parts, and the sort of churchy organ heard on 16rpm records played simultaneously, bro-what is almost certainly a coincidence, The several tracks from these sessions. ken up by a queasy call-and-response duet Velvet Underground, like The White Album,

As Doug Yule recalls in the Velvet Under- between Yule and Tucker during the bluesy ends by following a defiantly avant-garde ground fanzine, “Lou cranked his guitar up passages. The words are a jumble of surreal-exercise with a song that could almost have all the way [on ‘What Goes On’] and played istic, free-associative, and even nonsensical come from the pre-World War II era. In the a solo. It was good and we said, ‘Wanna try phrases that are made even more difficult to context both of this album and the Velvets’ another? We got a few more tracks,’ and put follow by the fact that Morrison and Reed are career as a whole, ‘After Hours’ is as odd down three solos. He came back in and lis-reciting entirely different texts at the same a duck as anything in the group’s catalog. tened, and the engineer said, ‘Well, the next time (with Yule and Tucker singing wholly Its vaudevillian flavor might have gone over

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well in a Depression-era speakeasy, although and professionalism of the group. That they LP, emphasizes a side of their vision that will there’s a bittersweet edge that many cabaret have made an album that’s not just profes-be unduly stressed over the next few decades. tunes of the time lacked. It’s also the only sional, but that ventures into genuinely bold But he does still praise The Velvet Underground Velvet Underground track released prior and creative new territory while maintaining & Nico as a “vivid, lucid, and, in its own way, to the mid 80s on which Maureen Tucker their previous high standards, is what makes highly poetic description of the junkie scene takes the lead vocal. After counting off with The Velvet Underground not merely a good in New York … With the exception of ‘Sun-a memorable “one, two, three,” she sings band, but one of the greats. day Morning,’ the first cut on the album, all the song in her artless yet naively charm- the songs take a decidedly extreme point of

ing voice. Adding to the novelty value is Undated November view of their particular subjects. The drugs the fact that Tucker plays no percussion on Almost a year after its release, White Light/ songs are about smack. The sex songs are the song, leaving a Django Reinhardt-style White Heat receives a rare review in the about sadomasochism … And the love songs guitar to serve as the lone accompaniment. November issue of the New England Scene. are about girls who will ‘break your heart,’ For a Velvet Underground song, it’s just as “The Velvet Underground are thought or will ‘be your mirror’ but no more than unexpected and off-the-wall as ‘The Murder by many to be translators of a cosmic con-your own reflection … The album describes a Mystery,’ ‘The Gift,’ or ‘European Son,’ but a sciousness but in reality they are where they scene rooted in heroin and sadomasochism, little more conventionally listenable. started, an experimental rock group,” huffs populated by people whose thoughts seldom

“I was just very nervous recording it,” an unnamed author. “The Underground wander beyond their next fix or the next Tucker admits in the Peel Slowly And See liner picked its direction at its inception and has time they can get laid,” Starks concludes. notes. “I tried it about eight times. Finally, proceeded that way for the past couple of “Viewed in this way the album emerges as a I made everyone leave. It was just me, Lou, years. As a result they are masters of the dron-unified work of art. Slowly and subtly it turns and the engineer and I finally did it okay. But ing, repetitious sound, so much so that the your head around.” I told them ‘I’m not singing this live unless music and lyrics which drone and constantly someone requests it.’ Because I was scared and insistently bid for your attention make it Thursday 14–Sunday 17 stiff.” As Reed reveals when introducing the difficult to focus on either one. The themes, Whisky A Go Go, Los Angeles, CA song on an unreleased tape recorded at as could be expected, are drugs, death, and A few weeks after making their debut at the the Matrix in San Francisco during the fall sex, united in varying amounts, sometimes club, the Velvets return to the Whisky, this of 1969, “I originally figured on featuring equally (‘Sister Ray’). Sometimes it is just time with the San Francisco soul-rock band myself doing it with … y’know … a spotlight death (‘The Gift’). Cold Blood in support. The shows are cov-and a gold lamé dress. But then I figured, “The Underground is not musically excelered in the British music weekly Disc, where well, you know, I don’t know if they’re ready lent, but they are competent. Their compo-Judy Sims reports in her Hollywood Calling to accept that. So we got old Maureen out sitions tend toward early-50s chord patterns column that the group “played the Whisky and figured, they’ll believe her where they and these are played with little overlay on twice in the past three weeks; the first time I wouldn’t believe me. Even though I always variation. The lyrics are sung in almost a saw them they were fairly awful, the second tell the truth!” (Tucker will eventually sing monotone chant and sometimes just spoken time they were fairly great. Doug Yule, new the song on stage after it’s requested at a which adds to the chilling monotony of a lot bassist/organist, said they’ve had exceptional show in Texas in October 1969. Reed will also of their material. The Velvet Underground response all over the country … he’s very end up singing it at least once, on August is not a happy or bright group and what enthusiastic about their new album, which 23 1970, as heard on Live At Max’s Kansas they say is not above average intellectually, will be released in January. They’re a strange City, recorded while Tucker is on maternity but what they are transmitting is their dim group – the drummer, a girl named Moe leave.) view of the world about them, and through Tucker, stands at her drums and flails away;

For some critics, The Velvet Underground this hazy outlook four down personalities the leader/songwriter/singer, Lou Reed, is marks the point at which Lou Reed starts to thump and pound their message into your into all sorts of weird psychic phenomena like dominate the group’s music to an extent that skull. If your taste runs into the worlds of astral projection; the other guitarist, Sterling would have been impermissible during the mainlining and obscuring, don’t miss ‘Sis-Somebody, is almost frighteningly outspoken; Cale era. Sterling Morrison will later describe ter Ray,’ or to old rock forms, ‘White Heat/ and Doug is just plain groovy. What’s a nice his position on the album as one of “acquies-White Light.’ Otherwise don’t bother; they boy like that …?” cence,” before explaining, in Victor Bockris’s are either above or below you.” All in all, it’s The November 30 edition of the Los Angeles UpTight: The Velvet Underground Story, “I didn’t hardly a glowing recommendation. But after Free Press also gives the shows some brief cov-argue hotly about this or that feature in the the New England Scene evolves into the better-erage, and with more enthusiasm than that album. My contribution was as much as ever, distributed Fusion at the beginning of 1969, with which the same publication greeted probably more even, but I just didn’t try to it will become perhaps the first widely read the Velvets first LA jaunt, back in May 1966: get my own way all the time. Perhaps the Cale publication to champion The Velvet Under- “The group did some of the old songs like business left me all argued out, or perhaps I ground on a regular basis. ‘Heroin’ (the audience wouldn’t let them off just didn’t feel that strongly about the mate- stage unless they did that one!), ‘I’m Waiting

rial one way or another.” Thursday 14 For My Man’ (which they’ve slowed down and

What is indisputable, however, is that by At a point when lengthy articles about the rearranged), and ‘Sister Ray,’ but the bulk the time these sessions are complete, the Vel-VU are still rare, the band receives about of their repertoire consisted of new material, vets have enough material for an outstand-a page of coverage in Detroit’s leading including a long number called ‘Mr. Rain’ ing album far different in tone to either of underground newspaper, the Fifth Estate. that captivated the sitting listeners and drove the LPs they made with John Cale. That they Bob Stark’s appreciation of the band is the dancers crazy. The song reaches a point manage this so soon after integrating Doug somewhat academic and, with its focus on where the only thing that remains constant Yule into the line-up is a tribute to the abilities the more lurid aspects of the group’s debut and consistent is Maureen’s drumbeat, while

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Lou seems to battle organist Doug with his Friday 15 ground on several occasions, often as the guitar and Sterling appears to be doing some-The Velvets aren’t being totally ignored by editor of Fusion, one of the first perceptive thing altogether unrelated on his bass. Lou their hometown media, as demonstrated by and nationally distributed magazines aimed writes or co-writes all of the group’s material, an article in the New York Free Press that runs at the literate underground-rock audience. a great deal of which appears to be valid social to almost a page and a half, covers both of the He might often be overlooked by future commentary as well as being musically justi-group’s released albums, and pays homage to historians, but Somma is – with the possible fied.” the band as a whole (albeit in rather cerebral exception of Richard Williams in the UK – the

The Velvets are also listed – both on an tones). “The Velvet Underground recollects journalist who does most to raise the visibility MGM itinerary and in the Billboard magazine the aberrant and the anomalous, they cel-of the Velvets in the rock press in the late 60s offshoot Amusement Business – as appearing on ebrate the unacceptable, poke around in the and early 70s. November 15–16 at the Hippodrome in San moist corners,” writes Robert Somma. “They Diego, but it seems likely that they go ahead talk about fellatio, mainlining, and pill-pop- Saturday 16 only with the Whisky shows on these dates. ping; they recount some of the goad needed In her weekly Hollywood Calling column

to induce in certain urban neighborhoods the for Disc & Music Echo, Judy Sims offers some

, Mid November delights of orgasm. On record, the Velvets can intriguing VU gossip. “I called two friends to

Newly signed to Elektra Records, the Michi-raise by several hundred decibels the anxiety see if they knew of anything that had hap-gan rock band The Stooges visit New York of any household in a matter of moments; in pened, pop wise,” she writes. “One told me City. Frontman Iggy Pop (born Jim Oster-person, they are anxiety.” Somma seems to that Vic Briggs is now producing The Velvet berg) meets Nico at the Scene; he’s ten years have missed the point rather, however, when Underground.” Briggs has spent much of younger than her but, like Jackson Browne he describes ‘I’ll Be Your Mirror’ as a “lesbian 1967–68 playing guitar with Eric Burdon & before him, embarks on a brief affair with sketch,” particularly considering the fact that The Animals, another MGM act who have the older woman. the song was inspired by a remark made to recently spent time at TTG Studios in Los

Nico introduces Iggy to the joys of Beau-Lou Reed by Nico while the pair were in the Angeles. (Both bands have also worked with jolais wine and oral sex, and even stays with midst of a brief affair. Tom Wilson in the past.) Briggs quit The Ani-him briefly during the early winter at the Somma offers particularly intense scrutiny mals in July, however, and has been looking farmhouse (or ‘Fun House’) in which The of the song that has become the Velvets’ usual to establish himself as a producer. Stooges are living in the middle of Michigan tour-de-force set-closer. “On record, ‘Sister Briggs (now known as Antion Meredith) cornfields. The liaison won’t last, but carries Ray’ convinces you of the Underground com-does spend some time at TTG with the Vel-on long enough for the pair to be filmed in mitment to repetition, electronic laceration, vets, but recalls that the sessions don’t work Michigan by Francois de Menil, who wants to muck lyrics, stagey vocals,” he writes. “In per-out to the satisfaction of either party. He got make a movie about Nico. A surrealistic scene son, their tactics are wholly successful because the gig when Jesse Kaye, who works at MGM’s is shot of Iggy (with his face painted white) they are fully permitted to roam around your Los Angeles office, called to let him know the and a red-haired Nico romping around a man-head. They have reduced the necessary com-Velvets were at TTG and in need of a pro-nequin-strewn potato field, but the 16mm, ponents of destruction and hypnosis from ducer. After meeting with Steve Sesnick at the three-minute film will never be released. An light shows and artful lyrics to several bars, Chateau Marmont hotel on the Sunset Strip, 80-second excerpt will later appear in the wearying harmonies, and gestures. They often he comes down to the studio to meet the band documentary film Nico/Icon; it also features perform this strategy piece for an hour, leav-and get started. a burning cross and appearances by several ing you physically dominated, limp, and hurt-The next few nights, however, “were prob-other semi-actors, including Stooges road-ing.” ably the most negative experience in my manager John Adams. Somma will write about The Velvet Under-recording career. I don’t hold any personal

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animosity, but it was difficult. TTG was a November 22–23 at the Bank in Los Angeles, Friday 6 really good studio; they were in the big stu-and November 28–30 at the Avalon; the dates The Rolling Stones today release their classic dio, which was a huge room. It could prob-are also listed in Amusement Business magazine. Beggars Banquet LP in the UK (a day before ably take about 60 musicians. I was used to But it seems likely that the schedule is later its US release). Nobody quite spots it at the sound kind of blasting out of the speakers, rearranged, and that the group end up play-time, but one track is directly influenced by and what was coming out was really, really ing at the Avalon on November 22–24 instead, The Velvet Underground, proving that the low, you know. Way back in the far corner as advertised on posters and flyers. group’s influence is already being absorbed of the studio, there was these three people. into the upper echelons of rock music. “Even I can’t remember what instrumentation they Saturday 23 we’ve been influenced by The Velvet Under-had. But there was really small sound coming M RECORDING aNguS MacLiSe exact loca-ground,” Mick Jagger tells Nick Kent of the out of the speakers. The engineer was a guy tion unknown, New York, NY. New Musical Express in June 1977. “No, really. I knew very well; he worked on a lot of Ani-While the Velvets are rocking the Avalon, I’ll tell you exactly what we pinched … Y’know mals sessions, a guy called Angel [Balestier]. their former drummer is in his own, very dif- ‘Stray Cat Blues’? The whole sound and the Angel said, ‘I’ve got the monitors as up as ferent world, recording the self-descriptive way it’s paced, we pinched from the first Vel-far as they go! But they’re not making any ‘Tambura Drone + Sine Wave Generator.’ vet Underground album. Y’know, the sound sound.’” (The Velvets are working on ‘Jesus,’ One of his more aesthetically pleasing forays on ‘Heroin.’ Honest to God, we did!” which is probably the quietest song they will into trance music, it will later be included ever record – or indeed that any noted rock on the 2002 MacLise compilation, The Cloud Thursday 12–Saturday 14 band records in late 1968.) Doctrine. Boston Tea Party, Boston, MA Part of the problem is that, upon meeting The Velvets’ final known live shows of 1968

the band, Briggs “didn’t like ’em. I’d been Wednesday 27 take place, appropriately enough, at their on the West Coast by that time for a year and As late as November 1968, it seems that Nico favorite venue. “Live, at this time, the band was a half. West Coast musicians were a bit crazy, is still thought of as someone who “used to be incredible,” notes Rob Norris, who of course but they were kind of ebullient. They had a leader of The Velvet Underground,” as she is was also present at The Velvet Underground’s certain life to them. And these guys had this, described in Variety. A paragraph-long review very first gig with Maureen Tucker at Summit like, pretty negative, cynical New York vibe of The Marble Index calls her “an impressive High School in New Jersey, in Kicks magazine to them. Right off the bat, it was like, ‘I don’t songstress due for attention,” adding that in 1979. “They were super-tight, confident, feel good.’ I don’t think they liked me very “she’ll get attention via the underground at very powerful, and loads of fun!” much. And [I] didn’t much like the music. I first, which has proven its b.o. [box office] As Steve Nelson, who is no longer the man-didn’t really want to be a part of the thing, power.” At least Variety gets the title of the LP ager of the Tea Party but still in attendance, but I needed a gig, and I thought, well, these right. An enthusiastic blurb in the January recalls, “They didn’t hold anything back or guys are known, maybe I can make this work. 1969 edition of Hullaballoo calls the album feel hesitant, ’cause they were playing before [I] did it for three nights.” The Marble Arch. an audience that really knew their music, and Interestingly, Briggs has no memory of had heard them a lot. They just launched Doug Yule being in attendance, remember- right into it.” In fact, according to a Janu-ing only Lou Reed, Sterling Morrison, and ary 13 1969 article for Fusion magazine, the December Maureen Tucker. “At the end of three nights, band are now so popular in Boston that “a I got a call from Steve [Sesnick],” he contin- great many of their supporters never go to ues. “He says, ‘You know, I don’t think this is the Tea Party unless The Velvet Underground working out … we don’t want to continue with is appearing.” you.’ And I said, ‘Okay.’ I was relieved.” Sunday 1 Posters for this weekend’s shows feature Incidentally, Briggs had at least heard The Music Hall, Cleveland, OH cute, smiling, childlike caricatures of the Velvet Underground on record prior to join-The Velvet Underground might be guaran-band, drawn and designed by Steve Nelson. ing them in the studio. The group’s debut teed a devoted audience at La Cave, but per- “That kids image was very deliberate,” he was one of several MGM LPs given to him by haps today they want to try playing at one of explains. “I was going against the grain of Jesse Kaye back in March 1967 when Briggs Cleveland’s bigger venues, the 3,000-capacity what their image was. I also had gotten to was first working with The Animals at TTG. “I Music Hall. Headlining this 2:30pm show are know them enough that I understood they maybe played [it] once or twice, and I found Canned Heat, who have just had a Top 20 hit were just being four people having fun play-nothing of interest,” he recalls. “Let’s just say with ‘On The Road Again’; also on the bill ing in a band. I showed that poster to Lou, I was not a fan. I probably wasn’t a very good are Apple Pie Motherhood, yet another psych-and he made some comment about, ‘Well, choice for producing them.” edelic band from Boston who will never quite how’d you know that’s who we really are?’

hit the big time, despite making a couple of ’Cause that just depicts them as four kids hav-

Friday 22–Sunday 24 late-60s LPs for Atlantic. ing fun playing in a band. They were not these Avalon Ballroom, San Francisco, CA A pretty low-quality, 43-minute tape exists evil people – all that druggy imagery, and all For their fourth and final visit to the Avalon of the Velvets’ performance. It includes ‘Her-that stuff that was associated with them. When in 1968, the Velvets are joined by Texan oin,’ ‘What Goes On,’ ‘I’m Waiting For The you got to know them, they were really nice. roots-rockers The Sir Douglas Quintet (now Man,’ ‘Pale Blue Eyes,’ what might be one of In a lot of ways they were the kids on that Tea residents of Northern California), and The the first ever performances of ‘I’m Set Free,’ Party poster.” Flamin’ Groovies, who will eventually find and ‘Sister Ray.’ As crude as the quality of Rob Norris seems to agree. “We went into an international cult following of their own. the tape might be, it’s notable for including a big back room where Lou Reed sat, all by An MGM memo containing a VU tour itiner-the first known recording of the slowed-down himself, eating what looked to be sawdust out ary for October and November lists dates of version of ‘I’m Waiting For The Man.’ of a jar,” he reports in Kicks. “I was speechless.

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After sizing me up for a few seconds, Lou said, to Victor Bockris in UpTight: The Velvet Under- There aren’t too many surprises in the ‘What are you, on amphetamines or some- ground Story, “There seemed to be two differ-arrangements of these songs, but the tape is thing?’ I mumbled that I was not and asked ent kinds of energy, ’cos everything the Velvets also of interest as it contains the first surviving what it was that he was eating. I was informed did was more sinister and blue green, whereas live version of ‘White Light/White Heat.’ The that it was a high-protein wheat-germ mixture our thing was just blast blast blast, real loud. song has been totally revamped from its mid-that he always ate before playing. This was fol-We had these huge stacks of Marshall amps tempo, piano-boogie studio arrangement into lowed by a brief lecture on the evils of drug and they probably had little gear that they a much faster, guitar-oriented rocker. Even abuse. My mind was reeling!” brought from New York. I seem to remem-the melody has changed slightly with the

Norris then gets to meet the rest of the ber they went over real well and they had introduction of a dramatic switch to a minor band after telling Reed he’d seen them at their fans, but it was two completely differ-chord near the end of the chorus. At almost Summit High. “I was really impressed by how ent things. We were trying to be a show band five minutes, the song is much longer here intelligent, articulate, and polite they were,” and we had these spangly clothes and sequins, than in its studio incarnation, and includes he continues. “It changed my whole impres-and the Velvets were very plain-looking, with an instrumental section complete with ber-sion of rock’n’roll stars. They were real people their New York dungarees.” serk, shrieking guitar-soloing that will become like me and you, after all! After that, I saw the With typical candor, Sterling Morrison will a hallmark of future concert performances Velvets a lot and every time I did, I’d go back later explain to Bockris that, while he likes of the song, as well as a particularly drawn-and see Lou hold court answering fans’ ques-MC5’s music, he abhors the radicals with out white-noise coda. (The song will grow tions, giving his opinion on just about every whom the band were associated during the even longer on stage over the next year and topic imaginable.” late 60s. According to Steve Nelson, Lou Reed a half.) There’s another surprise about ten—

Also on the bill this weekend are MC5, a too “was very much not into radical leftist minutes into ‘Sister Ray,’ when the guitar group who will often later be categorized politics. I’m not saying he was a conserva-break morphs briefly into something resemas the Velvets’ pre-punk brothers-in-arms. tive Republican, but I think he just was really bling ‘Eight Miles High,’ perhaps as further Although in hindsight this might seem like offended by the idea of somebody suggest-testament to Reed’s love for Roger McGuinn’s a good match, there’s at least one tense ing to burn this place down – ‘What are you, work with The Byrds, and his solo on that moment between the two groups in Boston. crazy?!’ It just made no sense.” song in particular. “This was when [MC5] were at the height of As for the Velvets, Nelson adds, “They their politically active period and they were played a great set. At that point, Doug’s now accompanied into town by a whole troupe been with them for a few months, and he’s of leather-clad White Panther crazies and a really totally integrated into the band. To raving emcee who after their dynamite set me, if you try to figure out when they were exhorted the audience to tear down the hall really at their height, I think it’s really ’68, because it was not large enough to hold their ’69, after John had left. I think they were still energies and to take to the streets,” Norris finding their way with John, because they were reports. “When the Velvets came on, Lou still very experimental and they did a lot of spoke first to everyone present, saying, ‘I’d things that were interesting and are kind of just like to make one thing clear. We have great to listen to now in retrospect. But I don’t nothing to do with what went on earlier and think they really found themselves as a band, in fact we consider it very stupid. This is our where they were really on top of what they favorite place to play in the whole country were doing and really had that confidence in and we would hate to see anyone even try what they were doing. That really happened to destroy it!’ The Detroit contingent was while Doug was with them.” stunned by this remark and the thunderous A reasonable-quality tape is made of the applause that followed it. The Velvets played December 12 show by an audience member. especially well that night …” It includes a few of the expected classics –

The night in question is Saturday Decem- ‘Heroin,’ a slowed-down ‘I’m Waiting For ber 14, and the radical group urging the The Man,’ ‘White Light/White Heat,’ and a audience to commit violence is The Mother-25-minute ‘Sister Ray’ – and several selections fuckers, who hail from the Velvets’ own Lower from the group’s upcoming third LP, such as East Side stomping grounds. Their appeal is ‘I’m Set Free,’ ‘Jesus,’ ‘Pale Blue Eyes,’ and literally short-circuited, however, when power ‘Candy Says.’ Reed introduces ‘Candy Says’ to the mic is cut and the agitators are forcibly as a new, previously unheard song and, in removed from the stage, allowing the Velvets a further twist, takes the lead vocal himself, to begin their set unimpeded. The MC5 are rather than letting Doug Yule handle it. The banned from ever appearing at the Tea Party enthusiastic response to his announcement again, while according to Jeff Maxwell’s report that the band is about to play ‘Pale Blue in Fusion, “Lou Reed inserted a few comments Eyes,’ meanwhile, indicates that there must be of his own as The Velvet Underground tuned some serious VU fans in the audience, as the up, to the effect that he hated everything The song won’t be released officially for another Motherfuckers stood for, and that love – not three months. The Velvets also play a couple destruction – was the way to change the order of songs that won’t make it onto any of the of things.” group’s four main albums, ‘I’m Gonna Move

As MC5 guitarist Wayne Kramer explains Right In’ and ‘Foggy Notion.’

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Also in date is not known, is the 39-minute ‘Invasion Mylar Pavilions – an alchemical journey born Of Thunderbolt Pagoda (St Marks Epiph-out of common consciousness, culminating any),’ which features MacLise on hand drum, in the Akashic bindu drop swirling in the

1968… his wife Hetty on organ and tambura, Loren sky’s reflected azure.” (Cohen first met Hetty Standlee on flute and voice, Raja Samyana MacLise during the late 50s, when both were M RECORDING J ohN c aLe aNd T oNy c oN-on guitar and voice, and Ziska Baum on dul-part of an expatriate English-speaking beat Rad exact location unknown, New York, NY. cimer and voice. The track is recorded at a community in Torremolinos, Spain.) At some point in 1968, John Cale and screening of Ira Cohen’s experimental short The half-hour film makes extensive use of Tony Conrad record the four-minute ‘After film The Invasion Of Thunderbolt Pagoda in Cohen’s Mylar Chamber, a box of bendable The Locust,’ with Cale on electric piano and New York at St Mark’s Church, where mem-mirrors that produces distorted images, which Conrad on “thunder machine.” Cale pounds bers of the cast – which includes Angus and he films and photographs. It’s a more vividly out echoing, dissonant, tinny clusters of Hetty MacLise – provide a live soundtrack colorful – and more blatantly psychedelic notes that sound at first as though they’re while the film is being shown. Three dec- – continuation of the territory explored in emanating from a deserted stairwell. They’re ades later, it will become the centerpiece of some of the other films in which MacLise has subsequently mangled to shrill distortion by a 1999 MacLise compilation, also titled The been involved, such as Ron Rice’s Chumlum. Conrad’s thunder machine – actually a Vox Invasion Of Thunderbolt Pagoda, although the The use of masks, lurid costumes, and fairly amp reverb unit. The result is not particularly final six-and-a-half minutes are first issued orgiastic group scenes (sometimes with musi-pleasant, particularly the final section – but in late 1970, on a flexidisc included with cal instruments) give the impression of some really, are any of Cale’s private tapes meant the ninth issue of the multimedia magazine form of demonic, drug-induced ceremonial to be listened to by the layperson? ‘After The Aspen. rites. Locust’ is first released on Cale’s 2002 compi-The recording quality is not great, but Out-takes from the film will later appear lation Stainless Gamelan: Inside The Dream Syn- this piece offers the best representation of in Cohen’s 2006 film Brain Damage, available dicate Volume III, before being included on his MacLise’s idiosyncratic musical aesthetic. on Arthur Magazine’s 2007 DVD reissue of New York In The 1960s boxed set. His polyrhythmic hand-drum drives a trance- The Invasion Of Thunderbolt Pagoda, which also inducing yet edgy piece in which the instru- includes a commentary track by the director.

M RECORDING aNguS MacLiSe various ments and spooky vocal chants merge in and The DVD also includes an additional eight locations, including St Mark’s Church, 131 out as fluidly as images from a dream, the minutes of black-and-white footage – again East 10th Street, New York, NY. ghostly flute and vocals giving the piece a featuring both MacLises – shot around the For all its obscurity, Angus MacLise’s work Halloween-ritual flavor. All in all, it’s the most same time as The Invasion Of Thunderbolt has become so multifaceted by 1968 that memorable fusion of tribal beats, avant-garde Pagoda. “Sheldon [Rochlin] was testing the his very life seems to have become a living, drone, and Indian music in which MacLise cameras and the lights and stuff like that,” breathing multimedia project. He’s involved participates – like psychedelia, but without Hetty MacLise explains when asked about the in films, theater, calligraphy, poetry, and sev-any obvious debt to rock’n’roll. origins of the out-take. “It was Ira’s idea to eral simultaneous music groups, and also “They wanted a tape of Angus’s drumming have Angus bury him in the mud, à la Jack participates in The Foundation For Mind with some kind of back-up,” recalls Hetty Smith. You really see what Angus is like there. Research, described in the Cloud Doctrine liner MacLise. “In St Mark’s, the vicar was nice He turns around and give you one of those notes as “music composed and recorded for enough to let me play the organ, and I was wolf-like grins of his.” the specified purposes of research into experi-in there playing most days. The only thing Another MacLise recording from 1968 ments with various trance and other psychic about that organ was that some Puerto Rican is the six-and-a-half minute ‘Drum Solo,’ as phenomena, with various ‘sensitives.’” kids peed in the organ pipes. It was a very featured on the 2000 CD compilation Brain As his close friend and sometime collabora-open church, a very liberal vicar! [As a] con- Damage In Oklahoma City. Perhaps because tor Ira Cohen puts it, MacLise “wanted to do sequence, I used to have to play in the most MacLise is playing on his own, the piece seems whatever he wanted to do. Sometimes one appalling key in order to harmonize with this a little more approachable than most of his could think of him more as a poet, or more wheeze that the poor wounded organ gave other percussive workouts. The rhythms are as a musician. But any of those things he did out. I’m just playing valiantly away up there varied but fairly steady and insistent, and the well enough so that you would accept him in while Angus is thundering away on the drums. use of both barrel conga and bongos allows those roles.” It’s a wonder you can hear any organ at all, for pleasing shifts in tone. MacLise might roll Such is the density and evanescence of because he had the mic right up with him. over in his grave to hear it, but some of it MacLise’s trail that it would be impossible You hear mostly Angus, which was intentional. wouldn’t sound too far out of place in the to fully document his artistic activities dur-It was a record of Angus playing drums, and midst of Santana’s ‘Soul Sacrifice.’ ing this period. For that reason, we’ll restrict me, I was just the background music, really. I The CD of The Invasion Of Thunderbolt ourselves here to discussion of musical record-knew that, I didn’t care.” Pagoda includes four more tracks dated only ings that have since made it into circulation. The MacLises appear in Cohen’s The Inva- as hailing from the period 1968–72, so they Those looking for a more detailed outline sion Of Thunderbolt Pagoda as part of a 39-strong might possibly have been recorded this year. of his rather amazing assortment of artistic cast dubbed The Universal Mutant Repertory For the record, these include the 68-second endeavors during this period are directed Company, which also includes several other ‘Shortwave – India,’ a jarring collage of radio toward the chronology included in the liner VU alumni, among them Tony Conrad and static and white noise; ‘Heavenly Blue Pt 4 notes to The Cloud Doctrine, compiled by VU his wife Beverly Grant, Henry Flynt, and Jack & 5,’ a four-and-a-half-minute blend of hand associate Gerard Malanga and revised by Erica Smith. The film is described by Cohen in his drums and wavering, violin-like drones, cred-Bricking. liner notes to the CD of the same name as ited to The Universal Mutant Repertory Com— The most important of MacLise’s available “a shared voyage conceived in three parts: pany; the eight-and-a-half minute ‘Blastitude,’ recordings from 1968, for which the exact The Opium Dream, Shaman, and Heavenly Blue which sounds like the kind of trance music

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WHITE LIGHT/WHITE HEAT n ALSO IN 1968

you might hear in Morocco, and features dying in a road accident involving his moped predecessor, it offers various tawdry tales MacLise on hand drum, Hetty on prepared in Paris in 1993. of sexual deviance, all written in the name harp, Benno Friedman on bowls and flute, “The last time I remember seeing Piero, my of ‘research,’ of course. There’s no men-Mike McClanathan on percussion, and “addi-son and my girlfriend and I were walking up tion of the band in the book, leaving open tional friends clapping and singing” (and 6th or 7th Avenue, somewhere around 14th the question of whether the author is even screaming and whooping); and the similarly Street,” says Conrad. “All of a sudden, there’s aware of them, but there is a chapter on ‘The lengthy ‘Humming In The Night Skull,’ a this shrouded bum street-guy all caked in that Underground Film Festivals’ that cites Andy soothing, multi-textured, minimalist piece black stuff that those people are caked with. Warhol’s The Chelsea Girls, Barbara Rubin’s with MacLise on song bells, Hetty on harmo-He comes up and says, ‘Tony! Hey!’ And I say, Christmas On Earth, and Jack Smith’s Flaming nium, Ben Shawinsky on flute, and Szabo on ‘Piero! Hey, how are you doing?’ My son is of Creatures as examples of movies with contro-guitar. These four tracks, combined with ‘The course completely astounded. We hung out versial content. Invasion Of Thunderbolt Pagoda’ itself, make for a few minutes and talked, but then I had Leigh mentions having seen more than 200 for indisputably the best and most listenable to get going. Piero, like Angus, was disdainful underground films in the course of “gather-of the numerous MacLise compilations. of the kind of proprieties that bound ordinary ing material for this study,” including at least people’s experiences.” one at the FilmMakers’ Cinematheque in

ALSO … Also in 1968, La Monte Young finally issues New York City, where the early Velvet UnderAt some point in 1968, Tony Conrad records his first commercially available recording. ground provided live soundtracks. Even the a pump-organ soundtrack for Piero Heliczer’s ‘Excerpt From Drift Study 4:37:40–5:09:50 slight possibility of Leigh being in the audi-Joan Of Arc. Heliczer of course played a key PM 5 VIII 68’ flies pretty far under the radar, ence for one of these shows is an irony almost role in the VU’s early career by helping them however. It’s packaged as a five-inch reel-too delicious to comprehend. Leigh must find gigs providing soundtracks to various to-reel tape that’s included with the fourth have died by November 1968, however, as Lou multimedia happenings back in 1965. The issue of the New York multimedia art maga-Reed reports that the author has fallen victim Velvets have since moved on to bigger and zine SMS. Only 40 copies are produced, and to cancer in that month’s issue of Open City. more conventional venues, but Heliczer and only two dozen of these are sent out to sub- • Conrad are still working in the avant-garde. scribers, although a cassette version will be A rare photo of Lou Reed, John Cale, and Angus MacLise and members of The Fugs authorized to be sold with remaining sets of Sterling Morrison with their Vox amps and appear in the rarely screened short film, a the magazine in 1983. According to an arti-a radio deejay appears this year on a rare loose, haphazard reenactment (or updating) cle in the December 1998 issue of The Wire, compilation LP WRKO (Now Radio In Boston) of the Joan Of Arc tale laden with double Young “realized ‘Excerpt’ from frequency Presents 30 Now Goldens, but no VU material exposures. and amplitude ratios tuned on a Moog syn-is featured on the record.

Due to the brevity of the film, Heliczer thesizer. By utilizing its sine-wave oscillators, can only use a fraction of the music Conrad mixer and low-pass filter, Young produced records for it, but the whole 65-minute sound-a throbbing, mesmerizing Moog growl that AND FINALLY … track is eventually issued by Table Of The became the blueprint for what was to follow.” In the UK, The Deviants become probably the Elements in 2006. Playing as a single, uninter- (Incidentally, now that he’s left The Velvet first band anywhere to cover ‘Sister Ray’ as rupted piece, it emphasizes variegated drones Underground, John Cale will once again cross part of their live set. Although the group, led in the manner of much of Conrad’s – and paths with Young – and Tony Conrad – later in by future rock-critic Mick Farren, have started indeed Cale’s – work of the 60s. By the stand-the 60s, but this time around their collabora-making records of their own by 1968, they ards of the pair’s other projects, however, Joan tions won’t last for nearly as long as they did never include the song on any official release. Of Arc is a little more listener-friendly. Easing during 1963–65.) As noted elsewhere, The Deviants somehow in and out of various unearthly, foggy textures, managed to get hold of some VU demos in it combines both high and low tones to cre- 1966, and were playing ‘I’m Waiting For The

ate an atmosphere that’s both celestial and AND … Man’ live even before The Velvet Underground foreboding. There’s no denying it’s a gloomy The ‘Andy Warhol–Gerard Malanga Mon- & Nico was released. listen, however – the kind of thing you might ster Issue’ of Intransit magazine features hear in an avant-garde morgue, if such institu-poems by Lou Reed (‘The People Have To tions ever existed. (Conrad probably supplied Die For Their Music’), John Cale (‘Curse’), live organ accompaniment to the film on at Nico (‘From Here To Eternity’), and Angus least a couple of prior occasions, as intimated MacLise (‘Diaries Of The Radar’). Accord-by posters for screenings at the FilmMakers’ ing to Susan Pile, who sees several of Reed’s Cinematheque on January 10–11 1967.) poems of the time, ‘The People …’ “is a good According to an interview given by the film-example of overheard phrases, found art. Ster-maker’s sister, children’s author Marisabina ling, John, and Lou were all wordsmiths and Russo, to Gerard Malanga in A Purchase In liked to explore different literary disciplines. White Botanica: The Collected Poetry Of Piero Heli- Thanks to Gerard’s ambitions as a poet and czer, Heliczer has suffered from schizophrenia editor, there were numerous outlets for crea-since attending Harvard University in the mid tivity at the Factory.” 50s. According to a piece in Little Caesar 9, • Heliczer tells Malanga in 1968 that he had The Velvet Underground Revisited, Michael electroshock treatments at some point. After Leigh’s sequel to the 1963 book that gave the 60s, he will be reduced for a time to liv-the band their name, is published this year by ing on the streets of the West Village, before Macfadden–Bartell. Like its more celebrated

219

Critical reaction to The Velvet Underground’s third album,

released in March, is not just positive, but sometimes ecstatic. The

Velvets are finally gaining respect as a band, and not just some

weird and possibly sick manifestation of the sleazy New York

underground. But The Velvet Underground still fails to chart,

and the group’s relationship with MGM starts to disintegrate.

1969 At least an album’s worth of material is recorded but not released in 1969, and the Velvets continue to tour nationally, but are still avoiding their hometown. They reach

their peak as a live band this year, resulting in the recording of

one of the greatest concert LPs of all time. In typically perverse

fashion, however, 1969 Velvet Underground Live won’t be

released for another five years, by which time the group will

have broken up.

JANUARY 1969 n WHITE LIGHT/WHITE HEAT

January Thursday 9–Saturday 11 We hadn’t had a chance to rehearse in six Boston Tea Party, Boston, MA weeks or something like that, and John was For the first and last time, The Velvet Under-deeply wired on amphetamine from driving ground share the bill with The Holy Modal [to the gig]. And we were really shitty; we

Undated January Rounders, another group from the Lower did one of our crappiest gigs from a musi— At some point this month, a preview of the East Side with a similar maverick sensibility, cal standpoint. Somehow or other, we had a third Velvet Underground LP appears in the albeit with a much wackier and more folksy whole bunch of toilet paper on stage, and we strangest of places: the Danish music maga-edge. The January 10 show is recorded by an were hurling rolls of toilet paper to the audi-zine Superlove. The writer appears to be report-audience member (and later bootlegged). ence, holding onto the ends so of course it ing from the USA, having heard advance tapes The tape is of relatively good quality, if still would trail. And that was fun, and it seemed of four tracks: ‘Beginning To See The Light,’ somewhat murky, and shows the band to be to go over pretty well. Better than the music!” ‘Jesus,’ ‘I’m Set Free,’ and ‘After Hours’ in fine form. They play ‘Heroin,’ ‘Move Right he laughs. (identified here as ‘If You Close The Door,’ In,’ ‘I’m Set Free,’ ‘Run Run Run,’ ‘I’m Wait- “The Velvets, on the other hand, were which is probably a working title). Explaining ing For The Man,’ ‘What Goes On,’ ‘I Can’t great,” he continues. “They did an absolute the radical differences between the Velvets’ Stand It,’ ‘Candy Says,’ ‘Beginning To See killer set. It was the first time I’d ever seen second and third albums, Lou Reed notes that The Light,’ ‘White Light/White Heat,’ ‘Pale them live, and they did ‘Rock & Roll,’ the one White Light/White Heat was as far as the group Blue Eyes,’ and a 22-minute ‘Sister Ray’; the about the girl that heard the New York station, could take their electronic experiments with crowd is rather sparse, judging by the light, etc. This is before Loaded came out. I [had] the instruments available to them. polite applause. never heard the song before, and besides The writer of the piece goes on to report ‘I’m Gonna Move Right In’ has begun to knocking me out, I could understand all the – perhaps having been told as much by Reed take on a new shape since being performed in words of the song. It was really great to hear or one of the other band-members – that the October at La Cave, and now has more force-a new loud rock’n’roll song, and have all the Velvets’ first album took six hours to record, ful harmonies and a powerful, machine-gun- words. I was, like, doubly delighted by that. I’d the second 12, and that, on both occasions, like rhythm in its slight but climactic chorus. actually been able to hear clearly all the words none of the recording engineers involved had Perhaps in anticipation of the release of The to specific songs, which is unusual, especially any idea about what the group were looking Velvet Underground, the vocals on ‘Candy Says’ back then, when the sound wasn’t really as for in terms of sound and attitude. They are now being handled by Doug Yule. (Lou sophisticated as it [would] later become. put all the instruments in a 485-square-foot Reed sings on the only previous known live “Afterward, I wanted to go up and say hello room, turned their amps up to the max, and recording of the song, taped at the Tea Party to Lou Reed since I really liked the Velvets, recorded everything in one take. But the third on December 12 1968.) and wanted to pay my respects,” Stampfel album is completely different: it’s much mel-As is becoming customary, the Velvets adds. “Annas grabbed me – John’s like six-lower, and more balanced in terms of both stretch out several of their older tunes with foot-five – put me over his shoulder and melodies and lyrics. instrumental breaks, giving their white-hot threw me upside down, and [said], ‘Don’t According to road manager Hans Onsager, guitars a chance to shine. An eight-minute bother him! Don’t bother him!’ Which was there are no plans for the Velvets to tour until ‘Run Run Run’ has solos that crackle and really presumptuous, but when people are at least two singles have been drawn from the singe with almost frightening intensity; a nine-going under toxic psychosis from being up LP and made it into the Billboard chart. This minute ‘I’m Waiting For The Man’ now has a for a long time, they don’t always behave in will prove wrong on two counts, however: only much slower, funkier, bluesy form and some very comprehensible or thoughtful ways. So one single will be drawn from the album, and urgent backing vocals toward the end. I never had a chance to meet him, because won’t make the charts, but the Velvets will At almost six minutes, ‘White Light/White of Annas being a jerk. I’m sure we could have still maintain a virtually uninterrupted touring Heat’ is also much longer here than on even possibly established a friendship, which schedule after the LP is released. record, and contains wild guitar-soloing dur-would have been nice. I have run into [Reed]

ing the instrumental break and final refrain. subsequently, and [he’s been] very friendly.”

Thursday 9 It will grow even longer – and sharper – by “This January 10 1969 show was the way I In his First Annual Free Press Rock Awards in the time the band comes to record 1969 Vel- loved them: kinda rough and creepy,” writes the New York Free Press, Robert Somma declares vet Underground Live. John Cale-era purists be Jonathan Richman in an article reproduced The Velvet Underground American Group damned: with the Doug Yule line-up, the song in the catalog to the c/o The Velvet Underground Of The Year. He also nominates them for the has become much more powerful and effec- New York, NY exhibition, in which he also goes title of Best Live Group, alongside The Who, tive. This and subsequent versions serve as on to recall that he probably saw all but three Sly & The Family Stone, and Procol Harum, perhaps the finest testament to the Velvets’ of the Velvets’ Boston Tea Party shows of the and chooses as best bassist Sterling Morri-talent for reinventing and reshaping their late 60s. “Jesus! They’d stop short like that, son, “who says little, does a lot, and with the songs on stage. and the audience would be quiet for five sec-best drummer, Maureen Tucker, provides a Extenuating circumstances prevent The onds before they’d snap out of it. The Velvet rhythmic line for the Underground which is Holy Modal Rounders from matching the Underground had hypnotized them a little. rock’s most consistent vernacular.” It’s quite intensity of the Velvets’ set, but the group’s This show sounds like it was recorded before a compliment, given that Morrison plays the Peter Stampfel greatly enjoys the VU performa dancing crowd. And listening to it you gotta bass only reluctantly, and only when he has to. ance. “We had been in California between take that into account. These songs would “One last thing,” Somma adds. “For simplic-March and about November [1968],” he be just too damn long if they weren’t being ity, lack of pretension, and creative energy, recalls. “[Bassist] John Wesley Annas had the played for dancers.” the best American group really is The Velvet job of driving all the equipment across the Richman goes on to capture something Underground.” country, left a little bit later than everybody of the atmosphere of a late 60s VU show else did, and I believe went straight to Boston. at the Tea Party. “They’d carry their amps

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up the stairs and set up on the stage,” he The Tea Party crowd, he notes, “knew that were recorded, Doug Yule had only been in recalls. “They’d work out new songs then. It music, they loved it. When ‘Sister Ray’ was the band a few months. You can hear the dif-wasn’t what musicians nowadays would call a playing, you would think the Tea Party was ference in the way he plays bass and organ ‘soundcheck.’ No one miked guitar or bass gonna come tumbling down! Everybody was compared to the style of original Velvet John amps back then except to play in a football dancing, the whole place was just jumping and Cale. But Doug still hadn’t put his stamp on stadium. They did mix Maureen Tucker’s vibrating, and there was a connection between the band yet, so with Sterling Morrison and snare and bass drum though. Sound systems the band and the audience. It seemed to me Lou Reed playing guitars together with their were much less powerful so even though The that the audience in San Francisco was a little own brand of double-rhythm playing and Velvet Underground were one of the loud-more hands-off, a little more distant. Maybe those tones they got, this band still sounds est bands of their time, if they played at that appreciative, but not totally into it, and a lit-sorta like the one that recorded the album same volume now in a rock club you wouldn’t tle mystified by it in a way. I don’t think their White Light/White Heat.” (Richman’s piece also even hear them. And it was a different sound! sound was really full, where they could really makes it clear that the three CDs in question With the amps themselves projecting into the let go and blast it, when you had them in a include recordings from the January 10 and room you had this dark, mysterious drone small room.” March 13 1969 Boston Tea Party shows.) and rumble. There were no monitor speak-As to whether the rest of us will ever get to ers on the stage either. Nothing between the hear these Tea Party tapes, Nelson says: “I’ve Friday 24–Saturday 25 crowd and the band on the three-foot-high been sort of dying to have that released. But Kinetic Playground, Chicago, IL stage. apparently it’s tied up with various kinds of This weekend marks the first of two 1969 visits “And the crowd was FUN!” he continues. things with personnel and record companies, by the Velvets to the Kinetic Playground, for “Wall-to-wall hippies, bikers, Harvard students, and all that usual drivel. I will say that to me, which they are supported by the LA psych-Northeastern students, fashion models, pro-those are the best Velvet Underground live edelic band Spirit. When the VU return three fessors, drug dealers, art teachers, groupies, performances recorded anywhere. Even the months later, it will be alongside an even more MIT students, photographers, local thugs, live ’69 LP [widely regarded to be one of the illustrious Californian psychedelic group (see local disc jockeys, skinny-bohemian-artist greatest live rock albums of all time] was with April 25–27). girls, visiting dignitaries from the New York art a smaller audience, and it wasn’t an audience scene, and the royalty of the Boston music set that was familiar with them. The Velvets really Friday 31–Sunday 2 – the local singers and guitar-players in their were incredibly much better live than they La Cave, Cleveland, OH mod suits strolling around with their beau-ever were on record. The relentless force If the Boston Tea Party is the Velvets’ favorite tiful girlfriends … sometimes you just plain and rawness of the band and its driving beat place to play, La Cave might well come in sec-couldn’t figure out where on the stage those sent seismic tremors through the room – a ond. A tape is made of one of this weekend’s strange sounds and harmonics were coming larger room like the Tea Party, anyway – that sets, and several songs will later appear on from, because of the eerie calm with which could not be captured on tape or vinyl. And bootlegs, including ‘I’m Waiting For The they played and improvised in front of you, while 1969 Live is a good record, I agree with Man,’ ‘What Goes On,’ and an incomplete and because every time they’d come to town Sterling’s dismissal of it [in his 1986 interview recording of ‘Pale Blue Eyes.’ they’d introduce at least one new song that with Ignacio Julia, in which he complained Perhaps more intriguing is a 27-minute would, for better or worse, sound like nothing of there being ‘no rough edges’]. You never take on ‘Sister Ray.’ The recording quality else that had gone before in rock music.” really heard the Velvets if you never heard isn’t great, but it’s a good, tense, mid-tempo them in a larger room when they really version complete with some witty interjec-

Wednesday 22 cranked it up.” tions by Doug Yule’s organ and Maureen Boston Tea Party, Boston, MA But at the Boston Tea Party, Nelson recalls, Tucker’s drums. Lou Reed lingers on and It says much of the esteem in which the Bos- “You can hear people really cheering, calling repeats the explosive “she’s busy sucking on ton Tea Party and The Velvet Underground out for songs, reacting to stuff. They also just my ding-dong” line for effect, and glides at hold each other that the Velvets are the only sounded great in that room. It was a good one point into a high, almost gospel-like vocal act on the bill tonight for the venue’s Birthday room for music, and it was different when trill. Even more surprising is the point, toward Party, to which admission is free. they were playing with a bigger crowd, and a the end, when he throws in a few lines from Four decades later, former Tea Party man-bigger room with a very high ceiling, than in ‘The Murder Mystery’ – perhaps the closest ager Steve Nelson reveals that he has recently a smaller room with fewer people and a low the Velvets get to playing the song live. Yule’s heard newly mastered live recordings of three ceiling. I mean, that sound just really vibrated improvisational organ parts, meanwhile, are VU shows at the club from late 1968 and early that whole place. I don’t think there’s any-quite clever and creative, and prove him to be 1969, and says that they are notably superior thing else on record where they’re playing in a fine, intelligent player, and a true asset. to other live recordings of the band from the a room like that, where they’re really on top same period. “I think the difference, when I of their game, and they’re really in a good

listen to The Quine Tapes and I listen to the Tea room, and the audience is really with it. So I February Party stuff, is that hearing the Tea Party [mate-think that those are really unquestionably the rial], people really knew this stuff and were best live recordings of the Velvets. And I hope really into it,” he says. “And I think that peo-to hell they come out some time!” ple in the Matrix [the San Francisco club at Jonathan Richman’s article for the catalog which much of The Quine Tapes are recorded] produced for the c/o The Velvet Underground Thursday 6 were kind of listening to it and kind of digging New York, NY exhibition could serve equally as M RECORDING JohN caLe aNd ToNy coN-it, but they just weren’t into it to the same liner notes for this still-unreleased project. “I Rad West 42nd Street, New York, NY. degree. Maybe ’cause they just hadn’t seem was probably at all the shows that are on these John Cale has been at something of a loose them as much; maybe it was just familiarity.” three CDs,” he writes. “When these shows end since being kicked out of The Velvet

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Underground in September 1968. Although was sitting around in his place, I was sitting impressive sight. Tucker is not a very good his work as an arranger and accompanist will around in mine, he started to play the guitar, drummer by any means, but her primitive, eventually lead to various jobs as producer and I laid the mic on the receiver, and taped nerve-throb style and her seemingly endless and session-man, he still has time to do some and amplified it. He knew I was recording, fount of energy make her ideal for the Under-home recording with his old pal Tony Con-but I mean, he’s just playing songs for me ground. rad. The 20-minute ‘Dream Interpretation,’ and Beverly. It was a really sweet, wonderful “I was so fascinated by Tucker’s move-recorded at the studio Conrad shares with his recording. Some of his early stuff, and it’s ments as she tortured her drums that I only wife, Beverly, on West 42nd Street, features really beautiful.” got around to noticing Lou Reed toward the Cale on viola and Conrad on violin; the result middle of the lengthy ‘Sister Ray.’ The whole

is a brain-frying drone guaranteed to clear the Friday 7 time Maureen Tucker was smashing away at room when you’ve had enough of your party Stanley Theater, Pittsburgh, PA the skins, Reed just floated aloof through guests. It won’t appear on disc until the 2002 Perhaps the most fascinating bill The Velvet everything. He only seemed to come around release of Dream Interpretation: Inside The Dream Underground ever perform on is this show to what was happening when he got into ‘Sis-Syndicate Volume II, and the subsequent New with one of the Lower East Side groups felt ter Ray’ with all its sexual narcotic imagery York In The 1960s boxed set. to be closest to them in spirit, The Fugs, and (‘She’s just suckin’ on my ding dong / I’m

Before we leave these John Cale recordings a Californian band about as far from that searchin’ for my mainline’). If it’s necessary aside it’s interesting to note how they finally spirit as is possible, The Grateful Dead. As to pick the best group of the evening, then my became available in the first place. As with much as either party might hate to admit choice is The Velvet Underground.” so many aspects of the Velvet Underground it, however, the Velvets and the Dead aren’t In Break All Rules! Punk Rock And The Mak-story, there’s as much happenstance as there entirely dissimilar. Both were once known as ing Of A Style by Tricia Henry, Charles O’Hara is intentional planning. The story begins with The Warlocks; both have made music heavily gives an account of a VU show in Pittsburgh the 1997 retrospective Flaming Creature: Jack associated, for better or worse, with the inges-that might well be this one, even if O’Hara Smith: His Amazing Life And Times at the Insti-tion of drugs; and, by 1969, both are prone to places it in 1968. “The Velvet Underground tute For Contemporary Art/PS1 Museum in performing lengthy improvisations on stage are sinister and frightening,” he says. “Their Long Island City, New York. that are comparable, in their own very differ-songs are about heroin, amphetamine, sex,

“John was invited to perform at the open-ent ways, to those of few other bands. Some and death: ‘I’m searching for my mainline, I ing of the exhibition, which he did,” Conrad of the more open-minded Deadheads might couldn’t hit it sideways.’ By the end of the first recalls. “I was invited to contribute material even become Velvet Underground fans after song [‘I’m Waiting For The Man’], people to the exhibition, which I did. Because it was tonight’s show. are already beginning to leave … The sound all about those old days and everything, John “The Velvet Underground was more vel-is loud, driving, and hard. The words are mentioned he had some old tapes that he was vet than underground – smooth, soft, and tough, and Lou spits them out in an atonal, interested in, and was actually checking out sensuous,” writes F.D. Williams in the local vicious manner. ‘Heroin’ is next – Lou’s clas-with his people to see about whether there’d underground newspaper, the Pittsburgh Point. sic anthem of drugs and decadence. The be any possibility to release any of that crap. “The juxtaposition of ‘What Goes On In Your volume is ear splitting. A jet plane on stage He said they told him that he would have Mind’ to a Merry Melodies cartoon (starring would not have as profound an effect on the to bake these tapes and then get a copy off Bugs, would you believe, Bunny) rearranged audience, which has by now been reduced by them … I said, ‘John, you know what? I just our brainwaves in nostalgic patterns. The half. ‘Heroin.’ Lou says he wants to nullify his played them back on the machine they were Velvet and the audience vibrated in perfect life. There are people in the audience who recorded on, and they seem fine.’ And that’s harmony, soothed by music loud enough to can identify with this. There are people in how I released all these Jack Smith recordings. reach the inner core of being without shatter-the audience who are rapt – exhilarated at I played them back on the same machine they ing the transcendence of community.” seeing and hearing the possibilities that they were recorded on, or better. Then I spruced Tonight’s show is probably a major event in suspected were inherent in the rock genre but them up with some EQ and so forth, and off Pittsburgh, a sizable but not terribly hip city had never before been demonstrated. There they went. So he said, ‘Well, maybe you should that’s not always an automatic stop on major are some, but not very many. do this!’” bands’ itineraries. A second article about “‘Sister Ray’ is the last song. It goes on for a

As a consequence, Cale “gave me the the show, entitled ‘Flesh In The Great Rock full half-hour. Three chords: EEE, D, A, EEE, whole box of tapes back again. Of course, Wasteland,’ appears in the same edition of D, A, EEE, etc. The scene is eerie. Together this box of tapes didn’t include the material the Point. “Of course the making of the con-the band creates an apocalyptic vision of eroti-of the early Velvet Underground concerts cert was the tight performance of three rock cism, sadomasochism, and violence that is at and everything, which was irrelevant to me groups – The Velvet Underground, The Fugs, once seductive and terrifying. The amplifiers anyway, and which I wasn’t interested in. So and The Grateful Dead,” writes Joe Anderson. feed back – the building seems to be shaking when I finally did master those three volumes “Such a collection of freaks could hardly lead right to its foundations. The theater is all but of John Cale in the 60s, I deliberately omit-anywhere but up. The Velvet Underground empty.” ted not only all of the VU material, but also (preceded by Paul Krassner, who got a lot of all of his vocal material. Because I knew he snickers but really wasn’t necessary) opened Saturday 15 had plenty of opportunity to release all of up the festivities with ‘Heroin,’ one of their The Velvet Underground are finally men-that stuff. religious songs. tioned in a Rolling Stone feature, but prob-

“There’s one or two other things that I have “The power of The Velvet Underground ably not in the way they might have had in that I would love to release one day,” Conrad has its source in the train-like rhythms of mind. In an article on the GTOs – the band adds. “They’re just so beautiful. One of ’em is Maureen Tucker, their curly red-haired drum-of LA groupies currently recording an album a very lo-fi recording, because it was recorded mer. Hunched over her drums, flailing the for Frank Zappa’s Bizarre label – Miss Chris-over the phone. It was back in the 60s. John skins like some madwoman, she was quite an tine reveals that she and fellow band-member

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Mercy “sent The Velvet Underground a dozen holds a copy of a magazine; Doug Yule gives growing aggression, he’s not doing anything roses with our pictures on the back. You can’t him an amused glance from the couch’s edge; to disguise his displeasure. be too subtle.” Maureen Tucker gazes at Reed more seriously. “It was just a casual shot I took of them

Perhaps symbolically, Sterling Morrison sits on the couch,” says Name in The Velvet Under-at the other edge of the couch, looking away ground Under Review. “But that’s the one that

March from both Reed and the camera. If he’s everyone liked, ’cause everything else was too

unhappy about Cale’s ousting from the band staged or formal or ridiculous … it was like

and Reed’s assumption of its leadership with what they’re really like.” (Name, who is about

Everything about The Velvet Underground’s

third album is simpler than its predecessors. THE VELVET UNDERGROUND

The music is more straightforward and acces- The Velvet Underground sible, but so is the packaging, starting with the

title. Perhaps The Beatles’ recent double LP,

issued in 1968 as The Beatles, is a subliminal A1 ‘Candy Says’ (REED) influence; just as The Beatles will become more A2 ‘What Goes On’ (REED) commonly known as The White Album, so The A3 ‘Some Kinda Love’ (REED) Velvet Underground will often be referred to A4 ‘Pale Blue Eyes’ (REED) by fans and critics as the third album. It’s a A5 ‘Jesus’ (REED) particularly helpful distinction, since the Vel- B1 ‘Beginning To See The Light’ (REED) vets’ first LP goes by the nearly identical title B2 ‘I’m Set Free’ (REED) of The Velvet Underground & Nico, although it B3 ‘That’s The Story Of My Life’ (REED) in turn has acquired a colloquial nickname B4 ‘The Murder Mystery’ (REED) of its own – the banana album. B5 ‘After Hours’ (REED)

The Velvet Underground is also the first of the

group’s LPs to feature an actual picture of the US release: March 1969 (MGM SE-4617) band on the front. Billy Name’s black-and- UK release: April 1969 (MGM CS 8108) white photo captures the band on a curved

couch at the Factory. Lou Reed grins and

An out-take from the photo session for The Velvet Underground. 225

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to leave the Factory for good, is paid $300 for This isn’t just a passing, whimsical inter-would have an opera. You’d have this person the shot – the most he’s yet received for one pretation. In November, Reed tells another going through the whole drug scene, and of his photographs.) radio station in Portland, Oregon, that “all going through the whole society scene, and

As usual with the Velvets, what seems sim-the songs are in order” on each of the VU coming out finally in a religious scene, and ple at first contains several layers of ambi-albums to date. “It’s not just arbitrary,” he it would come right through at the end, and guity underneath – literally underneath, in says. “They’re all supposed to complement you would have a beginning, a middle, and this case. The back jacket is divided into two the preceding song. Like on the third album, an end. nearly identical halves, each of which shows ‘Candy Says’ had this person asking all these “A lot of people didn’t like our third album the same photo of Reed sitting and smoking questions, and then ‘What Goes On’ kind of because they wanted more of the second,” he a cigarette. The image shows only the left side asked like one specific one, and then ‘Some adds. “But they didn’t understand that that’s of his face, however, as if the photo has been Kind Of Love’ and ‘Pale Blue Eyes’ explicated as far as you go with that, then there had to ripped right down the middle. No matter how some of it. It just went on and on and on. be a release, there had to be an ending. But I you hold the record, one half is right-side up, That’s why the first side closed with ‘Jesus,’ needed room to work, so I needed a separate the other upside down, song titles and credits and then the second side was ‘Beginning To album for each phase. I couldn’t have the end-included. Maybe it’s a reflection of one of the See The Light.’ And then it went all the way to ing on the second album, the second album key lines in ‘Pale Blue Eyes,’ in which Reed like ‘That’s The Story Of My Life,’ which like ended very harsh. Then the third album starts proclaims that down is up. Whether inten-summed up the whole thing. And then after out soft. So that was the idea all along, but no tional or not, it’s emblematic of the duality at you got that far and figured it had everything one seemed to pick up on it.” Reed goes on the heart of many of his songs, which address solved, then you hit ‘The Murder Mystery,’ to infer that the third album is his personal the different sides of various personalities and which is like the next step past it.” favorite of the first three VU LPs, at least in the hidden inner lives that reveal themselves In his 1971 interview with the Metropolitan terms of mood and sentiment. “If I heard that when they’re flipped over or viewed from an Review, Reed goes even further, proclaiming song ‘Heroin’ I wouldn’t go near it with a alternate angle. each of the Velvet Underground LPs to be 20-foot pole,” he says. “I’d be afraid. I’d say, ‘I

The Velvet Underground is rarely thought of “a chapter. When Tommy came out they said, wouldn’t want to go through that.’ I’d much as a ‘concept’ album, but in an interview with ‘here is a rock opera.’ Well, if Verve had been rather be where the third album is. If I were WBCN-FM in Boston in early March, Reed smart and they had taken the first, second, gonna sit here and listen to all three and say, infers that the tracks have been sequenced to and third albums and called it Sister Ray, you ‘Okay, you can go back, where would you like create a story of sorts. “The album had kind would have had an opera because that’s what to live?’ I’d say gimme the third one anytime. of a unity to it,” he says. “The first song … I had been thinking. I had been thinking that I don’t want that other stuff that’s crazy.” it’s like this person named Candy asking all all the songs on all the albums are in a cer-For reasons that will remain unclear, The these questions, and then it starts to deline-tain order for a certain reason and characters Velvet Underground have been transferred ate answers. You know, and it goes all the way reappear, so if you play the albums in order from Verve Records to its parent label, MGM, through to a song called ‘That’s The Story it’s like a play. I’d have given anything if MGM for the release of their third album. In Up-Of My Life.’ And after you got all that solved, was intelligent enough to package all three Tight: The Velvet Underground Story by Victor you’re faced with a murder mystery.” albums together and say play it together. You Bockris, Steve Sesnick claims to have initi-

226 MGM’s press kit for The Velvet Underground’s third album.

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ated this move as part of a plan to cut loose time. Reed’s mix will eventually come to be Regardless of which mix is heard, The Vel-from Verve entirely. Why this would make it known as the ‘closet mix,’ in honor of a com- vet Underground is a far more commercial and easier for the Velvets to leave Verve is never ment by Morrison to the New Musical Express accessible album than either of its predeces-explained. But the truth is that, despite having about the album sounding like it’s been cut sors, its songs chosen astutely to highlight the released fine albums in recent times by acts in a closet – “it’s flat, and that’s the way we best of what Lou Reed had to offer in late other labels might have passed on – includ-wanted it.” 1968. When it’s released, the tide of critical ing The Velvet Underground, The Mothers Some will later wonder whether the closet opinion finally starts to turn decisively in the Of Invention, The Blues Project, Laura Nyro, mix is yet another example of Reed assert-group’s favor. Most crucial of all is the rave Tim Hardin, Richie Havens, and Janis Ian – ing his authority as leader, highlighting his review by Lester Bangs in the May 17 issue of the rock division of Verve is on its last legs. own contributions at the expensive of those Rolling Stone, a magazine that has until now The switch might therefore have to do with a of his band-mates. Other see it as the real mix, barely noticed the Velvets’ existence. “They simple consolidation of the company’s assets, given that this is how the Velvets’ frontman have one of the broadest ranges of any group since in any case the Velvets ultimately belong intended it to sound, and that the deliber-extant,” Bangs notes. “Can this be the same to MGM, not Verve. As Sterling Morrison ately and almost claustrophobically quiet bunch of junkie-faggot-sadomasochist-speed-notes in the March 6 1970 issue of Fusion, aura enhances the special intimacy of the freaks who roared their anger and their pain “That was only an administrative change so material. in storms of screaming feedback and words that we can use a different sales manager or Although this author comes down in favor spat out like strings of epithets? Yes. Yes, it can, something like that.” of the closet mix, in truth there’s not much and this is perhaps the most important lesson

Somewhat controversially, The Velvet Under- of a difference between the two – or at least of The Velvet Underground: the power of the ground appears in two entirely different mixes. not as much as some analysts might have it. human soul to transcend its darker levels.” The first is Reed’s own mix of the LP, which The exception to this is ‘Some Kinda Love,’ Bangs does have a few criticisms of the LP. highlights the vocals and to some extent bur-which exists in two entirely different takes. “‘The Murder Mystery’ is an eight-minute ies the instruments, giving the material a more The Valentin version has a hoarser vocal and exercise in aural overload that annoys after muffled, subdued sound. As Morrison later two guitars, compared with the closet mix’s a few listenings,” he writes, “and ‘Pale Blue explains to Melody Maker, “There is no echo, one. The bass on ‘After Hours,’ meanwhile, is Eyes’ is a folky ballad that never really gets and it sounds like it was produced in the next far more prominent in Valentin’s version, but off the ground either musically or lyrically. room.” (This doesn’t escape Boston After Dark’s virtually inaudible on Reed’s. (Over the years, On the whole I didn’t feel that this album Paul Bernath, who complains in his review of the Valentin mix will become the more widely matched up to White Light/White Heat, but it the LP that “the quality of the taping itself is available – it’s the one used on standalone will still go a long way toward convincing the often ‘basement-home-recording-like.’”) CD issues of the album, for example. But the unbelievers that The Velvet Underground can

This is the version that first goes on sale closet mix can be found relatively easily as write and play any kind of music they want to in the USA, but in the UK another, more part of Peel Slowly And See, while the term itself with equal brilliance.” conventional mix by Val Valentin is issued has become so widely used that it’s even used Further accolades are forthcoming from instead – one that Doug Yule later claims to to identify the versions of the tracks used on Paul Williams, the founder of Crawdaddy have been unaware was being prepared at the the back of the boxed set.) and already one of the most respected rock

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critics in the USA. In a piece for the May 15 be redeemed will be determined by the This is pretty good, but the Underground was issue of the shortlived San Francisco under-record buyers, not the readers of Delmore more distinctive and appealing when it was ground newspaper Planet, he not only praises Schwartz.” pushing music like ‘Heroin’ instead of sweet the album but indicates that the Velvets are Also in June, a young Lenny Kaye – who has sugar for pubescent ears.” catching on in 1969 to a degree that won’t begun to emerge as one of America’s finest This is certainly not the consensus among often be acknowledged. “Everybody loves new rock critics, some years prior to becoming American underground newspapers, how-the Velvets’ new LP!” he exclaims. “I am sur-a major musical force in Patti Smith’s group ever. According to Mike Abrahams of the prised, I am delighted! I mean – my friends – gives detailed coverage to the record in a Chicago Seed, “The captivating power in this who hear the album ask to hear it again, they Jazz & Pop review that also discusses Nico’s last album is hypnosis, as it has always been with walk around singing it, they talk about it dur-LP, The Marble Index. “By not being there, Cale The Velvet Underground. The monotonous ing dinner. They buy copies themselves if they has provided room for Lou Reed to expand rhythms, the repetitive melodies and phrases, have phonographs. They drop by to hear it his influence, and the (amazing) result is an they calm you, soothe you, ease you over into otherwise. The Velvet Underground, their third album that is almost lyrical in its beauty,” he another realm, a realm where pristine beauty album, on MGM, is currently competing for writes. “Even the production is clean, a first and tingling madness exist together – not as attention with Dylan’s spanking new love-gift for the Velvets. Unlike anything they’ve done opposites, not even side by side, but as com-[Nashville Skyline] – and holding its own! It’s before, there is a distinct lack of tension here plementary parts of the same universe … my own favorite album since [Love’s] Forever … And the songs; nary one about kinky sex or Remember when The Doors had the power Changes. And I haven’t had so much luck in dope.” (It should however be pointed out that to evoke strange visions? This record is far turning people onto a record since The Doors many subsequent listeners will find more than stranger than The Doors, for its vision is far … There is something so real, so immedia whiff of kinky sex in ‘Some Kinda Love.’) more real. The Doors only tripped into their ate and personal, in the movement of these In a review published the same month in mad world, and it took all kinds of tricks – songs, the touch of fingers to guitar strings, one of Britain’s leading underground maga-melodrama, stagey showmanship – to bring the extension of energy through a drumstick zines, Oz, Adrian Ribolla can’t quite decide you to where you could peek in. The Velvet so that it is strike and touch both, an intimate, how much he likes The Velvet Underground, Underground live in their vision, and their human action, you can feel this in the music but he’s still listening carefully. “They’ve expression of the vision has the same all-en-as it touches you, strikes you, awakening in stopped rushing … and slowed the pace to a compassing verité of a dream – it’s all around you a knowledge of the texture and move-processional dawdle,” he writes. “But though you, it’s where you live, it’s real … Warning: ment of being alive.” everything has been toned in low key it’s still this album can be addictive. It’s so beautiful The June edition of the newly launched unmistakably them. It’s got ‘feel’ alright, but … it’s so very real.” Creem magazine adds to the rising chorus it’s a kind of ghoulish, corpse-like feel. Gone Three of the national music-trade magazines of praise. According to reviewer Bob Stark, are the walls of sound and vast textural con-in the USA even weigh in with good reviews, the new Velvet Underground album “brings trasts, in comes a sad liturgical droning, the albeit in a less personal and passionate man-together the softer types of material from wailing of the converted sinner (but with his ner. “Underground by virtue of their name, the first album the way White Light/White Heat tongue slyly in his cheek) … Songs on this The Velvet Underground sound as if they’re did to the harder stuff. It does not outdo the album are divided between heaven and hell, about to break through to a large audience,” others, or make everything done before it and the casual listener will be forgiven if he notes Record World on June 28. “The four-man obsolete. It is soft and quiet, but in its own doesn’t notice the difference … group have a passel of intriguing thoughts to subtle way. It is as ‘far-out’ as either of the “Velvet Underground don’t really sound give out with. Good work.” The same day’s other two … together on this album,” Ribolla concludes, Cashbox concludes, “The Velvet Underground “Unlike their other two records, where “either as a group or individuals, which I have takes a journey through musical psychedelia, the spirituality of the Underground was of a sneaking suspicion was what they might have low-keyed in the main, but a trip that should a nature that few people could even see, let been aiming at. Luckily too, for if they made be interesting to a good number of listeners alone feel, the new record is about a spiritu-it they would lose their quality as a group … … Vocally and instrumentally, the group cre-ality that is apparent at the very first glance, The style of this album is the antithesis of ates an evocative, sensuous sound, and the about an almost Christian redemption, the their style before. By replacing blatant freak-LP could pick up considerable sales.” And in likes of which pop hasn’t seen since ‘Eleanor value with subtler means they end up sound- Variety’s estimation, “The disk is simple and Rigby.’ But whether the Underground’s audi-ing more bizarre than ever. Tired cliché, but straightforward, filled with effective under-ence, which took almost two years to accept this album really does grow on you … like a stated emotion, and an important contribu-the electronics, junk, and sex, is ready to malignant tumor.” tion to the lyrical advancement of rock.”

In the midst of all these accolades, one In the UK, the record gains another fanat-

magazine sounds a lone yearning for the ical champion: Brian Eno, who, like David

THE VELVET UNDERGROUND good old days. “They’ve changed styles this Bowie, will prove influential in spreading the ‘What Goes On’ time around, probably in the interest of gospel of The Velvet Underground in the 70s.

acquiring a larger audience among the pre- “He’s often stated that it’s his favorite Velvets

teen set,” reports Broadside, a magazine from record,” says biographer David Sheppard, A ‘What Goes On’ (REED) Cambridge, Massachusetts, not to be con-author of On Some Faraway Beach: The Life And B ‘Jesus’ (REED) fused with the New York folk publication of Times Of Brian Eno. “He’s told several inter-the same name. “The music is softer, often in viewers over the years (including me) that it’s US release: March 1969 (MGM the C&W vein. The group even throws in a few an album so precious to him that he refuses K-14057) ‘do do wahs’ for the new fans. Still, the sellout to actually own it for fear of over-familiarity!”

is incomplete. The full guitars and percussion Yet despite the critical plaudits – and

peep through on songs like ‘I’m Set Free.’ indeed despite having far more commercial

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appeal than previous VU albums – The Velvet resulting copy strives for a hipness that sounds not the Velvets’ flashiest album either. (Such Underground will end up performing even less instantly dated: “Their music is just impure designations belong to the two LPs recorded well than either the banana album or White enough; so nervously energetic at times that by the John Cale line-up.) Yet like all of the Light/White Heat. Exactly why it falls between you can’t help but dance, at others so qui-original VU albums, its stock will rise sharply the cracks seems to come down to that old escently balladic that it requires mesmeric over the years to the point where it might be bugaboo: lack of useful promotion. MGM attention until you’ve deciphered every single the group’s most popular recording except does however take out at least one stranger-nuance of the lyrics.” for the banana album. It even finds a place – than-fiction radio ad. Narrated by popular More embarrassing still are the brief per-Number 191 – in the first widely distributed WNEW-FM New York radio deejay Bill ‘Rosko’ sonal profiles of the band-members. Maureen book devoted to an all-time poll of rock critics Mercer, it’s distributed via a promo-only sin-Tucker is “not your typical virgin. She looks (Rock Critics’ Choice: The Top 200 Albums, edited gle, with ‘I’m Set Free’ and ‘What Goes On’ like a redheaded Music Hall tart and pounds by Paul Gambaccini and published in 1979). playing in the background as Mercer asks, the drums with the force of a weight lifter. A It will make 58th place in a 2003 poll of the “How do you feel? You don’t really know how female Brendan Behan.” Lou Reed is “a true greatest albums of all time in the New Musi-you feel. Why? Because you haven’t heard the blue Piscean and a secret sensualist. With a cal Express, finishing 34th in a similar poll for new Velvet Underground. Here are expres-face that arouses interest but gives no satis- Mojo in 1995 and 41st in the Spin Alternative sions of a new dimension in honesty, purity, faction. Eyes of amphetamine glamour and Record Guide, published the same year. And in and feeling. The Velvet Underground – not lips of Phoenician coloring. A writer of songs a moment of ironically poetic, karmic justice, a probe, not an exploration, not an experi-since he was 14, his narrative powers are such it will finally make it into the Billboard 200 ment, but a whole complete reality. The Vel-that he should really write a novel.” Sterling eventually – charting at a lowly Number 197 vet Underground, The Velvet Underground Morrison meanwhile “has a serf-cut and a when reissued in 1985. – this is you. You’ll find your love, your hope, plastic tie and a look-alike girlfriend with the your reality. The Velvet Underground on MGM same nose.” ALSO… Records will tell you how to feel. Listen.” You Even so, there’s some suspicion that MGM For the solitary single from The Velvet Under-couldn’t make it up – but someone at MGM is not fulfilling even its most basic distribu- ground, MGM makes a reasonable choice of did, probably without consulting a band who tion duties. Maureen Tucker will later com-A-side: an edited version of ‘What Goes On’ tend to take pride in not telling their listeners plain that the album sometimes can’t even that fades out after two minutes and 40 sec-what to feel. (The ad will later be given a lim-be found in cities where the band is drawing onds. The choice of B-side, ‘Jesus,’ is rather ited commercial release as part of The Velvet good crowds at local clubs. The Velvet Under- more questionable. Underground, a four-CD boxed set released in ground ends up being the group’s first album An advertisement is printed for the single. 1990 by French Polydor, but made available to fall short of the Billboard 200 – even the Alongside a picture of the Doug Yule line-up, only to the Fnac chain of stores; it also fea-infinitely less commercial White Light/White it proclaims: “SOMETHING DIFFERENT: Put tures on several bootlegs.) Heat managed to reach Number 199. your mind to it and discover What Goes On

The Velvets aren’t helped by the fact that Doug Yule sees the LP’s failure not so much K-14057 in a high-flying single that digs deep. there’s no obvious hit single to be taken from in terms of MGM’s ineptitude as the Velvets And digs big.” Another ad with similar graph-their third album, but that’s not stopped being out of step with the times. “It wasn’t ics plugs both the single and the accompany-numerous other credible acts without hit 45s mainstream,” he says. “I mean, it was critically ing album, asking, ‘Why something different? from at least reaching the Billboard Top 100 (if approved, but it certainly wasn’t what was Because: ‘What Goes On’ … their great new not climbing a lot higher than that). It might going on then. It was kind of off the wall from single … is just that.” At the bottom of the also be the case that an album called The Velvet that aspect. In ’69, Jimi Hendrix was big, Janis ad, just above the MGM logo, runs the slogan Underground by The Velvet Underground is Joplin was big, and The Velvet Underground “We have the answer” – something that surely getting lost in the shuffle as MGM Records definitely wasn’t that. wasn’t suggested by the Velvets themselves, undergoes substantial changes in personnel “I always think of The Velvet Underground given their eagerness to avoid such sanctimo-and direction. then as being in black-and-white, and Janis nious preaching in song.

As with all of the Velvets’ MGM albums, and Jimi and the whole San Francisco scene as So limited is the distribution of this 45 that however, it’s not entirely true to say that the being very colorful. And later on with Loaded, it’s not even certain that it ever gets a full com-company does nothing to push the LP. Full-I think the Velvets finally did something in mercial release beyond not-for-sale copies sent page advertisements appear in Rolling Stone, full color. But even musically, I think that that out to radio stations. For what it’s worth, these Creem, the Village Voice, the Los Angeles Free Press, album is very black-and-white, very kind of are the only mono versions of tracks from the and Fusion. The last of these also includes a grainy. Like the cover – I mean, it’s a per-third LP ever to be made available. plug for the Velvets’ upcoming shows on May fect cover. Radio stations aren’t interested 29–31 at the Boston Tea Party, in the very city in playing anything new or different; they AND… where Fusion is published. These ads indicate pretty much want to deliver their advertisers As a result perhaps of having arranged that at least someone at MGM is aware of an audience, and they want to be consistent Nico’s recent LP, The Marble Index, John Cale the most appropriate places to advertise the about that. If something comes along that’s is invited to work as a session musician on album, targeting the readers and listeners familiar and sounds like something else, it’s another Elektra record, The Great American most likely to appreciate the record as the gonna have a better opportunity to be played. Eagle Tragedy, the second LP by Boston group American rock-press starts to become a seri-Someone once said if you meet with a lot of Earth Opera. The band-members include ous force in both popular culture and the US rejection, you probably have something very David Grisman and Peter Rowan, the author albums market. original.” of ‘Mad Lydia’s Waltz,’ a bittersweet, rustic

MGM also goes to the trouble of produc- The Velvet Underground is not often cited tune on which Cale’s viola features (albeit ing a rather elaborate press kit for the LP. as a favorite by fans or critics, who tend to pretty low in the mix). As seems par for the course, however, the name the group’s debut first. It’s certainly “David Grisman wanted a big sort of cha-

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otic unconventionally harmonic bunch of lot of people will just be very bored with it, to explain the plot of the song after noting instruments to play on ‘Mad Lydia’s Waltz,’” and they’ll take it off. That’s why I had it at that “people have asked us sometimes, who explains Peter Siegel, the album’s producer. the end of the album. So you can hit the reject is Sister Ray?” He once again throws in some “It was about an insane person. I don’t want button!” The Velvets haven’t been playing the lyrics from ‘The Murder Mystery’ near the to use the word dissonance, because in recent “front part” of the song live, he adds, “because end, proving that the version taped about six years I have come not to believe in dissonance; it would be hard for people to listen to … it’s weeks ago in Cleveland wasn’t a one-off. I only believe in advanced harmony. But using more the kind of thing someone would listen “If I was in the audience for this show I the vocabulary that could have been used at to, like, when they’re sitting around drinking would have been glad to hear the spoken that time, he might have wanted a slightly dis-cocoa, getting dried off.” When Wilson sug-introduction to ‘Sister Ray’ that we hear Lou sonant sound, and figured that John was an gests that the band ought to have put a “sen-Reed give,” notes Jonathan Richman in his adventurous enough string-player to provide tence diagram” of the song on the back of the piece for the c/o The Velvet Underground New that. And I suspect that John Cale’s harmonic LP, however, Reed replies, “If we wanted it to York, NY catalog. “I had no idea what the hell sense probably appealed to David or to me be published, we’d put books out.” (Ironically, they were singing about most of the time so or someone.” It’s possible that Cale plays on the lyrics will eventually be published in the any light shed on the subject was always a big the epic, anti-war title track, too, but Siegel winter 1972 issue of the Paris Review.) help.” has no memory of the former VU man con-Reed also makes a point of mentioning how The March 15 show is also taped, but the tributing to it. much the Velvets enjoy playing in Boston, and result is a very strange, one-of-a-kind docu—

how much he likes live performance in gen- ment. Whoever is responsible for the taping

Undated March eral. He takes care to compliment Maureen is evidently a guitar geek above all else, as

Screen Life runs a brief story about the Velvets, Tucker, whom he describes as “one of the he records the performance directly through although the accompanying photo is from most fantastic people I ever met in my life.” Lou Reed’s amp. As a consequence of this, the John Cale/White Light/White Heat era. His subsequent distaste for the media appears the guitar comes through loud and clear, but “Because Andy Warhol discovered them, eve-not yet to have taken root. “It’s really been a barely any vocals can be heard. Known among ryone thought the Velvets were just a put-on,” pleasure,” Reed tells Wilson at the end of the collectors as the ‘legendary guitar-amp tape,’ writes Margo Rose. “They’re kooky and wild, interview. “I really enjoyed myself.” it serves as testament to the brilliance and all right – but their music proves they’re for innovation of Reed’s guitar-playing – both

real!” Thursday 13–Saturday 15 qualities that are often underrated, if not

Boston Tea Party, Boston, MA overlooked entirely, by critics of his work.

, Early March For this weekend’s shows The Velvet Under-It is on the other hand frustrating to hear

Shortly before their latest stint at the Boston ground are joined by obscure Long Island such a one-dimensional audio-snapshot of Tea Party, Lou Reed and Doug Yule are inter-group Wilkinson Tri-Cycle, whose sole, self-what is clearly a good – if not great – night for viewed by Mississippi Harold Wilson on Bos-titled LP is released this year. A reasonable-the band. Some of these songs would clearly ton’s WBCN-FM. The broadcast is sometimes quality audience tape made on March 13 be more interesting with the other instrudated March 3, but Wilson’s mention of the contains 12 tracks. These are largely the ments and vocals on board, such as ‘Ferry-group playing on “Thursday, Friday, and Satur-same as those recorded on January 10, but the boat Bill,’ making another appearance in the day night” indicates that it might be from the order is different and a few tunes – ‘Pale Blue group’s set after its debut two days earlier; following week. Nearly ten minutes of conver-Eyes,’ ‘Run Run Run,’ and ‘I’m Gonna Move ‘I’m Waiting For The Man,’ played here at a sation survives on tape; Reed unsurprisingly Right In’ – have been dropped. In their place pace closer to its 1966 arrangement, but with dominates proceedings, but Yule chips in here are ‘Jesus,’ ‘That’s The Story Of My Life,’ and a more interesting rhythm-guitar part; and a and there. Music from The Velvet Underground an off-the-wall new song, ‘Ferryboat Bill.’ This way-cool, stop-on-a-dime segue from ‘Heroin’ is interspersed throughout. might be the first ever performance of ‘Fer-into a 26-minute ‘Sister Ray’ finale. Reed’s

In discussing specific tracks, Reed and Yule ryboat Bill,’ in fact, as it’s introduced as a new guitar, alternately frayed and fluid, and often sound particularly proud of ‘What Goes On.’ song the Velvets are trying out. It’s a manic, simply but purposefully bonkers, makes this a “It has all these rhythm things going on in it,” circus-like tune complete with shameless great, unique document. Had the rest of the Reed says. “Like the organ is this all-envelop- lyrical puns about the size of a dwarf, and is instruments and vocals been recorded so well, ing cloud of heaven music … it just goes on played here with considerably more ferocity it would have been much greater. and on and on and on, like there was no real than is heard on the studio version the group reason to stop.” Yule then adds, “One night will soon record (see June 19). Judging by Monday 17 we were playing it, and we almost didn’t stop. the enthusiastic combination of laughter and A Doug Yule composition entitled ‘Passing It went on … the rhythm section, which is the applause, the song is hit with the Tea Party The Day’ is registered today, which will later end [of the song], went on for about – oh, audience. Never prone to settling into a pre-raise suspicions that it might be a bona fide let’s say ten minutes, and all of a sudden eve-dictable set, the Velvets follow it with a version unreleased VU song. But as Yule clarifies, rybody woke up and said, ‘We’ve gotta stop.’ of ‘I’m Waiting For The Man’ that forgoes “When Sesnick was signing the band to [a] I get high from that song, I really do.” “The the recent slower, bluesy arrangement and is BMI contract, he asked me for a lead sheet instrumental part in the middle is fantastic,” taken instead at a furious pace with a hammer-for a song I had written; didn’t matter what Reed concludes. “It sounds like a thousand like rhythm and some feverish guitar-solos. the song was, he just wanted me registered as deranged bagpipes, but it isn’t.” ‘White Light/White Heat’ meanwhile a songwriter in the band for his own purposes.

Turning his attention to ‘The Murder Mys-is developing into a longer and even more It’s not a VU song, having been written before tery,’ Reed says, “Some people like hearing it intense rave-up, with some brilliantly mangled I joined the group, nor is it recorded any-straight through, and other people only dis-guitar-parts and a particularly long and sus-where. In fact it’s a very poorly crafted song, cover you can go to the left or the right with penseful instrumental coda. Reed then makes one of many that I wrote in the first ten or 15 it. And it’ll be fun however you do it. And a a surprising attempt at the start of ‘Sister Ray’ years that are best left unremembered.”

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Friday 21–Saturday 22 do this story-song. He kicks out this riff, and knows Cale from seeing him play with the Vel-Woodrose Ballroom, South Deerfield, MA while things before were intense, they are now vets and in fact, according to Tim Mitchell’s This weekend’s shows take place at a brand-erupting; they slowly build, and begin to fly. Sedition And Alchemy, once wanted to sign the new club run by Steve Nelson in Deerfield, a The singer’s yelling something about ‘she’s group to Masterworks. He’s keen now for Cale small, Western Massachusetts town with a pop-sucking on my ding-dong,’ and they kick into to team up with Riley, who last year established ulation of just a few thousand. “I wanted to do a harder, faster wail. The singer’s hand is a himself as one of the hippest contemporary something on my own where I wasn’t working blur, stroking and making this 12-string shud-classical composers around with the release for somebody else,” he explains. “So with a der and scream; the bass player’s got another of his Columbia debut, In C. The pair already couple friends, we found this building [that guitar, and is ripping up on that; the organist know each other as a result of their overlap-was] built as a roadhouse in the 30s for tour-is leaning, slapping the keys … And the drum-ping associations with La Monte Young; Riley ing big bands, and decided we were gonna mer – not only has she stood all night, but replaced Cale in Young’s group in late 1965. have a club there. It was in an area where she’s pounded steadily with those big mallets McClure’s hope is that, by working with there were lots and lots of colleges nearby – all the while, raising one up over her head for Cale, Riley will broaden his appeal to rock Amherst, Northampton, and all that. When the big BAMP-BAMP-BAMP. Steady. audiences. “McClure’s idea was very much we started it, I booked some people that I’d “I’m not quite sure how long this went on. trying to make contemporary music more worked with before and knew. I don’t know It seemed a half-hour – but time, space, driv-accessible,” Riley recalls. “I don’t know if we whether I had any sense that the audience out er’s ed meant nothing. I was gone. No drink even had a plan. We liked to not plan too there would know who they were. But I always or drugs, I was flattened by the raw power. It much, and just kind of be in the moment in believed in getting my friends gigs.” rocked – but it was so twisted. Pete Townshend the studio. We were improvising a lot of the The club opened a week ago with a show says rock’n’roll is when you stand up and for-tracks. I don’t remember any charts for any by the J. Geils Band, who have yet to release get where you are – OK, these strange people of these pieces. I would play something, or a record; next week’s shows are set to feature were playing the loudest, crudest music I’d John would play something, and then we’d Van Morrison. This weekend’s headliners ever heard … They were making lots of ‘mis-build a piece on that. would appear to be a natural choice, given takes,’ but they were obviously much more “I really liked the sessions. I enjoyed playing their popularity at the Boston Tea Party. interested in getting up there and ripping with John a lot; John and I had been getting Admission is $2.75, with “chicks 50 cents off,” it out. The roar increased, then built until I together to play once in a while after both of according to a line of tiny print on the poster. could hardly stand it … us had gotten out of The Theatre Of Eternal “The funny thing about that whole period “I ran out the very next day and paid my Music. He was probably one of the few musi-was, The Velvet Underground was the most $3.49 for White Light/White Heat. I figured the cians I could have worked with in those days, urban band you can possibly think of,” Nelson 17-minute ‘Sister Ray’ had to be that incred-having a similar background. [We were] into recalls. “And here I am bringing them out to ible heap of noise they played. It was, but I kind of this old ancient droning Celtic – I this place literally that’s on the side of the recall even now the disappointment of hear-don’t know how to describe it, but it was kind road in the country!” ing it the first time. The studio version still of a feeling that came out of La Monte’s band.

In the audience for one of these shows is lives in my top ten all-time tracks, but doesn’t So when John and I played together, we had a curious 16-year-old by the name of M.C. compare with the gush that had sent my brain that kind of common language. Even though Kostek. He has never heard the Velvets before, to Jupiter the evening before. I’d give nine we weren’t playing La Monte’s music, the fact but had his curiosity piqued after seeing a years off my next few lives for a tape of that that we’d played together there allowed us to poster for the show on the Things To Do night. Take the ending of the studio ‘Sister be pretty successful when we were improvising bulletin board at a local high school. He will Ray’ – the last four minutes or so – start from and being spontaneous.” go on to publish the first and best VU fan-there, go faster, crank it UP and take off faster The eight unreleased tracks recorded dur-zine, What Goes On, in the 70s. The first issue and harder.” (In addition to publishing and ing these sessions are ‘The Great Unknown,’ includes his detailed recollections of the show editing What Goes On, Kostek will also get to ‘Hit It,’ ‘Falling Leaves,’ ‘Galactic Hominy at the Woodrose: work with one of the Velvets, Maureen Tucker, Grits,’ ‘Pakastani Sleighride,’ ‘St. John Pas-

“‘This next song’s called “Heroin.”’ The when he puts out solo records by her in the sion,’ ‘Smoke Gets In Your Eyes’ (which may thin figure dressed in black on stage looks late 80s on the label he co-owns, 50 Skidil-or may not be a cover of the pop standard nervously around. ‘It’s not, uh, for or against lion Watts.) made famous by The Platters), and ‘Walk it. It’s just about it.’ The two South Deerfield, Away, Renee Levine.’ The title of this last song Mass, cops at the side entrances are momen- Monday 24–Wednesday 26 recalls The Left Banke’s great baroque-pop tarily distracted from their evening’s boredom M RECORDING JohN caLe aNd TeRRy hit of 1966, ‘Walk Away Renee’; one suspects (the only relief provided by teen drinkers and RiLey Columbia 30th Street Studios, 207 that Cale and Riley’s tune might be so named gate-sneakers). Now this weirdo with black East 30th Street, New York, NY. Producer purely as an irreverent joke. leather jacket and sunglasses is talking to John McClure.

them about heroin … A few days from now, John Cale will sign Friday 28–Sunday 30

“‘This song’s been banned in San Fran-a contract with CBS Records’ classical-music La Cave, Cleveland, OH cisco. Hope you like it.’ That small guy in division, Masterworks. But before that, he These shows, like last weekend’s engagement the shades and leather turned out to be Lou and Terry Riley spend three days recording in Deerfield, are advertised using the photo Reed, and he didn’t say much all night. Half eight tracks at Columbia’s 30th Street studios of the John Cale line-up seen on the back of of what he did say was about this or that song with producer John McClure. (Session sheets White Light/White Heat. The March 28 Cleve-being banned (such as that one up there for refer to these recordings as a “J. McClure land Plain Dealer runs an ad with another, ‘White Light/White Heat’) or maimed … project.”) seldom seen shot from the same photo ses-[From] the first screech, I’m transfixed … It McClure has been keen for some time to sion, even though Doug Yule replaced Cale gets late, and the ‘leader’ says they’re going to work with more contemporary composers. He six months ago.

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April turing such sound and fury on vinyl, Cale asks and documentation of MacLise’s recordings the band to lower the volume, but doesn’t might find the following story from Tony really succeed. As Ron Asheton tells Mojo Conrad illuminating. “Around 1970, I got magazine almost 40 years later, “He said, together with Angus to make a copy of what Tuesday 1 ‘This is a studio, you don’t use a stack [of he called his ‘definitive’ tape,” he recalls. “It John Cale signs a one-year recording contract Marshall amps turned up to] ten.’ Yeah we was just like this reel-to-reel tape that he car-– later renewed for similar periods in 1970 do, I don’t know how to play any other way. ried around and mixed stuff onto. He would and 1971 – with Columbia’s Masterworks So we went into the vocal room, got some just get this tape, and he would just record division. cushions out and kept smoking hashish until stuff onto it, record over the other stuff, mix John Cale goes, ‘OK, we’ll compromise.’ The stuff together. Well, some of it was some of M RECORDING The SToogeS Hit Factory compromise was nine!” the worst recorded quality I’ve ever heard. Studios, 353 West 48th Street, New York, NY. As Iggy Pop notes in a 1995 interview with Recorded really poorly, with bad mics, and Producer John Cale, engineer Lewis Meren- Goldmine, “John Cale contributed a sympa-you could hardly tell what was going on. That stein. thetic presence in the studio. At least he didn’t bother Angus a bit! He didn’t give a John Cale might have acted in a produc-wasn’t trying to make us do things his way. shit if it was well recorded. And the balance er-like capacity on Nico’s The Marble Index, Certainly, the studio owner and engineer did: between the instruments? Forget it! Angus but his first real producing job is on The ‘You can’t use these big amps, you can’t play didn’t care about that.” Stooges’ self-titled debut album. Sessions like that!’ And he [Cale] would halfheartedly begin on April Fool’s Day at Hit Factory Stu-go along with them. But when we wanted to Friday 11–Sunday 13 dios in Times Square. As Stooges frontman do things our way, he would cave in.” Grande Ballroom, Detroit, MI Iggy Pop tells Paul Trynka in a 1992 inter-Also present for at least some of these ses-The Grande Ballroom is one of the top ven-view, Cale comes across as “someone more sions is Iggy’s recent flame, Nico; some of ues on the psychedelic-rock circuit, and in adult, more worldly, from a band I respected the words to ‘We Will Fall’ apparently refer fact is where the MC5’s Kick Out The Jams was … Someone with weight and sensitivity that to waiting for her at the Chelsea Hotel. She’s recorded in October 1968. This weekend’s bill would tolerate us! And therefore it helped come down to the Hit Factory to see what – which also features early British prog-rock give me confidence.” John Cale’s up to. “When we started record-act The Nice, featuring Keith Emerson on After working on The Marble Index, Cale ing, Nico and John Cale used to sit in the keyboards, and Elektra Records psychedelic made it known to Elektra Records president booth looking like they were in the Addams group Earth Opera – might not sound logical, Jac Holzman that he’d like to do some pro-family,” Iggy recalls in Please Kill Me: The Uncen- but such combinations are not uncommon ducing; according to Lewis Merenstein, who sored Oral History Of Punk. “Cale was wearing a during the late 60s. And there’s even a VU works as an engineer on The Stooges, and Dracula cape with a great big collar on it. He connection, as John Cale recently played viola will go on to co-produce Cale’s solo debut, looked like Z-Man in Beyond The Valley Of The on Earth Opera’s second album, The Great Vintage Violence, he’s “had enough touring for Dolls and he had this funny haircut. And Nico American Eagle Tragedy. a while.” Cale recently went to Detroit with was knitting. Throughout that whole album, publicist Danny Fields to check out a dou-she sat there knitting something, maybe a Sunday 14 ble bill of Michigan bands recently signed to sweater.” The eighth issue of Fusion, one of America’s Elektra, MC5 and The Stooges. He liked what Nico herself has been somewhat elusive of first articulate magazines about rock music, he saw, and is keen to work with the group late. She recently spent time in Paris, with runs a long piece on The Velvet Underground even though they only have four completed Warhol superstar Viva, and while she was there by Robert Somma. It doesn’t say much that songs when these sessions begin. It’s not clear met a young avant-garde filmmaker, Philippe won’t subsequently be said elsewhere, but exactly how long the sessions go on for, but Garrel, who plans to use her song ‘The Fal-it’s indicative of the growing critical respect they’re probably completed fairly quickly – in coner’ in his new film Le Lit De La Vierge, which accorded the group that they get such in-about six days, according to Cale’s autobiog-stars her old friend Tina Aumont. Garrel will depth treatment, which includes a detailed raphy. The Stooges have to write three more play a key role in Nico’s artistic and personal look at their history and recorded output to songs virtually overnight to fill out the LP. life over the next decade; the couple’s affair date. (It probably helps that the magazine The Stooges are among the most primal, became more serious when they spent time in is published in Boston, the city in which the extreme, and loudest bands of their time, Italy, near the seaside town of Positano, where Velvets are most popular.) and are even cruder and more rudimentary Nico has been working on some new songs. Somma certainly likes the group’s newly in their playing and songwriting than the It’s possible that she’s back in New York – and released third album, to the extent that he MC5. Having already fought the battle of visiting Cale – in an attempt to set the wheels compares it to recent LPs by two of rock’s capturing an uncompromising band at high in motion for her next solo LP. most revered groups, Something Else by The volume in the studio with the Velvets, Cale Kinks and Beggars Banquet by The Rolling seems like a good choice to work with the Thursday 10 Stones. The Velvets’ latest, he says, “is techni—young group. With his own background in M RECORDING aNguS MacLiSe details cally perfect and substantially different from musical experimentation, Cale might also unknown. the music of the first two. Reed’s songs are appreciate the warped form of minimalism Among the slim body of Angus MacLise’s self-aware, not self-conscious; his singing is The Stooges are bringing to hard rock, with musical output from 1969 is a hectic three-predictably superior to most rock vocalizing; their basic riffs and even more basic lyrics. He minute collage of static and voices recorded the band plays with a care, a punctuality, and also adds a tinge of artiness to proceedings off shortwave radio, naturally entitled ‘Short-a self-assurance too often undetermined by by playing buzzing viola on the ten-minute wave Radio’ when it later appears on The Cale’s flamboyant figures. Their third LP, with ‘We Will Fall.’ Cloud Doctrine. Anyone puzzled by the rather ‘Candy Says’ (the Velvets singing ‘doo-doo— Perhaps mindful of the difficulties in cap-haphazard sound quality, stylistic consistency, wah! Wah!’), ‘Pale Blue Eyes’ (a successor to

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[The Beatles’] ‘If I Fell’ and [Dylan’s] ‘Love Underground fanzine, however, Doug Yule lists the two groups, they do have one thing in Minus Zero/No Limit’), ‘I’m Beginning To these events in reverse order. “That show the common: sheer volume. “There was a guy See The Light’ (rock’n’roll music in its pure Dead opened for us, we opened for them the standing over by the sound mixing board, state) is matter-of-factly stunning in the depth next night so that no one could say they were and somebody said, ‘that’s [Grateful Dead and normalcy of its emotion, in the care of its the openers. As you know, The Grateful Dead soundman] Owsley,’” he recalls. “I walked execution and in the perfectly realized self-play very long sets and they were supposed to over to him and said, ‘Are you Owsley?’ He conception it reveals. The Velvets are passing only play for an hour. turned to me to answer, and the whole sound beyond the cities they live and play in and “We were up in the dressing room and system just … [it was] like somebody turned rising to the occasion of consistent and almost they’re playing for an hour and a half, [then] the whole thing up so loud that we couldn’t easy brilliance.” an hour and 45 minutes. So the next day when hear each other. We just looked at each other

Elsewhere in the article, Somma mentions we were opening for them, Lou says, ‘Huh, and shrugged.” an as yet unrecorded VU song entitled ‘Rock watch this.’ And we proceeded to play a very Years later, the release of The Grateful & Roll.’ This combined with Peter Stampfel’s long set. We did ‘Sister Ray’ for like an hour Dead’s Dick’s Picks Vol. 26 – featuring mate-recollections of hearing the song at the Bos-and then a whole other show.” Maureen rial taped on April 26 1969 at the Electric ton Tea Party during the second weekend of Tucker probably needs little persuasion to go Theater in Chicago and the following night January seems like proof enough that the Vel-along with the sabotage; in a 1971 interview at the Labor Temple in Minneapolis – will vets have started playing this Lou Reed classic with Melody Maker, she describes the Dead as cast some doubt on whether the Dead appear live; they’ll make their first attempt at record-the most boring band she’s ever heard. at all three of these shows with the Velvets, ing it in the studio in a couple of months. In the February 1975 issue of the New York unless the Electric Theater is another name

Somma also finds time to write a gen-magazine Changes, Reed uses a comparison for the Kinetic Playground. If that is the case, eral appreciation of the Velvets’ first three between the VU and the Dead to illustrate it’s possible (as fans have speculated) that a albums and other accomplishments in a full-how the Velvets’ image is already being tape might exist of the Velvets’ performance, page article entitled ‘Grooving On Velvet’ taken at face value by some media outlets. but none has yet emerged. that appears in the New York underground “Do you realize the pressure that was on us newspaper Other Scenes in mid 1969. There’s to be decadent, around that time?” he asks Saturday 26 no doubt, he writes, that Lou Reed is “the reporter Ed McCormack. “I mean, we used to As is the case in the USA, the third VU LP genuine article – in intellect, dedication, style, go out of our way to give that impression. We is starting to pick up more positive coverage and understanding, he’s among the handful even exaggerated it. I mean, it got so people in the UK than any of the group’s previous of performers around who came out of the would believe anything. Like once when we releases. Disc & Music Echo today publishes the pop experience with an intuitive feel for the were playing on a bill with The Grateful Dead, first and best review of The Velvet Underground, audience and the ability to verbalize his per-some reporter from the Daily News asked me finding it “totally unlike” its predecessors ceptions.” The Velvet Underground’s major what was the difference between us and the “except for a subtle, well-hidden, but undenia-strength, he continues, “has always been their Dead. With a perfectly straight face, I told ble current of evil, which you either dig or you adherence to a principle basic to the most him, ‘The difference is that they take the kids don’t. Otherwise, the group which were the direct and appealing entertainment: their backstage and turn them on – but we shoot hardest, the heaviest, most electrified band of productions derive in a mysterious way from ’em up!’ Don’t you know, he actually believed them all has gone all soft and even, in a funny their experience as people. The breadth of me and printed that.” sort of way, pretty, with deceptively simple lit-that experience can be measured or estimated Among the attendees this weekend is Bob tle songs and happy little tunes. Some beau-by listening to ‘Heroin,’ ‘White Light/White Reitman, a radio deejay from Milwaukee who tifully together guitar-work and lyrics which Heat,’ and ‘Jesus.’” plays the Velvets regularly on his show. Years recall the desolate loveliness of [Bob Dylan’s]

Somma’s conclusion seems to be addressed later, he’ll cite walking past the VU’s gig at Blonde On Blonde. You either love the Velvet directly to the band-members themselves, Poor Richard’s in Chicago in mid 1966 with-Underground or you can’t stand them – but if who have still yet gain wide recognition after out going in as one of the two biggest regrets you can accept their sound, Velvet Underground three albums: “Cheer up. Somebody out there of his musical life. This time, he has no hesita- Three will zonk you.” understands.” tion in making the 90-mile trip to catch them A few weeks later, two other major UK

at the Kinetic Playground. music weeklies chime in with reviews of their

Friday 25–Sunday 27 “I always remember that concert as being own. Both are shorter and less enthusiastic,

Kinetic Playground, Chicago, IL the most bizarre concert I ever went into in but still positive. The May 10 edition of Record For the second time in just over two months, terms of the differences between the groups,” Mirror gives the album three stars (out of five) The Velvet Underground find themselves he recalls. “I believe The Velvet Underground before noting, “The Underground have made playing with The Grateful Dead. Also on the played first. They were still wearing slacks and some rather evil records; despite the super-bill are SRC, an early hard-rock group from collared shirts, and came out and did their ficially gentler approach to this LP, shades Detroit who will put out several albums over pure East Coast essence kind of music. And of the Bright Light team comes through [one the next few years but never quite rise to the then The Grateful Dead came out and played assumes the reporter actually means White same level of notoriety as fellow Michigan till about 2:30 or 3:00 in the morning. And Light/White Heat, rather than Bright Light]. bands The Stooges and MC5. literally, the only people left in attendance An LP for listening to carefully – quite a lot

It will later be reported that, on April 25, when the Dead were through playing were goes on here.” the Velvets play for so long that the Dead people that were laying on the floor. Eighty In its May 17 issue, Melody Maker is simi-only get to play one set; the Dead return the per cent of the crowd had gone, and the Dead larly struck by the Velvets’ newly placid mood: favor the following night, playing a set of just kept on playing.” “Once they were the group hailed as the big-such length that the VU have to shorten their Another of Reitman’s anecdotes illustrates gest noise in New York in terms of psychedelic spot. In the fall/winter 1994 issue of the Velvet the fact that for all of the differences between musical violence. Now they are into gentleness

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234 Three of the Velvets at their May 6 1969 recording session at the Record Plant in New York City.

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and beauty. With tunes like ‘Pale Blue Eyes’ vocals on them. Maybe we were doing it just 1969 at the Record Plant, the newly opened and ‘Jesus,’ where everything is acoustic and to keep them from saying ‘We need a record!’ and already highly in-demand facility on West underplayed, they make their point much I’m sure the way we did all those tracks had to 44th Street where Jimi Hendrix cut most of more subtly and effectively. There is very lit-do with trying to get away from MGM.” (Rob-his 1968 blockbuster Electric Ladyland. (Hen-tle that is freaky and few moments where any-ert Quine, who will shortly become friends drix will be back at the studio again later in thing approaching a strong beat is laid down. with the band, recalls being told by Lou Reed May, when he crosses paths again with the On ‘That’s The Story Of My Life’ they set up a during the spring of 1969 that the Velvets are Velvets, whom he met at the Whisky A Go Go kind of jolly two-beat. The organ on ‘Murder making a fourth MGM LP; in November, how-last year.) Today’s engineer is Record Plant Mystery’ has that strange quality that groups ever, he’s given the impression that the LP is co-founder Gary Kellgren, who worked with like Pink Floyd and H. P. Lovecraft often no longer happening.) the Velvets on White Light/White Heat, and is obtain, and the use of stereo in the dialogue The existence of an acetate featuring seven likely on hand for all or most of the ‘fourth is brilliant, if a bit confusing. Not sensational, songs from these sessions indicates that some album’ sessions. Also present is photographer but interesting.” thought might have been given to compiling a William ‘PoPsie’ Randolph, who takes at least long-playing record; it’s unlikely that such an 40 pictures during this session (some of which

acetate would be cut unless somebody wanted can be seen at popsiephotos.com).

May to hear how the songs sounded when bunched ‘Foggy Notion’ is the better of the two

together. For the record, these songs, in order, songs recorded today. It’s been part of the

are ‘I’m Sticking With You,’ ‘Foggy Notion’ group’s live repertoire since mid 1966, and

(listed here as ‘Sally May’), ‘Ferryboat Bill,’ captures them at their most upbeat and fun-

‘Andy’s Chest,’ ‘Ocean,’ ‘Rock & Roll,’ and loving, with just a touch of soul-rock, notably

Tuesday 6 ‘She’s My Best Friend’ (abbreviated here to in the backing harmonies. The lyrics might M RECORDING Record Plant Studios, 321 ‘My Friend’). not be much more than some good rhymes to West 44th Street, New York, NY. Engineer “My understanding was that we were gonna set the rhythm to, but the song still has tons of Gary Kellgren. use the MGM studios to work out this stuff kinetic energy, as well as one of Reed’s most Even when The Velvet Underground cut prior to actually going into a studio and playful, giggly vocals. Some VU aficionados their third album in late 1968, they still had recording,” says Doug Yule in the DVD docu-might find this live-in-the-studio recording to about a half-dozen original songs that they’d mentary The Velvet Underground Under Review, be too clean and slick in comparison to some played in concert but not yet put on a record. “to sort of get organized for a regular record-of the surviving live recordings – which do These include ‘Foggy Notion,’ ‘I Can’t Stand ing session … My understanding was that [the have an undeniably louder and more raunchy It,’ ‘I’m Gonna Move Right In,’ and Ocean’; tapes] were never gonna be used. They were edge despite their low fidelity – but this is those four plus the 1968 studio out-takes ‘Hey work tapes, and that’s the way I always viewed still a fine cut, although the extended guitar-Mr. Rain,’ ‘Stephanie Says,’ and ‘Temptation them.” riffing that works so well in concert might Inside Your Heart’ already amount to about Back in late August 1969, however, Lou have benefitted from some in-studio editing. half an album. Then there are the new songs Reed tells Frank Gruber of the Philadelphia (The version of ‘Foggy Notion’ heard on Peel written since, such as ‘Ferryboat Bill’ and newspaper the Distant Drummer that a fourth Slowly And See is five seconds longer than the ‘Rock & Roll,’ both of which have made it VU album has been recorded, but that it one heard on the first, vinyl edition of VU, into the Velvets’ live repertoire by early 1969. won’t be released for some time yet. “It would but is actually lacking the song’s introductory The Velvets certainly have enough songs to be totally senseless,” Reed tells Gruber. “In coda – which is also missing on the VU CD.) start working on an album, then, even if some a few years it will be ahead of its time, but ‘Coney Island Steeplechase’ meanwhile of them are among their more lightweight now it just won’t sell and will go unknown. might raise suspicions that Reed and the tunes. We’ve had enough of that.’” The implication Velvets are holding back their best material Four decades later, however, the mystery is that a complete LP has been recorded (and while they wait to see what’s going to happen remains: does this session mark the start of scrapped) by the end of August, but quite a with MGM. It’s a fairly unmemorable if accept-work on a new Velvets album? Certainly MGM few of the tracks thought to be part of this ably hard-rocking tune, with boy-girl lyrics so won’t ever issue a fourth VU LP, but the band ‘lost’ album won’t actually be recorded until trite that they sound like a tongue-in-cheek will have cut more than enough songs to fill September and October. pastiche of the doo-wop Reed loved growing one up by the end of the year. Steve Sesnick Years later, Doug Yule is not convinced by up. It’s sabotaged however by the decision to might already be maneuvering, as he later the idea of the album being shelved for being process Reed’s vocal so that it sounds like it’s claims, to get the band off MGM; maybe the too far ahead of its time. “When you’re being coming out of an underwater megaphone – band in turn are walking the fine line of mak-interviewed, the model dictates that the inter-a gimmick heard on several late-60s records ing it look like they’re working on a record, viewer is looking for information, and you’re following the smash-hit success of The New but making sure the recordings aren’t in good there to inform them,” he explains when Vaudeville Band’s ‘Winchester Cathedral’ in enough shape to be released. And yet Sterling asked about the Distant Drummer quote. “You 1966. Even the slightest VU originals usually Morrison will later claim to have been under don’t want to give a null set answer, like ‘I manage to produce something entertaining, the impression that the Velvets were working don’t know.’ So it’s easy to say, ‘No, we don’t but this might just be the weakest studio track on a fourth album, while as Maureen Tucker want to do it now, because it’s way ahead of its cut while Reed is still in the band. puts it in the Peel Slowly And See liner notes: time.’ It makes perfect sense, and it makes it Although ‘Foggy Notion’ will start to appear “As far as I knew, and know, we were making a sound good. That’s Sesnick talking through on bootlegs in 1976, it won’t be released offi-record. I also believe we were trying to get out Lou. Sesnick was just pumping ideas into him, cially until it’s included on the VU out-takes from MGM. I don’t know what the plan was. and then [Reed] was giving them back.” collection in February 1985. ‘Coney Island Maybe it was just to not finish it enough. Some Whatever the situation, on May 6 the Vel-Steeplechase’ won’t circulate at all until it’s of those tracks don’t even have [finished] vets lay down their first two new recordings of included on Another View, the second and last

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VU out-takes anthology, which lists Lou Reed, name is Sister Ray. A very, very good friend of At any rate, the song is an almost comi-Sterling Morrison, Maureen Tucker, and John ours … Sister Ray has a very peculiar occupa-cally straight declaration of true love, and Cale as co-authors of the song, making one tion. And because of that, this occupational when Tucker melodramatically trades lines wonder whether it actually dates back to the hazard. And so this song is about what hap-with Yule and Reed on the bridge, you can pre-Doug Yule era. Further questions are pens down in the seat, which I’m sure you’re almost see the audience’s chests puff out raised by the fact that the BMI archives list all familiar with. There’s about five characters with pride as they watch Mr and Mrs Right Reed, Morrison, Tucker, Yule, and Hy Weiss in this song. There’s Doc, Sally, Cecil, a sailor, do their hometown proud in the latest Rotary as co-composers of ‘Foggy Notion.’ Why then a booster, and Sister Ray. They’re over on the Club production. That’s the cue for the song is the song credited solely to Reed on VU? Lower East Side, just … sittin’ around. Gettin’ to ease into a much more Velvetian refrain, What is Hy Weiss, the owner of 50s/60s doo-it on. Bringing it together.” with the whole band joining in and Yule and wop label Old Town Records, doing in the Quine will go on to tape the Velvets on sev-Reed teaming up for some light doo-wop songwriting credits of a Velvet Underground eral other occasions in late 1969 after moving harmonies. song? And since the Velvets have been playing to San Francisco, ending up with 35 hours of As Sterling Morrison will later explain to this song live since the Cale era, why isn’t he recordings in total, nearly four hours of which Mix magazine around the time that the track listed, along with the rest of the band? end up on Bootleg Series Volume 1. (Despite is finally issued in the mid 80s, “It was a bridge what the title implies, The Quine Tapes form up between what we’d been doing and Loaded, Sunday 11 the only contribution to date to the Velvets’ which came next. We used to do voiceovers Washington University, St Louis, MO Bootleg Series.) In the early 80s, he will find live at the same time as we did the instrumen-Tonight the Velvets make their debut in this himself playing guitar with Lou Reed, on stage tals. Loaded used more double-tracking, so large Midwestern city – not usually noted as a and on record, for almost four years. ‘I’m Sticking With You’ was a precursor.” hotbed of heavy rock or psychedelia – on a bill ‘I’m Sticking With You’ is something of a with up-and-coming bluesman Taj Mahal. The Tuesday 13 curiosity, but is not just filed away and for-acoustics in what’s actually a gymnasium aren’t M RECORDING Record Plant Studios, 321 gotten. The band will play it live on several optimal, but the group are well received. The West 44th Street, New York, NY. occasions during 1969–70, and will attempt aftermath only compounds their frustration Just a day after failing to find their new another version during the Loaded sessions (as with MGM’s distribution, however. MGM album in St Louis’s record stores, The eventually heard on the Fully Loaded Edition “I remember specifically we played in St Velvet Underground are back at the Record reissue). In February 1974, Tucker will record Louis long enough after the third album came Plant cutting more tracks for MGM. These a new version of the song as a duet with major out that it should have been in the stores, recordings add even more weight to the idea VU fan Jonathan Richman, but it won’t be especially if we were going to play there,” that they’ve deliberately selected the oddest released until 1980. Maureen Tucker notes in UpTight by Victor and most frivolous songs they have available, In another era, ‘Andy’s Chest’ and ‘I’m Bockris. “We had never played there before rather than getting down to the heart of the Sticking With You’ might have made good and expected 30 people to show up and we task. additions to a stopgap EP of sorts. But while really packed the place. It was one of those ‘Andy’s Chest’ is certainly unlike pretty EPs were popular in Britain in the mid 60s, open ballrooms and a couple of thousand much anything they’ve ever played before. It’s and will be again throughout the world people showed up. The guy who owned sung in the smarmy voice of a mischievous after the advent of punk and new wave, the the club was ecstatic. He said, ‘Oh shit, I’ve uncle telling a story to a child who doesn’t format is all but obsolete in 1969, especially never had a night like this, blah blah,’ and the quite understand it, and played with an infec-in the USA. As such, these two songs will next day we went out poking around and we tious, quasi-calypso beat and twangy, 50s-style be left in the VU treasure chest for a dec-couldn’t find our record anywhere, and one guitar solo. It’s not exactly Lou Reed at the ade and a half until they’re included on the guy who owned a record store, who had come height of his powers, but the song does have VU out-takes collection (having previously backstage to talk to us, said, ‘Gee, you know, some quirky charm, particularly when he been bootlegged) – perhaps the best place I can’t get your record. I called.’” dryly intones “swoop swoop … rock rock … for these likeable but not quite LP-worthy In the audience for this show is Washington roll roll” at the fade. As happy-go-lucky as it recordings. University law student and guitarist Robert might sound, however, the song is, as Reed Quine, a VU fanatic armed with a Sony cas-explains in the Transformer documentary, Wednesday 14 sette recorder and a hand-held microphone. “what I thought about Andy [Warhol] being M RECORDING Record Plant Studios, 321 “Despite a lousy PA system and a very echoey shot.” (Reed will later revive the song as a West 44th Street, New York, NY. basketball gym, the concert was great, the solo artist and include it on his 1972 album Finally getting into a more serious mood, high point being the performance of ‘Sister Transformer.) the Velvets today record ‘She’s My Best Ray,’” he later writes in the liner notes to Weirder still is ‘I’m Sticking With You,’ Friend,’ with Doug Yule on lead vocals. The Bootleg Series Volume 1: The Quine Tapes of the which is largely sung by Maureen Tucker and, song seems to foretell the increasingly main-28-minute version of the song included on the with its plink-plunk piano, sounds more like stream direction toward which the band set’s third disc, which weaves unexpectedly in an English music-hall piece than anything is starting to drift. Unlike Reed’s previous and out of a slowed-down ‘Foggy Notion.’ remotely rock’n’roll. It’s possible that, in the romantic odes, there’s relatively little ambi— The audio fidelity might be subpar, but wake of her vocal on ‘After Hours,’ the Velvets guity, mystery, or musical exoticism, jut a no-it’s an impressive performance, with some are planning to give her a vocal cameo on nonsense love song with a solid, mid-tempo particularly banshee-like lead guitar. Before every album (much like Ringo Starr with The backing and clever (almost mocking) backing the song starts, Reed makes another vague Beatles). But it’s probably more likely that vocals. The musicians even find time to rock attempt at explaining it. “This is gonna go they’re just having fun – at MGM’s expense, out at the close, the past injunction against on for a while,” he says. “This is a story about both literally and even figuratively – and try-blues licks seemingly having been lifted, if a person we know in New York, and uh, her ing something different. not just forgotten about. There’s a slightly

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sardonic undercurrent in the lyrics – is telling songs have wicked and witty undercurrents. Friday 30–Saturday 31 a girl that she’s a better friend than a dog or ‘I Can’t Stand It’ is a fine example of this, Boston Tea Party, Boston, MA a car really that great a compliment? – as well and not just because it makes light of living This weekend the Velvets share the stage with as some free-flight imagery about amputated in urban squalor. There’s also a hint of real-another (very different) band with a pen-feet, jam, and jelly rolls. life pain in the chorus when Reed pines for chant for lengthy guitar-oriented improvisa— Following the pattern of some of the a Shelley – presumably his old-flame from tion. The Allman Brothers are still virtually other out-takes of the time, ‘She’s My Best Syracuse, Shelley Albin, with whom he has unknown in the Northeast, however, and Friend’ will eventually be bootlegged (in recently been having an affair. won’t even start work on their debut album 1984) before being released on VU. By then Some hardcore Velvets fans contend that until August. it will already have appeared on one of Lou the studio version of ‘I Can’t Stand It’ is some-Reed’s solo albums, 1976’s Coney Island Baby, what emasculated by comparison to this year’s

in a six-minute version twice as long as the VU frantic live performances of the song. (The June original. A much rawer out-take from January same is also often said of ‘Foggy Notion.’) 1975 appears on the 2006 expanded reissue It’s certainly shorter in its studio incarna-of Coney Island Baby and is notable for fea-tion, falling just short of three-and-a-half turing none other than Doug Yule on guitar minutes; some taped live versions are about and bass. twice as long. The studio take still has a fine, Tuesday 10

thumping aggression, however, and a rous- A song called ‘Sweet-And-Twenty’ is regis-

Friday 16–Saturday 17 ing if relatively concise guitar-solo. All in all, tered today, crediting William Shakespeare Woodrose Ballroom, South Deerfield, it’s a song that absolutely should have found for the words, which were written to be sung MA a place on either The Velvet Underground or by the Feste character in Twelfth Night, and The Velvets’ second visit to the Woodrose Loaded; although it will eventually end up on Lewis Reed for the music. The song won’t is advertised by a poster featuring a photo-Lou Reed’s eponymous solo debut in 1972, his feature on any known VU recording, possi-graph of the group taken on the porch of version is inferior to the VU original. Fortu-bly because it’s the work of an entirely dif-venue owner Steve Nelson’s nearby home in nately, this May 1969 recording will eventually ferent Lewis Reed. A look at the lead sheet March. (“I had a house there only ’cause I was find official release as the opening track on used to register the copyright shows that it’s running this club,” Nelson explains.) Tick-the 1985 out-takes collection VU. been designed for “soprano and piano,” an ets for each show are $2.50; support comes arrangement unlikely to be used by The Vel— from Country Funk, who will shortly issue an Wednesday 28 vet Underground. The musical notation is far obscure self-titled LP on Polydor. M RECORDING JohN caLe aNd TeRRy more elaborate here than on other Lou Reed RiLey exact location unknown, New York, lead sheets of the time, suggesting it to be the Friday 16 NY. Producer John McClure. work of a more classically trained individual.

M RECORDING JohN caLe aNd TeRRy John McClure today produces three more And the address given for this Lewis Reed is RiLey exact location unknown, New York, unreleased Cale/Riley recordings: ‘The in Brooklyn, but the VU man is not known to NY. Producer John McClure. Church Of Anthrax,’ ‘The Hall Of Mirrors In have lived there during the 60s.

John Cale spends two more days (today and The Palace At Versailles,’ and ‘Ides Of March.’ Wednesday June 1) in the studio with Riley The last of these, Riley explains, “was kind of Friday 13–Saturday 14 and McClure. The sessions yield three unre-based on an improvisation I’d already been Woodrose Ballroom, South Deerfield, leased tracks: ‘October Procession,’ The Pro-working on, and John provided a real interest- MA tégé,’ and ‘The Soul Of Patrick Lee,’ the last ing counterpoint to that. I really liked that, By now the Velvets are playing as regularly at of which features a vocal by Adam Miller. ‘The because I hadn’t tried playing that piece with the Woodrose Ballroom as they are at the Bos-Protégé’ and ‘The Soul Of Patrick Lee’ will him before. He immediately came up with ton Tea Party. Support this weekend comes eventually feature on Cale and Riley’s 1971 a great idea that worked exactly with what from an unknown yet apparently new act: on LP Church Of Anthrax, but it’s unclear whether I was doing.” Riley is also pleased with ‘The the posters, a gent in Victorian dress holds any elements of these recordings are used. Hall Of Mirrors In The Palace At Versailles’ yet another poster, which ends, “and intro— and its combination of “saxophone layers and ducing Vale.”

Tuesday 20 John’s piano playing, [which] I thought was M RECORDING Record Plant Studios, 321 very inspired.” Thursday 19 West 44th Street, New York, NY. It’s possible that elements of today’s M RECORDING Record Plant Studios, 321

Except perhaps for the February 1968 out-recordings end up on the official Church Of West 44th Street, New York, NY. take ‘Stephanie Says,’ ‘I Can’t Stand It’ is the Anthrax LP, since tracks bearing all three of The most productive day of these quasi-best of the songs known to have been written these titles appear on the official album. By fourth-album sessions to date yields three or performed by The Velvet Underground now, in fact, all five of the Church Of Anthrax completed tracks, inasmuch as any of the prior to the recording of their third LP but songs have been recorded in some form or Velvets’ 1969 recordings can be deemed not included on it. The version they record other, alongside some other titles that will ‘completed.’ The only one of the three that today is certainly the best of their May 1969 remain unreleased. There’s at least an LP’s will later make it onto VU is ‘Ocean,’ which Record Plant recordings. It’s got some of the worth of material in the can already, but no dates back to the John Cale era, when it was great elements common to many first-rate VU Cale–Riley LP will be released in 1969, and known as ‘Here Come The Waves.’ ‘Ocean’ rockers: a basic yet catchy riff, superb, choppy work on Church Of Anthrax won’t resume until is the first of the spring 1969 Record Plant rhythm-guitar, and a playfully hip Lou Reed early 1970 – by which time Cale will have fin-recordings to find Lou Reed in a serious, vocal. The lyrics might not be as penetrating ished an entirely different Columbia LP of poetic mood. It might be a ballad, but it’s as some of his others, but even minor VU his own. not quite romantic: despite its slow tempo, The Velvets in Cambridge, Massachusetts, in 1969. 239

JUNE 1969 n WHITE LIGHT/WHITE HEAT

it’s a song of contemplation, full of dramatic

swells on which Maureen Tucker’s percussive crashes are particularly excellent. It’s also a song that’s full of ambiguous and

slightly disturbing probes into the narrator’s interior psyche, which puts it closer to the mood of some of the Velvets’ more

lyrically adventurous early material by comparison to the other songs they’ve recorded recently.

The version of ‘Ocean’ recorded today is

fine, if a little restrained, particularly with

regard to the lead vocal. Yet somehow the

Velvets will never manage to include it on

any of the studio albums they produce while

Reed is still in the band, although they will

have another couple of attempts at the song

during the Loaded sessions. As with so many other VU out-takes, Reed will eventually revive

the song during his solo career, but the version included on 1972’s Lou Reed is mild by comparison to the Velvets’ recordings of it.

Ultimately, the best versions of this song –

which is as haunting as anything the Velvets

will ever do – are live recordings, particularly

the one chosen for official release on 1969

Velvet Underground Live.

Also recorded today is a much more

lighthearted, throwaway number that has

nonetheless been part of the Velvets’ live repertoire for at least three months. ‘Ferryboat Bill’ is little more than an excuse for some

clever wordplay: its three-line chorus/punch—

line about a midget amount to no more, literally and figuratively, than a small joke. But there are some manic hurdy-gurdy rhythms

and riffs and engagingly silly backing-vocals,

making this one of many VU songs of the

period that could be the work of no other

band.

First bootlegged in 1976, ‘Ferryboat Bill’

won’t be released officially until it’s included

on the 1986 out-takes collection Another VU, on which the co-authors are listed as Lou

Reed, Sterling Morrison, Maureen Tucker,

and John Cale – which seems most peculiar,

since by the time the song is introduced (as

a new song) on March 13 1969 at the Boston the misfit youngsters now listening to Velvet Saturday 21 Tea Party, Cale has been out of the band for Underground records. ‘Toronto Pop Festival 69,’ Varsity almost six months. (Somebody must eventu-For all its brilliance, however, this first stu- Stadium, Toronto, Ontario, Canada ally notice, as the BMI database credits the dio attempt at the song isn’t fully realized – Rock festivals are becoming all the rage as the song to Reed, Morrison, Tucker, and Doug particularly in the vocal department, where summer of 1969 kicks into gear. As a reflec-Yule.) Reed’s singing is a bit clumsy and hysterical. tion perhaps of their growing rapprochement By contrast, the other song recorded today The arrangement is not yet there, either, but with standard rock-band activities, the Velvets – another one destined for Another VU – is the beguiling riff and lyrics are. The song will play at least a couple of these events. One one of Reed’s most magnificent and signifi-will take more cogent, cutting shape in sub-is this weekend’s Toronto Pop Festival 69, a cant compositions. With ‘Rock & Roll,’ Reed sequent live performances; once again, the two-day shebang that might soon be forgot-manages to put into song not just his love version captured on 1969 Velvet Underground ten but which features a hell of a line-up, for the music but his faith in it to save lives Live is an outstanding example. Fortunately including Sly & The Family Stone, The Bonzo – something he experienced directly as a mis-for the group’s legacy, it will also be revived Dog Band, Steppenwolf, Johnny Winter, Al fit teenager and young adult, and something in the studio in 1970, and become one of the Kooper, Carla Thomas, The Bar-Kays, Procol he’d no doubt like his own music to do for key tracks on Loaded. Harum, Chuck Berry, Slim Harpo, Ronnie

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Hawkins, Eric Andersen, The Band, Dr John, burned my autographed copy of a and ripped Jones’s death will inspire Nico to write a song, Man, Kensington Market, Rotary Connection, down the aluminum foil which covered the ‘Janitor Of Lunacy,’ about her late paramour; Blood Sweat & Tears, and Tiny Tim. Although walls of my apartment.” it will be one of the highlights of her next they’re not listed on the posters, Michigan Takiff’s description of the music is simi-album, Desertshore. band SRC also apparently play. larly unflattering, not to mention patroniz-A poor-quality tape exists of the Velvets ing. “Wow,” he writes. “A female drummer. Friday 11 playing ‘Heroin’ at the Toronto Pop Festival, But why is she over to the side of the stage, Boston Tea Party, Boston, MA complete with a near scream of a vocal. Amus-facing the musicians instead of the audience For reasons unknown, The Velvet Underingly, it sounds as though some members of so we could see her? And gosh oh gee, she ground have a light schedule in July, but still the audience are clapping along with the has kettle drums, with no snares. And only manage to appear tonight at their favorite beat as the song heats up into its crescen-one cymbal. That’s unusual, but leave it to venue. Support comes from Country Funk, dos; the applause that follows the end of the Andy (what a killer!) for finding the unique, with whom the Velvets first played at the song sounds nothing less than enthusiastic the exceptional. The musical program com-Woodrose Ballroom in June, and local group and heartfelt. (This weekend’s event should mences. Bang bang bang boom, bang bang Quill, one of the least celebrated acts on the not by the way be confused with the far more bang boom. Her right hand taps out three fast bill for this summer’s Woodstock festival. famous Toronto Rock & Roll Revival festival ones on the cymbal, followed by a smashing “They are one of the most brilliant groups that will take place on September 13 – and blow with her left to the kettle drum. Over and around today, playing rock’n’roll, playing just feature John Lennon’s first show outside of over she carries out her demonic, machine-music, knocking out strong stuff that one can The Beatles.) like task, rapt in devotion and concentration dance to or freak out over,” writes Richard to her art, afraid she may lose the beat. It’s not Nusser in his Village Voice review of the show.

Friday 27–Saturday 28 easy being this bad. It takes practice. “After listening to them go from ‘I’m Waiting Electric Factory, Philadelphia, PA “I figured out why this band has a female For My Man’ to ‘Jesus’ (a remarkably original The Velvets return to Philadelphia’s hippest drummer,” Takiff concludes. “She was prob-gospel-hymn) and then on to ‘Sister Ray,’ I rock venue, with local band The American ably the only musician in the entire New York am convinced, once again, of their merits. So Dream – whose debut LP is the first ever to metropolitan area that they could find who was the audience, who gave them a standing be produced by Todd Rundgren – in sup-made these guys look good, OOOOH weee, ovation … port. According to an article later written by soooo clever! If you close your eyes, put plugs “Cale’s replacement, Doug Yule, plays bass a member of the audience, Bob Kachnycz, in your ears and concentrate on the word (very well) and organ. Yule, it seems to me, for What Goes On, a 45-minute ‘Sister Ray’ is (‘Warhol’), you might find their sound almost fits right in with what the Velvets are into since played at some point. If this isn’t an all-time listenable. Almost. Are you concentrating?” Lou Reed (in his own words) ‘saw the light.’ record length for this particular epic, it must (The Distant Drummer will soon make up for He is an affable young man who fortunately be pretty close. this review – and then some – with a lengthy did not lose his identity upon joining Lou A small piece in the venue’s Factory Newsletter feature that ranks among the most ecstatic Reed’s band. And that is something else I real-begins with the headline ‘The Velvet Under-coverage of the band ever to be printed dur-ized: the Velvets are Lou Reed’s band. But ground Offer Extremes Of Electronic Sound.’ ing the 60s; see August 27–30.) that does not mean that Lou can do without Emphasizing the group’s Andy Warhol/EPI Sterling Morrison’s stoic presence or Maureen origins rather more than is appropriate, the Tucker’s distinct and incredible style of drum-

article notes, “Many were of the immediate ming. I think all the Velvets understand that. July

opinion that they, due to their association I think it is important for Lou to know that

with Warhol, were just another put-on – well, Sterling is there, looking for all the world like

nothing could be more false. They were, in Gary Cooper … fact, a group when Andy found them, had “Someone (I think it was me) once said that fabulous name already and most of the Thursday 3 the Velvets were the Judy Garlands of rock,” songs were written before that time.” (Alas, Nico’s former lover, Brian Jones, drowns in his Nusser concludes. “And they are. But, unlike there’s a reason why this take on the band is swimming pool, almost a month after being Judy, they have managed to evolve slowly, giv-outdated: the article has in fact been taken in fired from The Rolling Stones. In Nico: The ing themselves time to mature and to appre-full from the group’s April 1968 MGM press Life & Lies Of An Icon, she will later claim to ciate themselves and their music, without release.) have been told that she could sing a couple of being eaten alive by a voracious cult which A review of one of these shows by Jonathan songs at the free concert the Stones are to play just happened to have the intelligence and Takiff in a local alternative newspaper, the in London’s Hyde Park on July 5, but arrives the sensitivity of appetite to dig them in the Distant Drummer, makes clear that nasty, ill-too late to be included on the program. This first place.” Sadly that cult seems not to have informed responses to The Velvet Under-tale raises serious doubts, however. Saturday’s taken hold in the Village Voice’s main constitu-ground aren’t quite a thing of the past. For show is a rock concert featuring not just the ency. It is, Nusser writes, “strong in almost perhaps the last time in a major media outlet, Stones but also King Crimson, Family, Roy every burg except their home town (New the tired view of the Velvets as a Warholian Harper, Alexis Korner, and others. Assuming York), where they still seem to be regarded gimmick is trotted out again. Takiff describes she’s even in London, and able to contact the as local freaks.” the artist as “the spiritual force behind The Stones at such a hectic point in their career, A better-than-average, 80-minute tape exists Velvet Underground, a rock group consist-would they really want to give a spot to Nico of tonight’s show that features the usual mix ing of three guys and a woman. What a sur-and her harmonium? And would even the of crunchy instrumentation and faint vocals. prise that the VGs (sounds like a bad disease) spaced-out Nico blow easily the biggest gig It’s the last known Boston Tea Party record-sound like a bad disease. Oh Andy, how could of her life by arriving late? ing, but there’s not much to set it apart from you have let us down! I was so mad at you I One thing that does seem true is that other tapes made at the venue. Points of inter-

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est include some marvelously funky rhythm-finds Maureen Tucker’s drumming to be “the be too “arty.” The final LP is only pressed after guitar on ‘I’m Waiting For The Man’ that weakest link in the chain,” and the overall the songs are remixed by Iggy Pop and Ele-sounds very much influenced by the fractured effect of the record a “soft shock.” Where, he ktra president Jac Holzman, although in Paul patterns used on Reed and Morrison’s old Ike asks, is the spleen, the morbidity, the satanic Trynka’s Iggy Pop: Open Up And Bleed, John Cale & Tina favorite, ‘I Think It’s Gonna Work Out mood of the first two albums? recalls that Lewis Merenstein helped devise a Fine.’ A 14-minute ‘Run Run Run’ – perhaps Wiedemann goes on in the second half of mix that serves as a compromise between the extended past the advisable limit – is the the piece to examine Cale’s role in the mak-different approaches. “I was trying to charac-longest circulating performance of the song, ing of Nico’s 1968 LP, The Marble Index – an terize Iggy’s vocal, make it a little more evil,” while, quite atypically, the band nearly col-album with which he really was involved. He Cale says. “I decided I was going to work the lapse during the final verse of ‘White Light/ once again goes overboard in his estimation board and went after this idea to the horror White Heat,’ with the vocals almost falling out of Cale’s contributions, however, going so far of [Iggy], who was sitting there, listening to of time with the rest of the band before the as to speculate that the former VU man plays his vocals get thinner and thinner.” song reaches its tense and impressive instru-every instrument on the record. Wiedemann Cale’s original mixes of four of the album’s mental coda. An eight-minute ‘Pale Blue Eyes’ sees Nico by comparison as a minor player, eight tracks – ‘No Fun,’ ‘1969,’ ‘I Wanna Be meanwhile features an unexpected flight into deciding that “in the final instance, the music Your Dog,’ and ‘Little Doll’ – will eventually near-falsetto by Reed during the chorus that is down to Cale’s contribution in all essential be unearthed as bonus tracks for the 2005 belies his later occasional self-deprecating aspects” – a rather absurdly sweeping judg-expanded CD edition, and perhaps make remarks about his limited vocal range. ment, given that Nico wrote all the songs, sang the guitars sound less brash than on their Also on the tape are versions of ‘Jesus,’ them, and played the harmonium. remixed counterparts. (Among the other ‘I’m Set Free,’ ‘Beginning To See The Light,’ Wiedemann goes on to describe The Mar- bonus tracks on disc two of this expanded ‘Candy Says,’ and ‘Sister Ray,’ all of which ble Index as being unlike almost anything he edition are previously unreleased longer ver-serve to illustrate the band’s increasing capac-has ever heard; he then compares it to Terry sions of ‘No Fun’ and ‘Ann,’ an alternate mix ity for stretching out and improvising around Riley’s work before speculating that Riley of ‘Real Cool Time,’ and three songs – ‘1969,’ their material on stage. Several members of might have inspired the “infinitely rippling” ‘I Wanna Be Your Dog,’ and ‘Not Right’ – with the audience enthusiastically request ‘Sister piano on ‘Evening Of Light.’ He praises the alternate vocals.) Ray’ in anticipation of the finale; the song “futuristic, almost lunar, soundscapes forming Like The Velvet Underground, The Stooges is once again combined with a passage from a perfect backdrop for Nico’s frosty, dream-are often thought of as godfathers of punk, ‘The Murder Mystery,’ and features some like vocals,” but calls the singer herself “man-too far ahead of their time and too out of time wickedly tremoloed guitar. nered and icy,” concluding that the record he to find much affection in their time. Their really can’t wait to hear is Cale’s long-overdue debut album won’t sell well at first – although Saturday 26 solo album. it does chart much higher, at Number 106, This weekend’s double issue of the leftist Dan-In years to come, Wiedemann’s review than any of the VU albums of the 60s and ish newspaper Information carries a lengthy might seem misjudged, or at least misin-70s – but the group still manages to build a review of the third Velvet Underground formed. But combined with the advance pre-vociferous cult following that includes several album by Eric Wiedemann, the first Danish view of the third VU LP in Superlove magazine of the era’s most respected and vocal rock musicologist to do his doctorate on jazz. Con-and the 1969 publication of Vagn Lundbye’s critics. sidering it’s such a prominent, serious piece, Nico (an experimental novel inspired by the The Stooges is actually reviewed reason-it’s a shame that Wiedemann seems unaware singer), it offers further proof that the Velvets ably well – even in some quarters of the that John Cale isn’t even on the LP. Ironically, are developing a Danish following greater in mainstream press. Billboard praises a “sound he devotes much of his critique to his disap-numbers and enthusiasm than most will ever that glitters with the addition of strong lyric pointment that Cale’s work has been pushed realize. (Thanks to Bent Sørensen for the content and sophisticated pop execution,”

“too far into the background.” (Adding to English translation of Wiedemann’s article.) while Cash Box hails “the intensity of their the confusion, the accompanying photo – the passion and the integrity of their musician-same one used on the album jacket – mistak- ship,” concluding that the band are “hard and

enly identifies Doug Yule as Sterling Morrison, hot.” According to Record World, The Stooges August and Morrison as Cale, who of course isn’t in “are a hot new group, and understandably the picture at all.) so after hearing this collection of definitive Undeterred, Wiedemann makes Cale the hard-rock.” The Detroit based Creem magazine focus of his review, even discussing his work doesn’t disappoint in giving its homeboys a with the minimalists La Monte Young and , Early August push, raving: “The dangerous psychedelic Terry Jennings. He then singles out ‘The The Stooges’ self-titled debut album is Stooges manage to quickly get down to the Murder Mystery’ as the album’s strongest released in August – probably near the nitty-gritty of sensual frustration for all of track, crediting Cale with the arrangement beginning of the month, as it’s reviewed in neo-American adolescent malehood.” The and comparing it to the work of Terry Riley. the August 2 issue of Billboard. The band’s magazine also picks up on a similarity to the Understandably, given his apparent ignorance label, Elektra, is seen as being much more producer’s former group, describing ‘I Wanna of Cale’s absence, Wiedemann is otherwise sympathetic than most to quirky acts such as Be Your Dog’ as being “reminiscent of early puzzled by the group’s change in direction, Nico or The Stooges, and known for giving Velvet Underground music carrying it into particularly the total lack of irony in songs more freedom to its artists and producers. But even more bizarre levels.” such as ‘Jesus’ and ‘After Hours.’ He notes that doesn’t mean John Cale gets to do things In contrast, Rolling Stone’s Ed Ward doesn’t Reed’s move away from a Dylan-esque vocal totally his way. His mix is judged, according know quite what to make of the LP, but sees style toward something gentler and more lyr-to Ben Edmonds’s liner notes in the 2005 that the group’s raw, almost DIY simplicity is ical (and closer to Mick Jagger’s style), but two-CD expanded edition of the album, to part of the record’s charm. “The instrumen-242

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talists sound like they’ve been playing their

axes for two months and playing together

for one month at most,” he writes, “and they

just love wah-wah and fuzz just like most rank amateur groups. The lyrics are sub-literate.”

By the end of the review, however, Ward concludes, “I kind of like it. They are a reductio ad absurdum of rock’n’roll that might have been thought up by a mad D.A.R. general in a wet

dream. They suck, and they know it, so they

throw the fact back in your face and say ‘So

what? We’re just havin’ fun.’ They emit a raw

energy reminiscent of the very earliest British recordings – ever listen to the first two Kinks records? – and while there is ample reason

to put them down, the fun is infectious, and

that’s more than you can say about most of

the stuff coming out nowadays.”

Another thing The Stooges has in common with the VU albums on which John Cale played

is that it will become much more revered, certainly by critics and also by quite a few fans, in subsequent decades, its reputation escalating

in the decades after the original group’s split.

Its significance to the Velvet Underground

story lies in the fact that it’s Cale’s first full production credit. He’ll take the helm over

the next few years for early recordings by several other hugely influential punk progenitors, notably The Modern Lovers (led by VU

devotee Jonathan Richman) and Patti Smith.

In 1969, however, he’s not exactly flooded

with offers. The next LP he produces, in fact, will reunite him another former member of

The Velvet Underground.

Saturday 2

‘Hilltop Pop Festival,’ Rindge, NH

Commodore, Lowell, MA

The Velvet Underground don’t just play at

rock festivals this summer, they even headline one, albeit one of the most obscure events

of its type, held in a small New Hampshire

town that’s home to Franklin Pierce University. Their name gets the biggest typeface culated bootlegs of the group (most famously ‘What Goes On’ complete with an absolutely on posters advertising the event – bigger as Ostrich/Hilltop). ‘I’m Waiting For The Man’ hypnotic guitar/organ duel that eventually even than that of Van Morrison (whose US has by now evolved into something of an inter-subsides to a less intense grind for the final breakthrough with Moondance won’t come for esting midpoint between the slowed-down, section. Reed’s announcement of ‘Heroin’ another year). Of the 14 other acts on the bill, bluesy arrangement performed earlier this draws some enthusiastic cheers before an none are exactly household names. Besides year and the brisker original, with some furi-eight-minute version of the song brings the folksingers Len Chandler and Jaime Brock-ously chugging rhythm-guitar and an impas-tape to a close. It’s an interesting audio docu-ett, they’re probably all regional and local sioned lead vocal. A ten-minute ‘Run Run ment of a typically unusual VU concert, but performers whose reputations don’t extend Run’ goes off, oddly, in the other direction, the fidelity is too raw for the tape to qualify further than New England. The ubiquitous settling into a slightly calmer, bluesier groove for official release. Country Funk are also on the bill. Tickets are than the one heard on the banana album – The Velvets are also advertised in the Lowell priced at three dollars, with all of the artists except, that is, until it breaks into some of Sun as appearing tonight at the Commodore performing for free, since the event is being the most inspirationally demented guitar-in Lowell, Massachusetts, sharing a two-dollar held to raise money for a new fire engine for work ever heard on a Velvet Underground bill with someone by the name of Rachel. It’s the town of Mason, New Hampshire. recording. possible that they might play both shows, in One of the better-sounding VU audience ‘Pale Blue Eyes’ runs to almost nine min-fact, since Lowell is only an hour from Rindge. tapes is made during their set, and will eventu-utes and is sung by Reed with fine sensitivity Steve Nelson however finds it doubtful that ally become one of the more commonly cir-before the group launches into a 12-minute the Boston Tea Party would have booked the 243

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group to appear (on August 14–16) so soon “a good country-rock band who should have most things concerning Nico’s life in the late after an appearance in Lowell, which is con-had more success” – appear in support of The 60s. They’re probably recorded in New York sidered to be part of the Boston market. He Velvet Underground. The two acts are joined or Los Angeles in anticipation of an upcom-also doubts whether the Velvets, as headlin-on this Tea Party bill by a soul-rock band from ing album, either for Elektra or another com-ers, would be able to finish their set at the Kansas, The Serfs, whose late-60s Capitol LP pany, with John Cale producing. Although Hilltop Pop Festival and still find time to play Early Bird Cafe is produced by Tom Wilson. Nico’s next album, Desertshore, will appear on elsewhere afterward. (Several Serfs were invited last year to appear Reprise, it’s not clear whether she’s signed

on two tracks on Jimi Hendrix’s Electric Lady- to the label yet. In March 1970, she’ll give

Monday 4 land, ‘Rainy Day, Dream Away’ and ‘Still Rain- Melody Maker the impression that she’s think—

A glowing two-page article about The Velvet ing, Still Dreaming’ after Hendrix overheard ing about picking up an option on her Elektra Underground in an Atlanta underground them recording at the Record Plant.) contract. So it could be that these demos are newspaper, the Great Speckled Bird, offers The Velvets might not know it yet, but these for a possible Elektra LP, assuming the label further evidence that the group’s late-60s will be their final shows at their favorite venue, hasn’t yet ended its relationship with her. audience is wider than is later assumed. The and also the only ones they ever play after These demos are weighted, like some of the Velvets have never played in Atlanta, and one the Tea Party moves from its original loca- Marble Index out-takes included on The Frozen would not expect MGM/Verve to have made tion, on Berkeley Street, to new premises on Borderline, a little too heavily toward sparse much ground in the South with their contro-Lansdowne Street. (The venue will close down harmonium accompaniment, and lack the versial albums. Nonetheless, someone down for good around the end of the year.) Mean-variety of Cale’s subsequent, more creative there is listening attentively. while, a few hours inland, another rather arrangements. The songs themselves are very

“The Velvet Underground is now one of more momentous series of concerts is taking much a continuation of the somber, devout the solidest, most consistently productive rock place, but The Velvet Underground have not mood of the Marble Index material, but if any-groups in the field,” writes Miller Francis Jr. been invited … thing they’re even less pop/rock-oriented, “The appearance of The Velvet Underground with the vocals even more strident. All six of

points a new way in the direction of the gen- Friday 15–Monday 18 them will be re-recorded for Desertshore; taken tler Dylan strain. The rhythms are softer, the Woodstock Festival, Bethel, NY together, they almost form an alternate ver-screeching feedback has become electric-blue Here’s a trick question with which to stump sion of the finished LP, which will boast only chords simmered over a very low flame; the your buddies at your next rock’n’roll trivia eight tracks in all. vocals are quiet and evocative, as intimate as night: who is the only member of The Vel-On Desertshore, ‘My Only Child’ is sung recorded voices can be; the songs themselves vet Underground to play at Woodstock? almost a cappella, with only backing vocals are mostly love songs and sing of gentle emo-The answer is original VU drummer Angus (and a little trumpet). This harmonium-led tions, subtle relationships … There are many, MacLise, who “attempted some kind of off-demo is less satisfying, but still interesting. many high points in The Velvet Underground, stage tribal music performance” at the event, ‘Janitor Of Lunacy,’ Nico’s ode to Brian Jones, but in fact, the entire recording is a gentle, according to an article by Alan Licht in the isn’t too different here to the Desertshore take, persuasive high.” New Year 2000 issue of The Wire. Indeed, the save for being in a lower key and lacking some

Parallels aren’t often made between Dylan liner notes to the MacLise compilation CD of the final version’s swirling force or stark and the Velvets, but Francis Jr goes on to offer The Cloud Doctrine list “Woodstock Festival, vocal prowess. ‘The Falconer,’ her song for a few more. “This latest album is to The Velvet Free Tribal Orchestra” among his “undated Andy Warhol, will be radically improved upon Underground what John Wesley Harding and activities.” for the LP, with John Cale’s piano providing an Nashville Skyline are to Dylan,” he writes. “An Hetty MacLise confirms that her husband immense boost to its rich texture. Here again overall tone of peace and humility and new-performed on the acoustic stage set up by it’s just Nico and her harmonium, although found strength that one feels in the present the Hog Farm, the organization helping to it’s interesting to note her immodesty at the Dylan is also in this music … Lovely, unsen-provide food, medical aid, and general assist-outset. “Now this song,” she announces, “it’s timental, emotion stripped bare with power ance at the event. According to Alan Licht’s already in a movie, it’s beautiful.” (She’s refer-communicated through a quiet insistence on article, the MacLises can be seen dancing in ring to a more elaborately produced version changes and developments of such moment the Woodstock film, but it’s hard to identify of the song, still unreleased on record, that’s that they can only be suggested, evoked, drawn them conclusively. Hetty MacLise meanwhile used in Philippe Garrel’s 1969 film Le Lit De gently from the listener. The first two albums has a small, non-speaking role in the popu- La Vierge.) freak out, the latest one radiates, glows and lar film Alice’s Restaurant, released just after The same bare-bones approach goes for achieves an inner serenity.” He throws in one Woodstock on August 19. She can be seen the German-sung ‘Abschied Ode (Death/ last Dylan comparison at the story’s conclu-briefly during a snowy graveyard scene with Farewell),’ the title of which will be shorted sion: “The Velvet Underground produces a her arm around a young boy (actually her son, to ‘Abschied’ on the album. The Desertshore rock blend of sound and word that is both as Jason, by previous husband Tom McGee), and version benefits enormously from Cale’s viola; world weary as the life of a New York street again later on, wearing a large blue headscarf the harmonium/vocal demo, by comparison, hustler and as fresh as the dawning of the age and dancing ecstatically at a wedding. is skeletal. ‘You Are Beautiful (Afraid)’ will of Aquarius. [The LP] The Velvet Underground undergo an even more radical transforma—

is probably close kin to what Dylan might have Wednesday 20 tion, as well as having its title shorted simply created had he stayed in the city.” M RECORDING Nico details unknown. to ‘Afraid.’ The LP version’s beautiful piano

According to the liner notes to The Frozen and viola, both played by Cale, make it about

Thursday 14–Sunday 16 Borderline 1968–1970, Nico records a half-the only reasonably accessible song on the

Boston Tea Party, Boston, MA dozen demos today (all of which are included record. Here however it might be described For the fourth time in three months, Coun-on the anthology). Exactly where, when, and as just another harmonium/vocal workout, try Funk – later described by Steve Nelson as why these demos are made is as uncertain as albeit one that’s a bit less mournful in tone

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than most of Nico’s writing of the period. iff’s recent trashing of the group in the same “The Velvets sing of alienation, with a stark, Near the end of the demo version, she laughs paper, Frank Gruber’s piece in the September chiaroscurist imagery that had been found with embarrassment that it doesn’t matter that 4 edition of the Distant Drummer is one of the only in the novels of Burroughs and Trocchi she’s hit a wrong note, since this is “just a best reviews the Velvets ever get. “Combined and in the Theater Of Cruelty. Seldom have demo” – not realizing how many people will with a local group, PILT [Pleasure In Little the bleaker, more unsettling, and unsightly hear it, almost 40 years later. Things], the show was the most exciting rock aspects of big-city life been portrayed with ‘On The Desert Shore (All That Is My I’ve heard in Philadelphia,” he writes. Takiff such immediacy and impact … When [Reed] Own)’ is far less bombastic (but not better) singled out Maureen Tucker for particular asks us, finally, ‘How does it feel to be loved?’ here than on the Desertshore LP, where it is scorn, but for Gruber, “The method in the [in ‘Beginning To See The Light’], his words simply titled ‘All That Is My Own.’ It’s the Velvets’ madness is rhythm. Strong, clear, are addressed to the whole of humanity to the most interesting of these demos, however, as often overpowering. Or, just two sticks tapping exclusion of no one – including the junkies, it doesn’t feature the expected harmonium; the background for soft, ‘linger on blue eyes.’ deviants, and grotesques canonized by the instead, something that sounds like harpsi-But always there, then not there because it’s Velvets from their first album on.” chord (or possibly a clavichord) is played not an obvious Ginger Baker solo crap. Noth-with bittersweet dignity. This version is also ing intricate, just a standard rock bah-bah-bah Friday 5 noticeably shorter than the LP recording, accelerated occasionally on a pounding bass M RECORDING Record Plant Studios, 321 perhaps because Nico isn’t happy with it. It drum. Maureen Tucker is a percussionist, not West 44th Street, New York, NY. trails off with Nico telling someone (Cale, a drummer. The group is proud of the beat. After two-and-a-half months, the Velvet perhaps?), “I don’t think, um, this is, this is Strong rock ancestors are obvious.” The guys Underground return to the Record Plant quite … quite what I want,” before chuckling in the band aren’t neglected, either, with Gru-to work on … well, whatever the project is demurely. ber also praising how “Lou Reed and Sterling they’re working on, which no one quite While these demos are undeniably interest-Morrison share the few spectacular leads,” and seems to know or remember. Today’s session ing to Nico fans, they’re also instructive in Doug Yule “plays one of the finest basses I’ve is devoted to ‘Ride Into The Sun,’ which illustrating just how much John Cale added ever heard – highly rhythmic, always there, finds the group in about as beatific – and, to her music in its final recorded shape. but never obvious.” with the mid-tempo piano and drumming, Without his input in coloring and varying the At a late-night party after the Friday night almost Beatles-esque – a mood as they’ve ever arrangements, she might well have fallen into show, Reed and Yule tell Gruber that they’re reached. The worst that can be said about the a monotony that many listeners would have “totally disassociated with the ‘underground,’ song is that it’s on the slight side, and seems found irritating and too incessantly funereal – from FM radio to drugs. They don’t even like as though it might need a bit of a polish, a even those among the relatively small segment record albums … Reed says he can’t listen to few more words, and more of an edge. But of the public willing to give such uncommer-FM for long before he either falls asleep or it’s still an attractive, slightly melancholy, cial material a listen in the first place. As it is, gets sick … So The Velvet Underground is meditative tune, with a seductive glide and it will take quite a while for her third album moving into singles. The first will be ‘We’re pop harmonies on the chorus. It’s another to be recorded properly, by which time Nico Going To Have A Real Good Time Together,’ song jointly credited to Lou Reed, Sterling will have a new label and co-producer. a song consisting of pounding old rock’n’roll Morrison, Maureen Tucker, and John Cale, and those words repeated over and over. It’s even though Cale’s been out of the band for

Friday 22–Saturday 23 alive and great. It should make it, unless eve-about a year, with no record of them having Woodrose Ballroom, South Deerfield, ryone’s too cool.” played the song with him (or indeed at any MA The Velvets will indeed record the song on point prior to this session). The Velvets make another weekend trip up September 30, but it won’t even be released For such a relatively minor entry in the VU the Woodrose, with another unknown group, until 1986, let alone issued as a single. In fact, canon, ‘Ride Into The Sun’ has a pretty com-Flight, in support. the next VU single won’t appear until April plicated recording history, at least in terms of 1971, by which time Reed will have been out the multiple versions that will circulate over

Wednesday 27–Saturday 30 of the band for some time. the years. The version included on Another Second Fret, Philadelphia, PA View in 1986 is instrumental, as if it’s a backing The Second Fret is smaller than the Elec- track awaiting vocals, but two vocal versions

tric Factory, the other Philadelphia venue at (probably from the same session) emerge a September

which the Velvets have played on several occa- year later. There’s little difference between

sions, and is usually a folk club, but like many them, except for the presence of some piano

such establishments, it’s started to branch out doodling and coughing at the start of the sec-

into rock and other forms of music. It meas- ond version; the first is eventually included

ures only 18 by 80 feet, the audience sits in Undated September on the Australian three-disc set What Goes On wooden folding chairs, and the small stage is The Los Angeles-based Coast FM & Fine Arts in 1993. only a foot high. Maureen Tucker even has to magazine runs a five-page appreciation of The The Velvets aren’t done with the song yet, set up her drums at the front of the left part Velvet Underground this month, running however: they’ll record another demo of it, of the stage so that there’s enough room for through each of the group’s three albums in probably later in 1969, and a third during the band’s Sunn amps at the back. It doesn’t detail and quoting extensively from their lyr-the Loaded sessions in 1970. The song won’t sound like an ideal venue in which to see The ics. “Here is the music of the city, the music ever find a place on a Velvet Underground Velvet Underground play, but the band must of caged animals imprisoned by concrete studio album while Reed is still in the group, like the place, as they’ll be coming back for and steel,” writes James Michael Martin – the however, but will eventually join the list of more shows during the next year. same Ramblin’ Jim Martin who interviewed VU leftovers revived for Reed’s solo debut in Almost as if to make up for Jonathan Tak-Lou Reed for Open City in late October 1968. 1972.

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Thursday 11 They said that they didn’t consider it an insult, even – by comparison to the fiery live ver—

Detailed reviews of White Light/White Heat are that the crowd really liked our band.” sions. rare enough that each one is worth noting, The pace picks up eventually, suggesting

even if it appears about 18 months after the Tuesday 23 that the acceleration is deliberate. But without album’s release, as one does today in Good M RECORDING Record Plant Studios, 321 vocals, it makes for a pretty undistinguished Times. “Sometimes I would rather listen to West 44th Street, New York, NY. backing-track, and one that peters out pretty anything else in the world than The Velvet The fact that this is the first of four sessions lamely. That won’t stop it being included on Underground,” it says. “But every once in a the Velvets are to undertake in an eight-day the 1986 out-takes collection Another View, while they scratch me where I itch. Here’s period suggests a concerted push to finish an where John Cale is once again credited as co-what happens: they produce and channel a album (if indeed that’s what they’re working composer (with Reed, Morrison, and Tucker) torrential flow of energy, and seem to be able toward). Or it could just be that the Record despite the fact that there are no known live to sustain the rush for as long as they want to Plant is available on these days, and the Vel-versions from when he was still in the band. … I think [Lou Reed] is into something heavy, vets have time now to make use of the facility but I’m not sure what it is. I do know that he before setting off on what is, for them, an Tuesday 30 is capable of some really amazing, extended extensive fall tour. The song recorded today, M RECORDING Record Plant Studios, 321 guitar-solos, and sings a little bit like Mick ‘One Of These Days,’ continues their march West 44th Street, New York, NY. Jagger … toward relative normalcy, capturing them at Much of what The Velvet Underground

“The first copy of this record that I had was their most bluesy – there’s even a tinge of have recorded at the Record Plant in recent badly fucked up – the sound was all distorted country and mucho slide-guitar. months has been rather mellow by their stand-and several grooves seemed to be playing at These aren’t alien spices to the group; ards, but ‘We’re Gonna Have A Real Good the same time. But it took me two complete there’s a country-blues-folk flavor to some Time Together’ sets the record straight: this listenings before I realized that it wasn’t just of the demos they recorded way back in band can still rock, even on a song that sounds the band. That’s what The Velvet Under-July 1965. Lou Reed’s vocals even recall the like a throwaway filler designed to get live ground does to you, if you can dig it.” pseudo-yodeling of Hank Williams hits such audiences dancing. When the primal riff at

as ‘Lovesick Blues,’ which he might well have the song’s root is as good as this one, however,

Monday 15 absorbed when he was first hanging out with there’s nothing wrong with that.

Lewis Merenstein’s contract to produce “one John Cale and Tony Conrad in Ludlow Street, ‘We’re Gonna Have A Real Good Time LP album of John Cale’s performances” begins where Williams singles were often on the Together’ has a lean, buzzing edge missing today, indicating that preparations are now turntable. But Hank Williams never played a from virtually everything else the Velvets have seriously afoot for what is to become Cale’s bluesy rave-up like the extended instrumental recorded at the Record Plant, but is still but a solo debut, Vintage Violence, most of which will tag that ends ‘One Of These Days,’ even if sketch of the full-power throttle it reaches in be recorded in late October. it is fairly tame by the standards of the Vel-concert. But then it is the kind of goodtime

vets’ in-concert improvisations. Moderately groover that works best on stage, as Patti Smith

Saturday 20 enjoyable but hardly top-tier fare, the song will prove during the mid 70s when she opens

University Of Maryland Baltimore will join the growing shelf of unused studio her live shows with it. The best recording of it, County Campus, Catonsville, MA recordings, not gaining official release until however, is the one that will be captured on Perhaps the Velvets have been eager to disas-1985’s VU. tape later this fall and included on the 1974 sociate themselves from the kind of academic LP 1969 Velvet Underground Live. bookings they got during the early Andy Friday 26 As noted elsewhere, the Velvets have Warhol era, but it’s a little surprising that they Aerodrome, Schenectady, NY recently intimated that they intend to issue the haven’t played more college gigs since. It’s at One of The Velvet Underground’s most song as a single, but it won’t appear on 45 – or universities, after all, where the kind of young, obscure concerts takes place tonight at this in any format – until after the group’s split. bohemian intellectuals most likely to know club in upstate New York, as advertised in the This admirable but tame studio cut won’t see about the VU are probably to be found. The Troy Record. Although the modest-sized town of the light of day until it’s chosen as the leadoff Velvets do pay one such show tonight, how-Schenectady – about 15 miles from the state track for Another View, on which – unlike on ever, with support from The Fallen Angels, capital, Albany – is hardly a musical hotspot, the live LP – it’s given the odd title ‘We’re who made a couple of LPs for the Roulette the Aerodrome plays host to shows by many Gonna Have A Goodtime Together.’ (By then label during the late 60s. big-name acts of the period, including The Reed will also have issued a mutated version

In a 1999 issue of the Here ’Tis fanzine, Doors, Janis Joplin, and Led Zeppelin. of the song, as ‘Real Good Time Together,’ Fallen Angels vocalist and bassist Jack Bryant on his 1978 studio LP Street Hassle.) claims, “We opened for The Velvet Under- Saturday 27 ground in Baltimore and blew ’em off the M RECORDING Record Plant Studios, 321

stage. It was their turn to come on and I think West 44th Street, New York, NY. October we were a hard act to follow because of the ‘I’m Gonna Move Right In’ is, as heard on way our show was [paced]. It would build several live VU tapes, an acceptably rabble-and build and build. For a band coming on rousing concert filler, but not well developed after us, they were always finding it a hard enough to qualify as one of the group’s best place to start from. So, they got booed off original songs. Unfortunately, this six-and-a- Wednesday 1 the stage. People were asking for us to come half minute studio rendition is a bit of a wet M RECORDING Record Plant Studios, 321 back on stage. We weren’t gonna go on. That’s noodle. It lacks vocals, for one thing, suggest-West 44th Street, New York, NY. an insult to them, to do that. But finally The ing the recording is never finished properly, Of the 15 or so songs that would probably Velvet Underground asked us to go back on. but on top of that it’s more laconic – lethargic, be under consideration for the ‘missing’

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fourth Velvet Underground LP, ‘Lisa Says’ with a sleepily laidback arrangement, forced-is the very best, except perhaps for ‘Rock & sounding soul-rock singing, and female back-Roll.’ At least ‘Rock & Roll’ will be re-recorded ing-vocals.)

for Loaded: no VU recording of ‘Lisa Says’ will Whatever its flaws, this October 1969 be released until a live version is included on recording appears to bring the sessions for 1969 Velvet Underground Live; this studio ver-what might have been a fourth MGM LP to a sion won’t be issued until 1985. close. There are however a few other tracks

Why ‘Lisa Says’ is passed over will remain cut in the murky limbo period of late 1969/ something of a mystery. It’s certainly among early 1970 that might also have been intended Lou Reed’s finest (and sexiest) love songs, at one stage for this project. One is ‘Countess and one of the many compositions of his that From Hong Kong,’ identified only as having expose – contrary to his image as the ultimate been recorded in “late 1969” when it’s issued rock’n’roll animal – his tender, melodic side. on Peel Slowly And See. It’s a pretty marginal For someone who has so often passed himself mid-tempo love song picked out by the sur-off as the last word in cockiness, ‘Lisa Says’ is prise appearance of a very bluesy harmonica tinged with a surprising aura of self-doubt, as – the first appearance of the instrument since if the narrator is too shy to take up her dare the July 1965 Ludlow Street demos. It might for a kiss. With its a heartbreaking descending well have been written prior to 1969, since it chord-sequence and dramatic, moody bridge, bears a Reed/Cale songwriting credit. it’s one of Reed’s most underrated works. Harmonica also features on a late-1969

Like several other Reed ballads, ‘Lisa Says’ demo of ‘I Found A Reason,’ a song Reed follows the device of using a woman’s name started to write way back in his Syracuse days. followed by the word ‘says,’ both in the title The version on Loaded has a very doo-wop and as a lyrical hook. In that respect it’s part arrangement, but this earlier attempt tack-of an ongoing saga that also includes ‘Candy les the song in a brisk, country-blues style Says’ (from The Velvet Underground), ‘Steph-that’s about as Dylan-esque as anything since anie Says’ (recorded in February 1968 but not 1965’s ‘Prominent Men.’ Perhaps this is why released until the mid 80s), and both parts of the song will be reworked so drastically for ‘Caroline Says’ (as featured on Reed’s 1973 Loaded, but this version is still a pretty worthy solo LP, Berlin). While this original MGM alternate take, and one that would have been recording would have been legally irretriev-a strong contender for a fourth MGM VU LP. able for inclusion on Loaded, the song could It will eventually appear in 1997 on Atlantic have been redone from scratch (as was ‘Rock Records’ two-disc Loaded: Fully Loaded Edition. & Roll’) and become one of the album’s high-But if this really is a late-1969 recording, one lights. would expect it to remain the property of

That said, the Record Plant version of ‘Lisa Universal Music (which now administers the Says’ isn’t as good as it might have been. With Velvets’ MGM recordings), not Atlantic (to its prominent, tinkling piano, lethargic tempo, whom the Velvets sign in early 1970). and somewhat diffident vocal, it’s clearly infe-Yet another contender for the missing rior to the classic concert recording featured fourth album appears on the obscure bonus on 1969 Velvet Underground Live. It’s shorter, EP issued with some copies of the 1990 French too, lasting a mere three minutes despite the Polydor boxed set The Velvet Underground. inclusion of a bland, repetitious fadeout. (The This alternate demo of ‘Ride Into The Sun’ live version runs to six minutes.) There are is slightly longer and slower than the known also several key differences in the lyrics. The versions from September 5. Certain bootlegs live version benefits enormously from the also include an unreleased version of ‘We’re insertion of a jaunty and almost entirely dif-Gonna Have A Real Good Time Together’ ferent second bridge – in which Reed seems that’s slightly more raw than the September both to lament and celebrate his shyness – 30 cut included on Another View. that’s completely missing from the Record Finally, according to an interview Sterling Plant recording. Morrison will later conduct with Mix maga—

Furthermore, the bridge lyrics that do zine, there’s a late-1969 recording of ‘Sad lgren had them scored at Record Plant, but make it into the studio version sound clumsy Song’ that’s not the same as the one included he never had a chance to mix. If he had, and underdeveloped, with the wistful warning on Loaded: Fully Loaded Edition. Describing it as then we’d have crude acetate at least. There against a prowling “goodtime Charlie” having his favorite of the 1969 MGM out-takes, Mor-were too many overdubs, and that confused been deleted altogether. Reed’s vocal is also rison says, “Unfortunately it’s lost, and no one him. He couldn’t figure out which was the far more committed on the live LP, making has a copy, not even an acetate. We recorded real guitar part. Why I chose to do all those it yet another reason why the true VU fan it at Record Plant with Kellgren at the board. punch-ins is another question. I don’t know.” needs a copy of 1969 Velvet Underground Live. This was between our departure from MGM/ (Confusingly, Morrison will also claim, in a (Like several other songs from this period, Verve and our signing with Atlantic in April of November 1987 Creem interview, that he thinks ‘Lisa Says’ will be resurrected for Reed’s 1972 ’70. When we signed with Atlantic, we never a multi-track master of ‘Sad Song’ with no solo debut, albeit in a relatively dire rendition got the tapes we’d done in the interim. Kel-vocal exists somewhere.)

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OCTOBER 1969 n WHITE LIGHT/WHITE HEAT

What would a fourth MGM Velvet Under-of their performance saw the young, hip audi-friends over,” Lou Reed recalls in a January ground album have included, had the label ence scream with yells of pure pleasure. 1976 New Musical Express interview with Lenny released it? Four decades later, we can only “Lead singer Lew Reed has a voice that can Kaye. “It was insane.” guess, but the tracklisting might have been best be described as a mixture of Bob Dylan Insane it might be, but these turn out something like this: ‘Rock & Roll,’ ‘Ocean,’ and [African-American activist and Black Pan-to be among the Velvets’ most celebrated ‘Lisa Says,’ ‘One Of These Days,’ ‘She’s My ther] Rap Brown. Reed handles his guitar like shows, at least to committed fans of the Best Friend,’ ‘I Can’t Stand It,’ ‘We’re Gonna a machine gun. Drummer Maureen Tucker is group. Lengthy tapes made of two of the Have A Real Good Time Together,’ ‘Andy’s the best rock drummer this reviewer has seen performances are among the very best live Chest,’ ‘I Found A Reason,’ ‘Foggy Notion,’ … The music of The Velvet Underground is recordings of the group, in terms both of the ‘Ride Into The Sun,’ and ‘I’m Sticking With the kind of music that builds in its intensity, music played and the sound quality. Rumor You.’ It might not have been a record as good leaving the audience with such a feeling of has it that the person responsible works as as the first three VU LPs, but it would still having heard something that is worth listena recording engineer; certainly some of the have been a pretty good one, and perhaps ing to; you just can’t help but want more. songs sound good enough for official release even better than that, had the group later Every once in a while, a rock critic will see – and, in fact, some of them will be officially added some of their newer songs from the fall a group that he is really excited about. Vel-released when tracks from the October 19 of 1969, such as ‘New Age’ and ‘Sweet Jane,’ vet Underground is just such a group. He show are included on the 1974 double-album to the mix. As it transpires, however, by the wants to turn the whole Twin Cities area on 1969 Velvet Underground Live. The instruments time The Velvet Underground are given the to them.” and vocals all come through with acceptable green light for a new album release, they’ll be clarity on much of the October 19 tape; the

on a new label, Atlantic Records. Tuesday 14–Sunday 19 October 18 tape is less impressive, but still

End Of Cole Ave, Dallas, TX among the most listenable of such docu-

Friday 3–Saturday 4 This week’s shows are The Velvet Under-ments.

Woodrose Ballroom, South Deerfield, ground’s first ever concerts in Texas – or The 19 songs on the 100-minute October MA anywhere in the South, for that matter. This 18 tape offer a good sampling of the Velvets’ The Velvet Underground make the last of five six-night engagement apparently comes about 60s catalog. There are well-traveled classics 1969 appearances at the Woodrose Ballroom because the rich youngster who owns the club (‘Heroin,’ ‘Venus In Furs’), all but two of the this weekend, with support from the unknown is a fan of the Velvets. “If he liked a group, songs from the third LP, and some others not group Boonatoot. he’d bring them into the club and invite included on any of the group’s four studio

Wednesday 8–Saturday 11

Second Fret, Philadelphia, PA

The Velvets were so warmly received at the

Second Fret in August that they’re back, less

than two months later, with support once

again coming from local group PILT. These

will be the group’s final East Coast shows

before they set out on the most intense, widespread tour they ever undertake in the 60s.

Sunday 12

Minneapolis Labor Temple, Minneapolis,

MN

Whoever produces the advertisements for the Velvets’ only gig in Minneapolis seems

to be drawing on outdated information,

urging prospective concertgoers to “see

and hear these Verve Record artists present

their sounds and sights of the future” before dragging out the “three-ring psychosis” quote from The Velvet Underground & Nico. In any case, tonight’s show starts at 8pm, with tickets priced at $3.75 and support from local group Peper Fog.

Minneapolis seems like a long way to go for just one gig – particularly when the Velvets are due in Texas on Tuesday – but the trip is made worthwhile by a review by Walter Lide

in the following day’s Minneapolis Star. “Velvet Underground is outta sight,” he writes. “I got a rush just listening to them. Velvet Underground really turned the crowd on Sunday night at the Labor Temple. The last half hour

248 A bootleg single of late-1969 live recordings. John Cale is pictured on the jacket, but Doug Yule plays on the tracks.

WHITE LIGHT/WHITE HEAT n OCTOBER 1969

albums (‘Ocean,’ ‘I Can’t Stand It’). The tape tering of the Philadelphia Eagles earlier in It sounds almost as if the band have tried to also includes the first known live versions of the day: “It was 42 to seven by the half, it was rework ‘I’m Gonna Move Right In’ with more ‘I Found A Reason,’ ‘After Hours,’ and ‘It’s ridiculous. You should give other people just interesting lyrics; a faster and immeasurably Just Too Much,’ the last of which is never a little chance. In football, anyway.” (Contrary more dynamic version, recorded later in the attempted in the studio, as far as is known. to what some might expect, the Velvets are fall as part of a medley with ‘Sweet Bonnie ‘Femme Fatale’ and ‘Sunday Morning’ have big football fans, as Doug Yule confirms in Brown,’ features on 1969 Velvet Underground also made a welcome return to the Velvets’ his book 69 On The Road: Velvet Underground Live. live repertoire – probably for the first time Photographs, which includes a shot of Reed and Live versions of ‘One Of These Days’ and since the Nico era. And while there might be Tucker throwing a football back and forth. ‘I’m Sticking With You’ eventually turn up more versions of ‘Sister Ray’ floating around They watch New York Jets games on TV, and on the bonus EP included with some cop-than anyone but readers of this book would were actually present at the game between the ies of the 1990 French boxed set The Velvet want to hear, this is a particularly interesting Cowboys and the Eagles – the first live match Underground. The latter is accompanied by rendition, starting off at a creepy, discordant Yule ever attended.) guitar rather than piano, but is otherwise very crawl worthy of a horror film before speed-After the intro, we’re off to the races with much like the studio out-take (which nobody ing up and slowing down with the drama of a slow, bluesy arrangement of ‘I’m Waiting in the audience has yet heard in 1969). It also a mystery thriller. For The Man’ that eventually accelerates appears on What Goes On, as does yet another Unfortunately, the vocals on most of the back to the original’s train-churning rhythm October 19 recording, ‘After Hours.’ Mau-October 18 tracks are too faintly recorded for at the end. “When we played, the songs would reen Tucker will later note that the song is them to gain official release. For that reason, depend a lot on the energy of the place, what never performed until someone in Dallas the October 19 set makes for much better lis-the situation was, how we were feeling,” Yule specifically requests it. This isn’t the version tening, but the October 18 performance does tells Pat Thomas in 1995. “We’ve played ‘Wait-heard on What Goes On, since she also sang include a few songs not played the following ing For The Man’ as everything from a slow the song on October 18, totally confusing the night. These include ‘I Can’t Stand It’; the blues to [a song] so fast you couldn’t keep order of the lines in the last verse. But even if less frequently performed ‘That’s The Story up.” this is only the second ever performance of Of My Life,’ with rich background harmonies Three more songs from the October 19 the song, Tucker and her band-mates sound not heard on the studio version; a satisfyingly tape are included on 1969 Velvet Underground comfortable enough; Tucker even replicates creepy ‘Venus In Furs,’ complete with chilling, Live. These include a fine version of ‘Pale the studio version’s “one, two, three” opening. funeral-parlor organ by Doug Yule; and two Blue Eyes’ that sticks faithfully to the studio The burst of applause at the end is louder songs, ‘Candy Says’ and ‘Jesus,’ that might arrangement; ‘I’ll Be Your Mirror,’ sung with than at any other point on the tape, suggest-just be a little too quiet to come off as well as diffident modesty by an unfortunately faintly ing that Tucker has her own special following most of the group’s material on stage. (In his recorded Doug Yule; and ‘Femme Fatale,’ among VU audiences, much as Ringo Starr barely audible introduction to ‘Candy Says,’ sung by Reed, who gives the song a more did when he made his lead vocal cameo dur-Reed notes, “Our songs are all things other relaxed, amused treatment than did Nico ing American Beatles concerts. “The hardcore people have said to us.”) ‘I Found A Reason’ on the superior LP version. The wolf whistle fans loved it,” Tucker confirms in the fourth has yet to take on the doo-wop-like arrange-in one of the choruses is a great addition, issue of the What Goes On fanzine, “especially ment that will be heard on Loaded; as with the however, as is Reed’s spoken intro: “This after seeing me bash the drums with never late-1969 studio version, it sounds here like is a song called ‘Femme Fatale,’ which we a peep.” an unexpected throwback to the Dylan-esque, wrote about someone who was one, and has The October 19 tape also includes solid country-folk feel of the group’s July 1965 since been committed to an institution for versions of a number of songs represented demo tape, with a brisk rhythm and rare live being one, and will one day maybe open on 1969 Velvet Underground Live by some-harmonica. The highlight of the October 18 up a school to train others.” (A couple of what better recordings: ‘Beginning To See set is probably ‘Sunday Morning,’ here given months earlier, the real-life ‘Femme Fatale,’ The Light,’ ‘Heroin,’ ‘Ocean,’ ‘Some Kinda a slower, more knowingly earthy feel but still Edie Sedgwick, was admitted to the psychi-Love,’ and ‘What Goes On,’ the last of which retaining its folk-rock base with its languidly atric ward of Cottage Hospital in Santa Bar-is distinguished by some inventive, choppy strummed guitar. bara, California.) Reed’s memorable intro organ patterns played by Yule that are not Nothing from the October 18 tape will ever to ‘Some Kinda Love’ – in which he intro-heard on other versions. ‘I’m Set Free’ won’t be officially released, but about half the songs duces the band one by one, calling Yule “my make it onto the live LP in any form, but the from the 80-minute October 19 recording are brother Doug” – also makes it onto 1969 October 19 performance might have made issued in some form or other. The set opener, Velvet Underground Live. He then explains a good addition. It’s not remarkably differ-‘I’m Waiting For The Man,’ also opens 1969 that the song is “a dialogue between a guy ent from the studio arrangement, but Reed’s Velvet Underground Live, complete with the called Tom and a woman called Margarita, vocals simply glow with a heartfelt and almost celebrated spoken intro, where Reed asks and he’s just trying to drink her like tequila religious intensity. the audience whether anyone has curfew or and she doesn’t like being salt thrown over These tapes prove that, in late 1969, The school tomorrow. He offers to do one long set her shoulder.” (The actual performance of Velvet Underground are at the peak of their or two short ones; a lone audience member the song that follows is taken from a later powers as a live band. In-concert versions of yells for a long one. “Okay,” Reed says, “then San Francisco show.) many of their songs are at least a match for this is gonna go on for a while, so we should A few more songs from the October 19 their studio counterparts, and in some cases get used to each other. Settle back, pull up make lower-profile appearances on other offi-are inarguably better. Fortunately, quite a few your cushions, whatever else you have with cial releases. A bluesy, three-minute ‘It’s Just other shows will be taped for posterity this fall; you that makes life bearable in Texas.” Too Much’ is included first on the Australian fittingly, the Velvets’ best phase as a live act Reed then gently chides the local football What Goes On set and then on Peel Slowly And is also the one most heavily documented by team, the Dallas Cowboys, for their slaugh- See, where it’s incorrectly dated October 28. concert recordings.

249

OCTOBER 1969 n WHITE LIGHT/WHITE HEAT

, Mid October Wednesday 15 a performer was probably way beyond what

M RECORDING details unknown, Dallas, On the second day of The Velvet Under-most people expected. I don’t think there TX. ground’s stay in Dallas, millions of Ameri-were too many people who had listened to

At some point around now a few VU jams cans take to the street for the Moratorium To the albums and expected that level of profes-are recorded, perhaps by the same fellow who End The War In Vietnam. Back in New York sionalism live. During one song – I’m sure it recorded their October 18 and 19 shows, and City, old VU associate Tony Conrad points a was ‘Pale Blue Eyes’ – the PA let out a little perhaps at soundchecks or after the group has microphone toward the window of his fifth-bit of feedback. It happened once, and then finished performing at the End Of Cole Ave floor loft overlooking Bryant Park, where a about a minute later it happened again, and club. This at least is what later bootlegs would rally is taking place as part of the nationwide then he stopped playing. He motioned for have you believe, as these performances are protest. He points another mic toward a tel-the band to stop and said, ‘Now look. These often included as bonus tracks after the con-evision broadcasting local coverage of the people paid their three dollars to hear this cert recordings. (There’s certainly no audi-Moratorium events. The resulting 51-minute right, and so they’re gonna hear it right. So ence present, which is why these recordings tape, ‘The Media And Reality: It’s Hard To get it fixed! Take your time, we’ve got all are not discussed above, with the End Of Cole Attend Both,’ will eventually be issued on CD night, we’re not in a hurry. We don’t get up Ave shows.) by Table Of The Elements in 2005 as Bryant early, we don’t have any place to be in the

Exactly who is playing on these tapes is Park Moratorium Rally (1969). morning. Just get that fixed,’ or something to unclear; it’s possible that some of the musi- that effect. I recall the guy that was working

cians might be from outside the group. Thursday 23–Saturday 25 the PA running around like crazy, scrambling Whatever the source or line-up, it’s certainly Vulcan Gas Company, Austin, TX around, looking kind of embarrassed and Lou Reed singing on this acoustic version As the most liberal city in Texas, and one uptight. I’d never seen anyone who played of ‘Lisa Says,’ although he’s helped out by a that has produced a steady stream of folk there insist on being such a pro. But he was bunch of other singers (and, near the end, and rock acts throughout the 60s, Austin very friendly and humble toward the audi-clapping hands) on the chorus. Sadly, Reed’s is a natural second stop for the Velvets on ence, for the most part; Lou seemed to relate voice is so muffled that at times it’s hard to their maiden Texan tour. According to Billy to the crowd like they were in on something, hear what he’s singing, but many of the words Angel, a young Austin musician who will in on it with him.” are definitely different to what’s sung on the go on to play autoharp in local psychedelic In a conscious effort to avoid hippie-rock other live and studio versions in circulation, group Cold Sun and with Roky Erickson clichés, Reed also reportedly tells a member making one wonder whether this version & The Aliens (led by the former leader of of the venue’s staff, Tyler Jansen, that he might actually predate the October 1 studio The 13th Floor Elevators), the Velvets have “specifically did not want an oil-and-water recording. a more extensive following in Austin than light show happening. One of the directives

‘Lisa Says’ is followed by an acoustic ver-they might previously have realized. “There about the light show was, no squiggly mov-sion of ‘Rock & Roll’ that again has the kind was a time, a couple of years prior to that, ing stuff,” Angel adds. “But they did have a of informal charm common to behind-the- [when every] home you would visit [would] light show, and they had decent lights.” Reed scenes snapshots of artists caught unawares. have two or three albums on the coffee is not much of fan of Jim Franklin’s poster Curiously, it’s played with a rhythm and chord table,” he recalls. “The [13th Floor] Eleva-art – supposed to represent an underground, progression different to the more famous tors’ album, the Velvet Underground album velvet-lined coffin – either. Angel remembers recordings of the song; at times it sounds with the banana, and maybe one or two other him asking the artist, “Why such gruesome blatantly influenced by The Rolling Stones’ albums; The Fugs is another one.” subject matter?” to which Franklin replies, ‘Sympathy For The Devil.’ This once again Angel attends all three Austin shows, and “I don’t know. Why do you write songs about raises the question of whether this recording recalls that “it just seemed like all the coolest smack?” Angel adds that Franklin would predates not just the Dallas gigs but even the people suddenly had come out of the wood-later call the Velvets’ shows “the highlight of studio recording of the song made on June work. I’d never seen that many of the coolest the entire Vulcan Gas Company existence. I 19. The woman who tentatively sings along of the cool all together in one place in Aus-would agree with that.” with Reed must be Maureen Tucker, whom tin … people that probably wouldn’t go to “The amazing thing to me was that Nico someone (probably Reed) calls out for at the any kind of rock show, who weren’t into rock was not there, and John Cale was not there, start: “I need Maureen. Maureen’s my main-music at all, that were like filmmakers and and yet they sounded really like The Velvet stay.” Since neither of these songs is included future filmmakers – just the hippest of the Underground,” notes Gregg Barrios, the Aus-on either of the two tapes made at the Velvets’ hip.” tin writer and filmmaker who in 1967 wrote Dallas shows, it’s possible that Reed is still in The Velvets apparently play just about one of the first reviews of a VU record. “Doug the process of working up satisfactory live every song they’ve ever released and then Yule did the Nico songs with such panache. arrangements. some. “Every time someone would yell out a He found that feminine side in him and did

Less interesting than either of these songs request,” Angel recalls, “[Reed] announced, them just really wonderful. He didn’t try to are the noisy, interminable, and almost tune- ‘We’re gonna play it all.’” (When Angel then make [a Nico-sung tune such as ‘I’ll Be Your less improvised pieces entitled ‘Blue Velvet asks Reed if they’ll play ‘Sister Ray,’ Reed Mirror’] his own, but to just make it what it Jazz Jam,’ which goes on for a half-hour, and replies, “I said, all of it!”) Getting into the was, a Velvets song. I think Lou Reed would ‘End Cole Ave Jazz Jam,’ which clocks in at cow-town spirit, the Velvets’ frontman wears a have been very upset if he had tried to take 16 minutes and is based around rudimentary, straw cowboy hat for the third and final show; the thunder away from him, because Lou is Rolling Stones-esque riffs. Both are played otherwise, Angel says, “he wore the same out-that kind of guy. I think too often people for-with drums and full electric accompaniment; fit all three nights – blue bell bottoms, and get that [Yule] was there, because he was so both would also have been better left on the maybe a shirt with horizontal stripes. It looked much a part of the group. Tell him that one of shelf. kind of like a sailor’s outfit in a way.” his fans in Austin still remembers the dignity

As far as Angel is concerned, “Lou Reed as that he brought to the band.”

250

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OCTOBER 1969 n WHITE LIGHT/WHITE HEAT

Billy Angel agrees. “Doug Yule could ‘I kind of like Austin. I kind of would like to ness through a realization of evil, and back have done a lot of things that were wrong, move somewhere so I can finish my educa-to decadence.” (To be fair, any such concept and didn’t,” he says. “He stuck to the bare tion.’ I assumed he was just talking. I didn’t is so subtle as to be subliminal, although Reed minimum, and it was fine, it worked. It was a think he was serious.” But he was: Sterling has intimated that the songs are sequenced to minimal version of the sort of stuff Cale had will begin graduate work in Austin in 1971, create a sequential dialogue of sorts between done, sort of a simulation, and he didn’t take when he starts teaching at the University Of characters.) it far enough to take any chances with it. Any-Texas. “It’s beginning to look as if The Velvet body else probably would have, and would In his 1986 interview with Ignacio Julia, Underground will never make it, commer-have probably loused it up, and he didn’t. Morrison mentions some “terrific recordings” cially,” Williams concludes, accurately. “Nev-He did it real well. And his singing, his stage of one of the Austin shows. No such record-ertheless, groups like them do the spadework presence, was really great. He seemed smart ings have come to light in the years since, which enables less talented musicians to enough to leave well enough alone musically, however, so he might perhaps have meant the progress. It’s just a shame that nobody lis-and a lot of people, especially at that time, just Dallas tapes. If any Austin recordings are ever tens.” wouldn’t have done that. They were lucky to discovered, they might include the 45-minute Looking back on his review today, Williams have him, they really were.” version of ‘Sister Ray’ mentioned in Stephanie – now the chief sports writer for the Guardian, As for the overall reaction from the Aus-Chernikowski’s article for the July/August and a former editor of Melody Maker – notes, tin audience, Barrios adds, the Velvets “were 1980 issue of New York Rocker. “Even by that time I’d never had any sort very well received. They did a lot of songs Meanwhile, it’s possible that the Velvets also of conversation with anyone about the VU. that ultimately never came out on [Loaded]. play at an outdoor festival in Texas at some They were a solitary enthusiasm (as they must When Maureen did ‘Ocean’ with the cymbals point during October. As Doug Yule recalls, have been for others at the time). So the idea to evoke waves, that was something I had not the outdoor shots by road manager Hans that the album might have been some sort heard come from them. They were talking Onsager included in 69 On The Road: Velvet of suite, or narrative song-cycle, occurred to about religion [in] ‘Jesus.’ There was almost Underground Photographs were likely taken at me in complete isolation. I have no idea at all a kind of nostalgia that seemed to be creep-just such an event in the state, possibly on a whether Lou ever read the piece.” ing into this, as if that era that had produced college campus. Even more intriguing is the “The Velvets were not at all well known them had moved on.” fact that the pictures show what Yule confirms in the UK back then,” adds Dick Pountain, At some point during the Velvets’ Austin to be “an independent filmmaker wandering another British writer who will go on to report trip, Barrios interviews Sterling Morrison; around, making films of the whole thing. I on the group’s stint at Max’s Kansas City in the lengthy Q&A – with some brief interjec-think someone has tried [to track him down], 1970 after working there as a busboy. “I was tions by Doug Yule – eventually appears in and been unsuccessful.” hanging out with a bunch of avant-gardists, the March 6 1970 issue of Fusion. Morrison doing a lot of drugs, and we bought the first admits he still hasn’t heard The Stooges’ Saturday 25 album (it wasn’t ‘the banana album’ in the UK debut LP, but cites The Byrds, The Kinks, Over in the UK, Richard Williams heaps as it had a different sleeve). Their first three and “Dr John’s first album” as favorites; Yule praise upon The Velvet Underground’s oeu-albums became our soundtrack for the next praises Taj Mahal, The Rolling Stones, and vre in an article for Melody Maker that stands few years. I think the Velvets were regarded, Creedence Clearwater Revival. Morrison as the most positive and detailed critique of by the few hippies who did hear the albums then puts down Frank Zappa and The Moth-the group to appear in the British press dur-then, as a bit of a downer, man …” ers Of Invention at some length, and makes ing the 60s. “The Velvet Underground have clear how he feels about suggestions that made just three albums, none of which have Monday 27 and the Velvets are similar in any way to another sold particularly well in Britain,” he writes. Wednesday 29 pre-punk band of sorts: the MC5. “That’s a “But that trio of albums constitutes a body M RECORDING JohN caLe exact location comparison that would drive me to an early of work which is easily as impressive as any unknown, New York, NY. Producers John Cale retirement,” he says. in rock. If you doubt that statement, then and Lewis Merenstein.

Asked if he’s happy with how things are it’s unlikely that you’ve listened hard to the Five months after the sessions for his Church going with the Velvets, Morrison admits, albums, because they yield up their treasure Of Anthrax seemed to fall into limbo, John “I’d like to see us have a hit single. It’s really only to a listener who is prepared to treat Cale records his first proper solo album, Vin-important that you do that. Our singles so far them with respect and intelligence.” tage Violence. He wrote all of the songs over the are a joke … Most of our singles were never Williams then tries to make amends for summer and co-produces these sessions him-distributed. However, where they appeared another Melody Maker journalist’s review self alongside Lewis Merenstein, most famous on jukeboxes, people have really liked them.” of the third LP, which he says “dismissed it for his work on Van Morrison’s 1968 LP Astral He might be alluding to the backlog of mate-with a contemptuous: ‘Not sensational, but Weeks. Even by late 60s standards, Vintage Vio-rial cut in recent months at the Record Plant interesting with the group now into the gen- lence is finished remarkably quickly: virtually when he adds, “We have all sorts of strange tleness and beauty bit.’ Nothing could be fur-everything is recorded in two days, according things lying around in the can, as they say. ther from the truth. The songs were, in the to the surviving session sheets, save for a bit We record them and get tired of them before main, quieter and more restrained, but the of additional work in November. they’re released. It happens many times. We old cruelty was still there, manifesting itself Since just about every other recording Cale get demos and we play the demos and get in the overall mood and many of the words – has made outside The Velvet Underground tired of them.” if anybody bothered to listen to them.” He’s is decidedly avant-garde – sometimes pain— Years later, Barrios recalls, “I had a great also surprised that no one has realized that fully so – one might expect his official solo time with Lou, but he didn’t want to do the “the whole album was a continuous suite, debut to be in a similar vein. And yet Cale, interview. He said, ‘Let Sterling speak.’ Ster-although not billed as such. It traced the like Lou Reed and Nico, tends not to do what ling and I went and had tacos, and he said, progress of a girl, Candy, from permissive-listeners might expect. When Vintage Violence

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is released in 1970, it will be a shock: not Garland and hearing [the band], he felt very it went with the chord chart, and John sang because of the radical nature of its sounds, comfortable with it. And I didn’t feel uncom-a little maybe one or two times, but I don’t but because it contains virtually no radical-fortable, because it was different enough from remember hearing a master vocal. We were ism at all, and is instead a relatively conven-The Velvet Underground that it could be rec-kind of directed through it by him.” tional singer-songwriter LP. It’s more normal, ognized as John Cale rather than The Velvet Vintage Violence might have been conceived in fact, than anything The Velvet Under-Underground, which is what I wanted too. and recorded quickly, and sound less unusual ground have recorded, or for that matter It’s no different than Van [Morrison] doing than anything by The Velvet Underground, any of the records Cale has made with Nico, ‘Brown Eyed Girl,’ and then Astral Weeks.” but it’s still good in its own low-key way. ‘Hello, The Stooges, or Terry Riley, and is certainly In the liner notes to the 2001 CD reissue There’ gets comparisons to The Band going more accessible and less jarring than any of of Vintage Violence, Cale calls it “a very naive immediately, although Cale’s roots-rock is those albums. record. Those songs were written immediately invested with a decidedly British, quirky

Instead of taking his cues from his own prior to recording them. I tried to imitate my humor. ‘Gideon’s Bible’ has a very attractive, experimental past, Cale has instead plugged favorite songwriters of the times, The Bee rolling lilt, nifty, plangent guitar-work, and into the earthy roots-rock of The Band, who Gees or whatever. I was out to discover the some rather Beach Boys-esque harmonies, by late 1969 are among the most influential world of pop songwriting and I thought tunes but the lyrics are more poetic and abstract groups in the music business. There are also were the answer. I taught the band the songs than anything The Beach Boys sang during elements of country-rock, folk-rock, and the in one day and recorded them the next, so the 60s. introspective singer-songwriting now gaining we were finished in three days.” ‘Adelaide’ contains almost enough hooks currency in the pop LP market. Cale sings in a In his autobiography, Cale takes an even to be a pop hit, with a lightly funky yet jaunty, gentle and attractive – if somewhat restrained more modest view of the experience. “Vin- goodtime bounce. Cale then gets to con-– voice, backed by the band Grinder’s Switch, tage Violence was basically an exercise to see if duct and arrange the string-laden ‘Big White who will shortly release their own Merenstein-I could write tunes,” he writes. “There’s not Cloud,’ which sounds a little like The Band produced debut on Vanguard. (Coinciden-too much originality on that album, it’s just as produced by Phil Spector. The buoyant, tally, Grinder’s Switch singer-songwriter someone teaching himself to do something bubblegum-inflected ‘Cleo’ – complete with Garland Jeffreys went to Syracuse University … I thought the songs were simplistic. We chirpy female backing-vocals – is testament around the same time as Lou Reed.) were writing stuff that was very oriented to not just to Cale’s eclecticism but also to how

Playing bass on some of the record – per-what The Band were doing, as the musicians quickly he has taken to the pop-rock form, haps to fill in for the multi-tasking, multion the album shared that same upstate New despite his subsequent protests about learn-instrumentalist Cale – is Harvey Brooks, York country sensibility.” ing on the job. who has played in The Electric Flag and on According to Merenstein, the lyrics reflect The country-rock influence is promi-numerous folk-rock records, including some to some degree the way Cale spoke, “in very nent on ‘Please,’ but once again there’s a of Bob Dylan’s mid-60s tracks. He thinks he sophisticated, educated language. It wasn’t sense of across-the-Atlantic whimsy missing probably got the job via Grinder’s Switch layman language, or ‘pop’ language. It was from most American roots-rock of the era. drummer Sandy Konikoff, who has also played very thoughtful, poetic language. He also There’s a Dylan-esque feel to the less impres-with Dylan. spoke in a lot of ways that he wrote. It wasn’t sive ‘Charlemagne,’ but the song does reveal

“Circumstances played a great role in why uneducated or street language, and not easily a keen observational eye. ‘Bring It On Up’ John recorded with Garland and the nature discerned by the average person, [who] really is too derivative of The Band’s good-natured of how the music turned out,” says Meren-had to listen to it. I think he was learning how hoedowns to stand out, but the folk ballad stein, who previously saw Cale play with the to do it, [and] struggling somewhat with it. It ‘Amsterdam’ has a more personal, pleasantly Velvets on several occasions and is a good was challenging to him.” haunting vibe. Garland Jeffreys contributes friend of former VU producer Tom Wilson. As for the speed with which the recordings the bar-band rocker ‘Fairweather Friend’ (a “I’d just signed Garland to produce him, are completed, Merenstein says, “They were similar alternate version of which is included and we were putting together a band. I don’t basically very simple. They had rehearsed the on the 2001 CD), but all of the other songs remember the circumstances, but we all got tunes, and the structure wasn’t complicated. were composed by Cale. together and met in Woodstock. [Cale] liked John was not a vocalist that needed 25 takes Vintage Violence might lack VU-style weird-the band, and everybody got along. John was to get the right sound in his voice. We might ness, but that’s not to say there’s no weirdness obviously seeking more of his own personal-have done things over, overdubbed some at all. With its appropriately spooky melody ity, [apart from] The Velvet Underground elements; I’m sure we did. Garland’s band and macabre images of skin turning grey, a sound and personality that he had doing that; were really good musicians, so we were all woman buying a new stomach, and further John was trying to re-identify himself as John very professional about it. It was very refresh-general unease, ‘Ghost Story’ is probably Cale. It was convenient for everybody, and ing, I think, for John, [and] very refreshing closer to what might be expected of Cale’s we all enjoyed it. [John] McClure okayed me for Garland; it was Garland’s first shot at debut. It’s also the highlight of the record, doing it because he saw how I worked with something with a ‘major’ artist prior to the and its conclusion – where a dark, cabaret-Van [Morrison]. release of his album on Vanguard. So there like melody swirls and distorts before cutting

“Garland was putting together something was a lot of good spirit happening; we had off as suddenly as if a razor blade has hacked that might have been reminiscent of The a lot of fun.” right through the tape – is the album’s only Band,” Merenstein continues. “[Keyboard-As Harvey Brooks recalls, “I have a feeling genuinely disquieting passage. ist] Stan [Szelest] was with The Band when it that what was on his mind was that this was The previously unreleased ‘Wall’ (included first started. Then you add John, with his lyr-his first solo album; bringing in the differ-on the 2001 reissue) is closer still to what ics and his sound, to it, you get a very unique ent personalities gave him another palette to informed onlookers might be expecting of a combination. I had other ideas in my mind to work with. I really didn’t know what the whole Cale debut – particularly those familiar with talk to John about. But after the meeting with songs were in totality. We had an idea how his home-taping experiments of the period

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– as it’s an instrumental complete with repeti-Cale’s Vintage Violence LP, along with what is but none is quite so good or well-recorded. ‘I tious, droning viola. It’s much better recorded described on the session sheet as “additional Can’t Stand It’ has more of a stiff, pounding than – but nowhere near as far out as – the work” on ‘Cleo.’ hard-rock rhythm here than it did when it first material issued on Cale’s 2004 boxed set New entered the group’s repertoire, and boasts York In The 1960s, but still couldn’t have sat Friday 7–Sunday 9 some impressively strangled lead-guitar, as comfortably with the rest of Vintage Violence. Family Dog, San Francisco, CA well as a closing refrain that seems to borrow (Merenstein doesn’t remember the song, and The Velvet Underground’s relationship with a little from the outro to ‘Rock & Roll.’ ‘Foggy it’s not listed on Columbia’s session sheets for San Francisco might have gotten off to a rocky Notion’ is shorter and faster than usual; ‘It’s this or any other Cale album, so it’s possible start in May 1966, but for nearly a month this Just Too Much’ is still slow and bluesy, and still that ‘Wall’ is not recorded on either of these fall, the city becomes a kind of second home being played separately from ‘Sweet Bonnie dates in October 1969.) to the band. The first of numerous San Fran-Brown’; and Maureen Tucker gets a special All in all, the Vintage Violence material is cisco engagements the group will play dur-spot for both ‘After Hours’ and ‘I’m Sticking admirable, and not just for the quality of the ing November and December takes place at With You.’ (The guys in the band add a few music. It’s impressive too for the courage it a former ice-rink just across the highway from responsive vocals to the start of ‘I’m Sticking takes for Cale to attempt something not at all the Pacific Ocean, with support from Danny With You,’ making it all the more cutesy an like The Velvet Underground, and his ability Cox, Maximum Speed, and John Adams. anomaly.) There’s also one song recorded at to pull something of the sort off. One similar-Robert Quine, the law student and guitarist the November 9 show on The Quine Tapes: a ity it does share with the first VU LP, however, who taped the Velvets in St Louis on May 11, version of ‘Sunday Morning,’ sung engagingly is that it too will be afflicted by an unreason-has since moved to San Francisco, and will by Reed with a bit of background-vocal assist-ably long delay before it’s finally released in record most of the shows the band play in ance during the chorus. the spring of 1970. the city over the next few weeks. “They started A review of the November 8 show by Aral out with three nights at the Family Dog, a Sezen – about as detailed an account as you’ll

Wednesday 29–Sunday 2 large Fillmore-type space,” he writes in his ever read of a VU concert, even if it mistak-Whisky A Go Go, Los Angeles, CA liner notes to The Velvet Underground Bootleg enly lists the concert as taking place at the Almost exactly a year after their first gig at the Series Vol. 1: The Quine Tapes. “The audience Avalon in October – later appears in the fifth Whisky, the Velvets are back, sharing the bill was large but fairly indifferent. A number of issue of What Goes On. In Sezen’s recollection, this time with Canadian band The Collectors. hippies brought tambourines and harmonicas some of the more unusual parts of the set not In the audience is VU devotee and fast-rising to ‘do their thing’ with the group. But the included on The Quine Tapes include ‘Candy rock critic Lester Bangs. In the March 1975 sound was great for recording – the band was Says,’ ‘I’m Set Free,’ a medley of ‘Rock & Roll’ issue of Creem he recalls, with some amuse-able to play really loud.” and ‘Foggy Notion,’ and a snatch of ‘The ment, finding Lou Reed “in the dressing room No tambourine or harmonica is audible on Murder Mystery’ that segues into a version of drinking honey from a jar and talking a mile a the two Bootleg Series songs that Quine captures ‘Ocean’ with three choruses. “The beginning minute, about all the ‘energy in the streets of on November 7. ‘Femme Fatale’ is pretty close choruses were astounding in the combined New York,’ and lecturing me about the evils of to the 1969 Velvet Underground Live version, power of drumming-speeded guitar-flailing,” drugs.” (Both Bangs and Reed will take more although Reed’s vocal is a little more jokey. he writes. “I remember the ending, the last than their share of substances over the next At the start of the song he confirms its inspira-set of choruses as being stunning, with both few years, however.) tion: “Andy said, why don’t you write a song Lou and Sterl doing scissor-kick leaps in the The Velvets are picked up at the airport by about Edie? So we did … Edie’s a Superstar. air while playing their guitars.” Susan Pile, who has settled in Los Angeles for Was a Superstar.” The set also includes a couple of previously good. She takes them to the legendary Sunset The other song is a 24-minute ‘Sister Ray’ undocumented songs. ‘Cool It Down,’ a sly, Strip rock’n’roll hotel the Chateau Marmont, that begins about as slowly and languidly as slithery mid-tempo number later included on where the Velvets take two bungalows; Mau-any version committed to tape, with Reed Loaded, is introduced as a song the group used reen Tucker, Pile recalls, “used to like toss-more hipster-narrator than singer, but it to do four or five years ago, but no earlier ver-ing eggs into the swimming pool.” Feeling reaches a predictably locomotive speed by sions exist. The Velvets finish off with ‘Lonely bad that the group doesn’t have any music the five-minute mark. When the song slows Saturday Night.’ No VU recordings exist of the to listen to, Pile takes her portable record down again, it’s punctuated by a monstrously song, but it will later form the basis of ‘Good-player over to the hotel, where she and the fuzzy blast of guitar. Hearing the audience’s night Ladies’ on Reed’s 1972 LP Transformer. band listen to the new Kinks LP, Arthur, as enthusiastic response, Reed asks, “You want it “I couldn’t believe that they would actually well as acetates of some of their own recent again?” before promising to do it three times. sing goodnight to the people, but then they recordings. When Reed lets loose again, some wiseacre in did a lot of things that night that I wouldn’t the room shouts, “Wow, that was even better have believed, things that turned me from a

than the last time!” fan into a true devotee,” Sezen continues. “I

November Eight songs from the November 8 show are saw [support act Danny Cox] go up to Sterl

included on The Quine Tapes, amounting to to shake his hand, and Sterling was actually

more than 40 minutes of music, and almost a smiling, taking it all in.” full album in itself. ‘I’m Waiting For The Man’ Sezen also recalls Maureen Tucker bring-is introduced as being “about the adventures ing out a tool kit at one point to nail down a Wednesday 5, Friday 7, of a New York City boy who’s going uptown foot pedal mid-song after one of her mallets and Wednesday 12 to get something he didn’t have downtown.” breaks during ‘Beginning To See The Light,’

M RECORDING JohN caLe details unknown. It’s fairly close to the 1969 Velvet Underground and Reed introducing ‘I’ll Be Your Mirror’ as Some editing and splicing is done on ‘Please,’ Live version, as are the subsequent renditions a “song about the United States Of America.” one of the tracks recorded last month for of ‘Some Kinda Love’ and ‘What Goes On,’ He then responds to a request for ‘Heroin’ by

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Maureen Tucker and Lou Reed on stage at the Matrix in San Francisco, fall 1969. 255

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ALSO …

At some point in November, at either the Family Dog or the Matrix, Robert Quine tapes

seven songs at a VU rehearsal that will eventually leak into unofficial circulation. These include a slow, hesitant version of ‘Sweet Jane’; a stomping, spirited ‘I Can’t Stand It’; a straightforward ‘Some Kinda Love’; and a

version of ‘Lisa Says’ that sounds similar to the one heard on 1969 Velvet Underground Live but breaks down after two-and-a-half minutes.

There are also two passes through the raunchy ‘Sweet Bonnie Brown.’ The first is more tentative than the 1969 Velvet Underground Live version, with some delicate guitar-interplay during one of the instrumental breaks and

some ‘Suzy Q’-like vocal improvisations at the end. The second is far more hesitant, and

stops altogether at various points, sounding

much more obviously like a rehearsal take.

‘It’s All Too Much’ starts off in a slow, bluesy mood but picks up the pace after a few dramatic, door-shutting slams of power-chords and percussion, as if the band is impatient to kick the song into a higher gear (as they will on the more frenetic 1969 Velvet Underground Live version). Reed’s deadpan aside to Morrison at the start of the instrumental break – “Rock on, Sterl,” reminiscent of Ringo Starr’s cry of “Rock on George, one time for me” in

The Beatles’ ‘Honey Don’t’ – is probably the

highlight of the whole batch.

The quality of these recordings is both fairly good and fairly similar to the material eventually issued on The Quine Tapes. In fact, since little audience noise can be heard on many of the genuinely live tracks from November– December 1969, it seems entirely possible that these might be actual live performances, not

saying, “Not if you keep asking. We do things amp, legs pumping like pistons up and down rehearsals. in order.” (Reed might well be tiring of per-with furious speed, as if he was humping the Light applause can certainly be heard at forming this notorious classic. According to speaker. He was playing the guitar wildly at the end of ‘It’s All Too Much,’ casting fur-Greg Pennell, “A girlfriend of mine back in the same time … He swung around and began ther doubt as to whether all of these are really art college in the late 60s said she’d been to dancing bizarrely while running his hand up rehearsal/soundcheck recordings, but that’s see them in Boston or thereabouts and Lou and down the neck of the guitar. He would how they’re identified on the bootleg. (As Reed walked on stage, flipped the bird at the swing the guitar over his shoulder through his Doug Yule notes, “I vaguely recall rehearsing audience, and said, ‘That’s for anyone who legs and playing licks straight out of ‘I Heard while people trickled in, or maybe friends thinks we’re gonna play “Heroin.”’ As Doug Her Call My Name.’ of staff, something like that. Rehearsals and Yule notes, “He’d been playing that song since “In this inferno of movement, he would sound checks can turn into performance ’65 or something like that, I think it was kind start to do a run straight into the audience, pretty quickly if people clap.”) of a gut-wrenching song for him … When you right in my direction, then he would stop, play something every night, even if it’s the bug his eyes out insanely for a moment of , Tuesday 11–Monday 17 best song in the world, it starts to get old. psycho-suspended animation, then turn to Matrix, San Francisco, CA And that song takes a lot of energy; it’s loud, face Maureen on his right and start to bring For most of the next three weeks, The Velvet and it gets very fast. Yeah, I could see that he his guitar down on her head. He would sud-Underground are due to play a residency at would say, ‘I’m not in the mood, fuck you denly crumple, face the amp and begin this the Matrix, one of San Francisco’s top clubs. people.’”) again … it is the most fantastic piece of show-The venue might not be as big a space as In his What Goes On article, Sezen seems manship I have ever seen.” (An uncaptioned, the Fillmore or the Avalon, but it’s here that particularly impressed by Reed’s acrobatics shadowy picture that appears under the weird Jefferson Airplane played their first shows during ‘I Can’t Stand It.’ “Lou suddenly spun headline ‘Velvet For Dog’ in the Berkeley Tribe in late 1965, and that numerous other top around and was in a squatting position facing might well have been taken at one of these bands have played on their way up in the the amp,” he writes. “He then did a run to the gigs.) years since, including The Doors and Big 256 Sterling Morrison and Doug Yule on stage at the Matrix in San Francisco, fall 1969.

WHITE LIGHT/WHITE HEAT n NOVEMBER 1969

Brother & The Holding Company. Support style which I have heard they display more cific concerts at which they were recorded, comes from Danny Cox, an obscure African-regularly under looser circumstances than an as is the practice throughout the rest of this American folk-rock-soul singer whose albums ultra-hot club stage provides.” book). Documentation about when, why, include a live disc recorded at the Family Dog “We’d do two sets a night,” Doug Yule and how they were recorded is distressingly (where he also played with the Velvets earlier recalls, “and before the second set, somebody skimpy, particularly given that these songs this month). was in the back, and they had a joint they’d form the heart of 1969 Velvet Underground

Exactly when this first run of Matrix shows pass around. I never took a hit on a joint by Live. In his brief blurb on the back jacket, starts and ends isn’t clear, but it must last myself alone. If Lou took a hit, I took a hit, Paul Nelson, who compiled the LP, says only about a week and begin on November 12 at ’cause I didn’t want to be stoned when he that the material was recorded live in Texas the latest, since a review appears in the follow-was straight. Because he’s a very strong per-and San Francisco in late 1969 and compiled ing day’s San Francisco Examiner and refers to sonality, he’s a leader, and there were times from “over eight hours of performance tapes.” the group having a “weeklong engagement” when he would invent or put together songs The pool of material certainly draws heavily at the club. It’s likely that the group appears on the fly in a performance, and he’d just on the November Matrix shows, but the only at the club on November 11, too, as a boot-turn around and say, ‘Follow me.’ So that kind known specific detail is that ‘Rock & Roll’ is leg recording of ‘I’m Waiting For The Man’ of person, you want to be on your toes with from November 25. (In 2006, Nelson will pass (with clear instruments but faint vocals) is them all the time. away without ever having shed further light later identified has having been recorded on “But [one] time, he took a hit and Sterl on the sources.) that date by Robert Quine. Quine also makes took a hit – Maureen doesn’t smoke – so I The music itself matters much more than a recording of ‘White Light/White Heat’ on took a hit. We went back on stage to play the any dates or locations, however. In that the same date, but it won’t ever circulate. second set, and we tuned for 20 minutes. regard, the San Francisco recordings on

Around 30–100 people come to see the Vel-No tuning machines then. It was just impos- 1969 Velvet Underground Live have a glorious vets each night during their residency. (For sible to get the fucking things in tune! And significance that transcends their cloudy ori-all its hallowed reputation, the Matrix can’t the audience, through this whole thing, sat gins. Paul Nelson gets at least one thing right hold more than 100 people.) “I’m sure [the patiently waiting, waiting … nobody stormed in his brief liner note: this is “the band at Velvets] were disappointed when they saw the the stage or yelled or anything like that. It the peak of their power.” Everything about size of the club,” recalls Matrix co-owner Peter was pretty fun.” these performances shows the group to be Abram in a November 2001 article for the San at the top of their game, jelling together and

Francisco Chronicle. “We were probably charg- , Mid-to-late November reaching new levels as individual players. Lou ing two dollars to get in. The band was prob- M RECORDING The Matrix, 3138 Fillmore, Reed sings with the conviction of a demon ably playing for $100 a night.” The Velvets San Francisco, CA. possessed by rock’n’roll’s holy spirit; the don’t let the economic situation get in the way Plenty of tapes are made of rock bands lead and rhythm guitars are interwoven with of their performances, however. When asked at the Matrix in the 60s, including some both virtuoso skill and deft taste; Doug Yule’s to rate their live show nearly 40 years later, immensely valuable recordings that will later organ swirls to dizzying heights on ‘What Goes Abram nonchalantly tells the author, “I’d give be released officially (Live At The Matrix by On’; and Maureen Tucker hits the drums with ’em a ten. They were tight, they were well-The Great Society, Grace Slick’s pre-Jefferson more propulsive, primitive weight than she rehearsed, they played well.” Airplane band) and unofficially (a boxed-has ever managed in the studio. Even the Vel-The November 13 edition of the San Fran- set-length bootleg of March 1967 shows by vets’ habitually ragged backing-vocals have a cisco Examiner includes a fairly good if some-The Doors, about half of which are given forceful confidence and charm. All the while, what matter-of-fact review of an early Matrix an authorized release in November 2008). Reed has somehow continued to pump out show by Philip Elwood, who hears the group According to Peter Abram, the venue’s co-new songs, some of which have been road-“laying down some competent, if unspectacu-owner, the Velvets “were booked for as long tested and reshaped in front of live audiences lar, music.” He goes on to describe how the as they were ’cause I always liked them. So I this autumn. Velvets “avoid the monotony often associ-wanted to get as many recordings of them “I recorded them every night and I marked ated with the nightclub rock by mixing up as I could.” down the numbers that I thought were the lyric styles, tune types, and dynamic impact. During the first half of their run at the club, best performances,” Abram recalls. “After we Lou Reed, a pretty fair guitarist, is the major numerous tapes are made of the group on the had about a month’s worth of tapes, I went vocalist, although the usually excellent Matrix venue’s own four-track recording equipment. through them and edited the stuff down to sound system didn’t pick up his voice very well Selections from these tapes form the bulk of about the four hours that I’ve got. The 69 Live last night. I lost most of the words.” the classic double-LP that will be assembled in [material] was only [drawn from] the tapes

Turning his attention to the rest of the 1974 for official release by Mercury Records, from the first two weeks,” he adds, suggesting band, Elwood adds, “Doug Yule plays bass 1969 Velvet Underground Live. (The rest of the that the Matrix tracks on the LP come from and organ, sings a bit, and assists Sterling material is taken from a show recorded on mid-to-late November, during the first half of Morrison, number two guitarist, in keeping October 19 in Dallas; the Matrix tracks should the group’s semi-residency. the beat, which should be better delineated not be confused with the tapes recorded at The Matrix recordings on 1969 Velvet Under-by Maureen Tucker, the group’s girl percus-the same venue on different equipment by ground Live are not the original four-track sionist. Miss Tucker is a stand-up drummer Robert Quine and later issued on The Velvet tapes, but two-track mixdowns. “Those record-(no bass drum); she whacks away at vari- Underground Bootleg Series Vol. 1: The Quine ings were really quick mixdowns of a four-ous utensils, somewhat erratically, and sings Tapes.) track tape that my assistant did in the middle cute songs. On such numbers as ‘Real Good The exact dates on which the Matrix tapes of the night because Lou Reed wanted to hear Time Together’ and ‘White Lightnin’ Heat,’ used on the Mercury LP are made are unclear some copies,” Abram continues. “They’re not The Velvet Underground were in impressive (which is why these recordings are discussed the best representation, really, of the tapes. shape, driving along in the wilder musical here rather than within entries for the spe-The guy who did the mixdowns always had

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a tendency to over-equalize things. They’re riff and amphetamine beat than almost any does on record, particularly during the “soar-okay, but [not] really terribly good.” other band could. Reed, always a master of ing and anthemic” closing section.)

Side one of the original double-LP fea-the vocal aside, tosses off a line for the ages Side three of the original 1969 Velvet Under-tures three songs from the Matrix (following when he nonchalantly boasts “Oh now watch ground Live appears to have been designated a Dallas recording of ‘I’m Waiting For The me!” before launching into one of his pat-for slow epics. Its three tracks run to more Man’). The first, ‘Lisa Says,’ is clearly the best ented speaker-shredding solos. ‘Beginning To than 26 minutes; the two recorded in San version ever taped of the song, either by the See The Light’ and ‘Rock & Roll’ both sur-Francisco, ‘Ocean’ and ‘Heroin,’ are both Velvets or Lou Reed solo. The band grinds pass the previous studio versions – a track on stretched out to around the ten-minute along with just the right amount of sensual the group’s third LP and a June ’69 out-take mark. ‘Ocean’ is the more interesting of the grit; Reed’s singing is about as well-pitched respectively – without radically reinventing pair. It’s better and more dramatic than any between crooning and shouting as it ever is; the songs. Both are played with much greater other Velvet Underground or Lou Reed solo and the song itself is one of the group’s most force and edge than on the studio recordings, version, particularly the keening organ and beguilingly romantic – not to mention one of and are longer, but purposefully and concisely splash-like percussion, but is perhaps one their catchiest, particularly when bolstered by so, never lapsing into meaningless or unneces-instance where the group might have kept backing harmonies in the chorus. This versary improvisation or repetition. ‘Rock & Roll’ playing for just a little bit too long. Tucker sion includes an unrelated yet nifty, goodtime in particular sounds like it’s been more care-hits her cymbals harder here than on any bridge not heard elsewhere; one suspects that fully honed to razor sharpness. (The group other VU recording – so hard, in fact, that it’s actually an entirely different Reed song, will do the song proud on Loaded, too.) road manager Hans Onsager had to sit under edited in from another performance. ‘New Age’ is a major Lou Reed composi-her drums and hold the stands to keep them

‘What Goes On’ is played with magnifi-tion, and one probably penned shortly before from falling over. And if the long version of cent verve, particularly when it locks into the it is taped in late 1969 – it would surely oth- ‘Heroin’ included on the original double-LP hypnotic interplay between Yule’s incandes-erwise have been worked on in the studio by isn’t enough, there’s a second, slightly shorter cent organ and the most furiously pumping now. “When he originally presented me with version of the song (probably also from the rhythm-guitar ever caught on tape. Unlike the ‘New Age,’” Yule recalls in a September 2001 November San Francisco shows) on 1969 Vel-shorter studio version, the song ends so sud- Record Collector interview, “he told me what it vet Underground Live Vol. 1, the first of two denly and unexpectedly that one wonders if was about – which was the only woman he single-disc reissues released on CD in 1988. the power has been cut. (This effective con-ever loved. I knew he had had an affair, but It’s actually a worthwhile counterpart to the clusion is one the group had already worked she [Shelley Albin] was married … That song first version, with its pounding, dissonant out for live performance, as shown on other was essentially about that relationship. I think guitars more pronounced during the final surviving tapes.) it was only in retrospect that he expanded accelerated rave-up.

According to Lou Reed, the tentative the meaning of the song and made it into All but one of the five tracks on side four of ‘Sweet Jane’ that closes side one of the LP something more intellectual.” the original LP are taken from the San Fran-was captured on the very day he wrote the It’s not elitist revisionism to hail the 1969 cisco tapes. The first is ‘Some Kinda Love,’ song. (Sterling Morrison will later suggest Velvet Underground Live version of ‘New Age’ and is yet another performance that’s simi-that it was written in Reed’s loft.) While later as indescribably superior to its studio coun-lar to but better than the one on the Velvets’ versions – by The Velvet Underground, Reed terpart on Loaded, which is nothing less than third album. There’s simply less inhibition to solo, or Mott The Hoople – are faster and a letdown by comparison. Firstly, you get to the groove and swing of both the playing and sassier, the song is presented here as a sweet, hear Reed sing the lyrics, not Doug Yule, who Reed’s exuberant vocal delivery, which is las-low-key ballad, but with enough grunge in will take the lead vocal on Loaded; secondly, civious yet joyful at the same time. The second the guitars to remind us that this is the VU. the lyrics themselves are almost completely track, ‘Over You,’ might be a throwaway ballad For that alone, it would be of considerable different, and take the song into uncharted with echoes of Tin Pan Alley sentimentality, historic value, but in its own way, it’s also as psychological (and perhaps sexual) territory. but it’s a darned good one, with an attractive good as any of the more celebrated versions. The Loaded version takes the narrative over a sequence of descending chords, an appeal-There’s a sap-free sincerity to Reed’s delivery, hill; here the characters cross a bridge, which ing crooned lead-vocal by Reed, and a jazzy and an almost divine humility to the band’s provides a more memorable image and fits guitar-solo. (In all, it’s certainly better than graceful touch, marking this out as one of better with the rest of the song. There’s no many of the similarly lightweight tunes the Reed’s (and the group’s) greatest and most fat blonde actress in this version, either, but group recorded earlier in the year for a pos-melodic songs. there is a mysterious yearning for both Frank sible fourth studio LP.)

The lyrics are pretty different here, too: and Nancy that will be cut out of the Loaded Strangely, the recording of ‘Sweet Bon-there’s no mention of Jane or Jim, and the version. (For all the subsequent attention nie Brown’ included on the LP is the only thing as a whole sounds like more of a love given to Reed’s bisexuality, there are very released version of the song, a fabulously sly, song – albeit a pretty enigmatic love song – few direct allusions to it in his VU songs, kinky rocker that’s an ideal vehicle for Reed’s here than it will on Loaded. There’s also a gor-suggesting perhaps that somebody – maybe adlibbed nonsense vocals. (Why there’s no geous, mellow bridge of sorts, in which Reed someone at Atlantic Records – got cold feet studio counterpart is unclear, but perhaps croons about heavenly wine and roses, that about including them on Loaded.) Throw in the line about coming all over the narrator won’t make the Loaded version at all. the fact that the band is tougher and better on is thought too hot to handle when the songs

All but one of the five songs on side two this performance than on the more clinical are being selected for Loaded.) (‘Femme Fatale’) are from the San Francisco Loaded version – which doesn’t feature Mau- ‘Sweet Bonnie Brown’ would be satisfying shows, and all are superb. ‘We’re Gonna Have reen Tucker – and you have a recording that enough on its own, but the pleasure is dou-A Real Good Time Together’ has by now outstrips the more familiar studio cut from bled when it segues almost seamlessly into ‘It’s become a real barn-burner, with the Velvets every angle. (According to Steve Nelson, the Just Too Much,’ which has left its rather slug-doing more with its ultra-catchy three-chord song often went on far longer on stage than it gish blues-rock origins behind and become

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a prototypically jittery rocker. The resulting And as also noted earlier, there’s definitely ken intros to a few of these excerpts, including eight-minute medley is not just a rousing, yet more material recorded on the Matrix’s the lengthy show-opener during which Reed jubilant performance – it’s also a testament four-track equipment. Abrams retains four says he is particularly glad, “on a serious day to the group’s talent for taking a humdrum hours worth of recordings, and notes, “’69 like today, that people could find a little time filler (‘It’s Just Too Much’) and ingeniously Live was only the tapes from the first two to come out and just have some fun to some combining it without another semi-throwaway weeks. When they came for another two rock’n’roll. ’Cause these are serious times, or into something much greater than the sum weeks, I got some more material, and cut out I’ve been told they are. And, y’know, since of its parts. some of the [recordings] that are on ’69 Live. they’re serious, we felt impelled to do a very

The San Francisco recording of ‘White Some of [them], I improved on; I found bet-serious set. So this is gonna be a very serious Light/White Heat’ included on 1969 Velvet ter performances, so I deleted ones that I had rock’n’roll set. And I don’t want any of you Underground Live might well be the tour de saved from the first two weeks. At the time, to enjoy yourselves frivolously. Because it’ll force not just of the album, but of the Velvets’ our budget was very small; I couldn’t afford run against national policy!” Furthermore, entire live career. It’s no exaggeration to state to save all the tape. It was just too much tape; he reveals ‘I’m Waiting For The Man” to be a that it utterly dwarfs the studio prototype in it was half-inch tape, and rather expensive. song “written under the influence of dreams”; quality, and not just because it goes on for So I edited it down to the four hours that I ‘The Black Angel’s Death Song’ to be one a good eight-and-a-half minutes. There’s not ended up keeping.” they haven’t done for “a really long time, a wasted second in this masterfully taut yet Those four hours of half-inch, four-track ’cause it used to empty clubs … as a matter of explosive performance, from the cockiness tape amount to 42 songs, including versions fact, when a club wanted to close for a while, of Reed’s vocal and the slightly sardonic high of a few tunes that don’t appear on 1969 Velvet they used to get in touch with us and ask us harmonies in the choruses to the way Doug Underground Live, among them three takes of to play this song”; and calls ‘Venus In Furs’ Yule’s bass surges to the forefront as a sort of ‘There She Goes Again,’ two each of ‘Venus “a song that gave us a very bad reputation, so announcement for the instrumental break. In Furs’ and ‘After Hours,’ and one apiece we stopped doing it for two years … It hap-And what an instrumental break it is. of ‘The Black Angel’s Death Song,’ ‘I’m Set pens to be one of my very favorite songs of

There’s no other Velvet Underground Free,’ and ‘Sister Ray.’ There are also addi-all time, but I got sick of doing it in public, recording – even from the Cale era – that tional, as-yet unreleased versions of most ’cause people got the wrong idea. Not about finds so ideal and brilliant a middle ground of the songs that do make it onto the LP, me, but about them.” between white-hot rock and white noise. The including no less than four takes of ‘Heroin.’ The question remains: will either the guitar work is stunning, the ripping leads According to the notes of one listener who unissued material or the original four-track and dive-bombing howls simulating the sear-has heard the tapes, most of these 42 unissued recordings of the 1969 Velvet Underground Live ing highs of the ‘white light’ drugs the songs tracks fall into the good-to-excellent category; songs ever be made commercially available? allude to just as effectively as ‘Heroin’ does some are great and inspired, and there are “The guy that put out those audience tapes the rush of a heroin injection. The Velvets only a few weak or flawed performances. on records spoke to me, and I told them don’t overdo it, but instead come back with Two-to-three minute excerpts of nine of about the tapes,” comments Abram. “But for a vocal reprise just at the moment when the these songs and a seven-minute segment of whatever reason, probably his own financial guitar duel can’t get any more intense. A brief ‘Sister Ray’ (all of which start at the begin-interest, he put out the audience tapes that instrumental tag ratchets the tension higher ning, and fade out mid-performance) have he had. He had some kind of a notion that and higher until it almost literally runs out since leaked into circulation and verify that he was gonna put his tapes out first and then of frets, bringing an end to a track as rivet-the sound quality on these recordings is out-come around to my tapes later, when I kind ingly magnificent as anything in the group’s standing, and in fact notably – if not hugely of nixed the idea, feeling that there’s only formidable catalogue. – superior to the tapes used for 1969 Velvet so much of a market for any 60s band. If

That’s it as far as the original double-LP Underground Live. Of even more interest is my tapes are gonna come out third in line, is concerned, but there’s yet more Matrix the fact that the performances themselves there’s not gonna be much of a market left material than that, including the previously are good-to-superb. They include a version for them.” unheard eight-minute recording of ‘I Can’t of the rarely heard ‘There She Goes Again’ But, he says, “They’re beautiful tapes. We Stand It’ included on the 1988 CD release with more jagged rhythm-guitar than is heard listened to some playback of a little bit of the 1969 Velvet Underground Live Vol. 2. It’s not on the studio cut; ‘I’m Set Free’ with a mag-tapes about a year ago over at some studio in quite the best ever live performance of the nificent Lou Reed lead vocal; a really slow Berkeley, and they sounded just great. One of song to have been captured on tape – some ‘I’m Waiting For The Man’ with curling, their fans who was [there] said, ‘Oh, these are of the guitar soloing is a little dotty – but it bluesy guitar-riffs and a cool interjection of the holy grail of Velvet Underground tapes.’ If is the best from an audio-fidelity standpoint. ominous chords right after the white boy is there’s a market for them, they should come And it’s still a good, exciting romp, and thus asked what he’s doing uptown; and a version to me.” a good addition to the VU canon. of ‘Sister Ray’ that starts off slow and bluesy Even if nothing else is ever issued or found,

As good as 1969 Velvet Underground Live is, but just keeps accelerating in rhythm and however, what survives on 1969 Velvet Under-it’s worth reiterating that none of the Matrix intensity until the tape cruelly cuts off. The ground Live is not just The Velvet Underground cuts are from the original four-track tapes, for other excerpts – ‘Ocean,’ ‘Some Kinda Love’ at the peak of their powers: it’s as good as any which all the instruments and vocalists had a (introduced as “an alcoholic’s dream”), ‘The rock group has ever sounded live, and the mic. As far as Peter Abrams can remember, Black Angel’s Death Song,’ ‘After Hours,’ and bedrock of what might be the finest live rock “the vocals are on one track, and bass and two versions of ‘Venus In Furs’ – aren’t quite album of all time. drums are on a track, and each of the guitars as novel, but will likewise make the Velvet is on a track. [The tapes] were recorded at 15 Underground fan yearn for the day when the ALSO … inches per second, so that makes them very tapes can be released. Shortly before The Velvet Underground’s clean.” Also of great interest to VU fans are the spo-November 21 concert in Portland, Oregon,

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Lou Reed is interviewed on local radio station his aura read, he says, and had his previ-complex issues the group has always tackled. KVAN. The surviving half-hour tape of the ous incarnations revealed by a ‘reverend’ Citing ‘Candy Says’ as an example, he says, “It show is by far the most extensive circulating in Los Angeles, where “they told Doug, for has its own kind of tension. It’s about some-audio interview with Reed during his time instance, if you have long hair, you should body saying, ‘Candy says, I’ve come to hate my with the Velvets. Although it drifts off at points always get it trimmed a little, get the ends cut body and all it requires in this world.’ With into less interesting, more whimsical tangents off, because you’d pick up spiritual wasps.” all that little pretty music going there, you – as is common with rock interviews during (For the record, Lou’s aura was white, with start figuring, ‘What is that all about?’ And the late 60s – it provides a fascinating insight “some blue, some green.”) Reed also reveals then the whole rest of the third album is just into how Reed views his work at the time. that he’s had 1,143 past lives. “Geez, that’s a about that.”

Reed clearly already thinks of the Velvets’ lotta lives,” the deejay replies. output as a linear body of work. “If you start Reed goes on to hint at the origin of the Friday 21 with the first album, and work your way, at “white light” he sings about in ‘White Light/ Springer’s Hall, Portland, OR your own leisure of course, slowly but surely White Heat’ when he reveals that he has This weekend, the Velvets break up their San to the third, it should make sense,” he says. recently been investigating a Japanese form Francisco engagement with their first and In response to an apparent backlash against of healing in Los Angeles that’s “a way of giv-only performances further up the coast in The Velvet Underground, he notes, “A lot of ing off white light … I’ve been involved and Oregon. Support comes from The Chapter people said the third album was so soft, and interested in what they call white light for a Five, a group even more unknown than most that we were selling out and doing this and long time.” He briefly talks about Alice Bailey of the obscure acts who share bills with The that. And they wanted another ‘Sister Ray,’ or and her occult book A Treatise On White Magic, Velvet Underground. another ‘Heroin’ and all that. Well … ‘The another likely source of his interest in white Like tomorrow night’s performance in Murder Mystery’ is all of that, only it’s a lot light. “It costs like ten dollars, unfortunately,” Eugene, tonight’s show is promoted by Don more. Only you gotta work for it … which is he notes apologetically. (Reed’s interest in MacLeod, a production manager at Sunn in why it’s a mystery. such matters might later seem rather unlikely, Tualatin, Oregon. The Velvets use Sunn amps

“I mean, all the people that really like that given his hard-bitten, realist image. But Rob and PA systems; each of these two shows is side of us and think that that side’s not there Norris recalls discussing “angels, saints, the filled to capacity, according to Mark Holmes, any more, well, they haven’t listened to ‘The universe, diet, yoga, meditation, Jesus, healing who helps out VU roadie Hans Onsager on Murder Mystery,’” he continues. “It’s just like, with music, cosmic rays, and astrology” with both nights. Tonight’s performance attracts where can you go past ‘Sister Ray’? … We took Reed in the late 60s in an article for Kicks an audience of around 800. the energy thing as far as we wanted to go. magazine. Furthermore, he recalls Reed “Maureen played kettle drums, kind of There had to be a step past that, and that’s being a member of the Church Of Light in like symphony-style on percussion, and she ‘The Murder Mystery.’ [It’s] one very long, New York, which studied Bailey’s work as part was fantastic,” Holmes recalls. “They were all kind of obtuse circle. But it’s not impenetra-of its theosophical teachings.) real excellent musicians.” Like so many other ble. You can get into it. You just gotta hustle As the interview continues, the conversation people who knew the Velvets in the late 60s, a little.” turns to Delmore Schwartz, which leads to a Holmes “didn’t see any of the dark side of

Reed sees a parallel between the simulta-chat of the nature of talent and how to use it. the group, when they were playing or other-neous narratives heard on ‘The Murder Mys-When the discussion returns to the music to wise. Being personable and just regular folks tery’ and some of the devices being used in The Velvet Underground, Reed seems keen – that’s the side of them that I saw. They were contemporary literature. “One of the things to point out that the group has always mixed all extremely intelligent people. But I saw the that Joyce and Cage and all these people did aggression and flamboyance with gentle, dark side with some of their fans!” … [was] like trying to print two things side reflective material. “There were slow songs on by side, or print one thing on top of itself the first and on the second [albums],” he says. Saturday 22 to show that two things were going on,” he “It’s just, no one had noticed it, ’cause the Attic, Eugene, OR says. “Well, you see, having a record makes placement wasn’t so good. ‘Heroin’ kind of Tonight’s show, with support from local band the other thing antiquated. There’s no need ran away with it, ’cause it was kind of overt and Notary Sojac, draws a crowd of around 500. to bother even doing that, because here you easy to identify with. But you know, we didn’t Unfortunately, it’s after this show, according got a record with a stereo channel going. You want to be put in a bag of being forerunners to Doug Yule’s 69 On The Road, that road man-don’t have to have a printed page with this on of the drug maniacs and all of that. So I had ager Hans Onsager wheels the band’s Sunn top of it … all you do is you have stereo left thought there was a balance, like ‘I’ll Be Your amplifiers “out onto the street with the other channel, stereo right channel … It’s not an Mirror’ and ‘Sunday Morning’ and ‘Femme gear, ready to load them into the truck. He avant-garde idea, ’cause it’s been, you know, Fatale,’ all those kind of things, which didn’t loaded everything else but somehow forgot since the 20s. European writers since the 20s work out. Then the second album was an the four speaker cabinets, left them standing have been doing it. But doing it on record energy job.” on the street, and drove away. When we came seems to have done it in a coherent, cohesive Reed also offers some general thoughts on back, they were gone.” form. So the idea was, ‘bam!,’ on the left and The Velvet Underground’s modus operandi: Mark Holmes, who has been helping right. Two different voices doing inversions, “We didn’t put things in, we took things out, Onsager out in Oregon, confirms that around both of mood and content.” which is kind of the reverse of the way eve- $3,000 worth of equipment is lost in the proc—

The Velvets will later be portrayed as a rybody else works,” he notes. “We never add ess of loading it back down the long flight of kind of ultimate anti-psychedelic group, but instruments, we don’t bring people in for ses-stairs from the second-floor venue. (At least are in fact very much people of their time. sions, we don’t basically do anything that we Sunn’s headquarters are nearby, so Onsager Reed even steers this particular discussion can’t reproduce on stage.” And he doesn’t can drive out to pick up replacements.) in a direction that would find favor with the see the lower volume of much of the third All four members of The Velvet Under-most spaced-out of hippies. He’s just had album as being such a departure from the ground will later recall playing in Seattle at

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some point. If that’s the case, it might well songs found their way out one way or another. the seven-minute instrumental tag – complete have been part of this trip to the Northwest; There was marginal stuff that we would fool with the kind of eccentric, churchy organ Yule Doug Yule remembers playing a show that’s around with, half-songs which turned up later adds to a number of other live songs around later written about by rock journalist and and I’d think, ‘Oh, that was that.’” now, such as ‘Ocean’ – drifts on way too long, future Pretenders vocalist Chrissie Hynde, but It even gets to the point where the Velvets considering the riff at its root is not particu-there’s no solid evidence of such an article, notice when Quine is not there. He later larly interesting to begin with. The Velvets are or of any concerts in Seattle. reveals in an online interview with Eric Veil-among the very best when it comes to devising

lette that, although he probably only missed gripping, improvised instrumental breaks, but

Sunday 23–Thursday 27 one night, it happens to be the one when even the greatest bands fail sometimes. This

Matrix, San Francisco, CA they play ‘Candy Says.’ Knowing that it’s not is one of those occasions. The Velvet Underground return to the Matrix, a song they do often, Quine asks Reed to play The November 25 ‘Rock & Roll’ is the with support this time from Mendelbaum, a it the following night, but Reed declines. It’s only performance that features on both local group featuring guitarist Chris Michie, a rather curious refusal on Reed’s part, since The Quine Tapes and 1969 Velvet Underground who will later play on several 80s Van Mor-the Velvets have played the song on other Live, although the mix is a little different – rison albums, and drummer Keith Knudsen, occasions, as proven by its presence on a understandably, given that it’s recorded on who will go on to join The Doobie Brothers. concert recording from October 18. different equipment. The other Quine Tapes (An archival Mendelbaum CD includes mate-All of these special items will eventually recording from November 25 is ‘Over You.’ rial recorded at the Matrix.) show up on the excerpts from these record-It’s not all too different from the 1969 Velvet

The Velvets have started to become friendly ings released in 2001 as The Quine Tapes. From Underground Live version, but it’s still a kick with Robert Quine, who sticks out as a particu-November 23, there’s ‘Heroin’ and – believe to hear another version of one of the group’s larly devout follower of the group even now it or not – the only complete, circulating live finest obscurities, particularly since Reed is that they’ve started to pick up their fair share version of ‘The Black Angel’s Death Song’ still toying with the lyrics. On this rendition, of fanatics. He’s been taping most of their taped while Doug Yule was in the band. In he feels silly, rather than like a fool; is chas-Matrix shows, with their knowledge. “In the his spoken intro, Reed recites the first verse, ing “yesterday’s rainbows,” not “less and less beginning, there weren’t many people in the before cajoling the audience: “The whole rainbows”; and compares himself to a flower audience,” he writes in his liner notes to The thing’s like that … that’s the first verse, there’s waiting for spring. These aren’t the most Quine Tapes. “There were a few nights when six of them. So if you can keep up with it, we earth-shaking variations, but they’re different they started the first set with only four or can, too.” Without John Cale around to play enough that the serious VU fan will treasure five people in the club! Under those circum-the manic viola so essential to the original them. stances, the group couldn’t help but notice arrangement, the 1969 VU line-up faces quite From November 27 come a couple of the me and they were very friendly, putting me a challenge. This six-minute performance is a more unusual tracks on The Quine Tapes. The on the guest list every night and inviting me valiant attempt, with Yule playing some dark, eleven-and-a-half minute ‘I’m Waiting For to hang out with them in the dressing room devious, carnival-like organ and Tucker con-The Man’ is the slowest known recording of between sets. They appreciated the fact that tributing stormy, swelling cymbals reminiscent the song; it’s played almost as if the band are I was so serious about recording them, and of what’s been playing on ‘Ocean.’ But it’s still dragging out like a chain-smoker might their Lou Reed would occasionally ‘warn’ me when one instance where the 1969 Velvets really do last cigarette. Reed even dispenses with the they were going to do something special, like seem to miss Cale’s presence. Without him, lyrics at some points, whistling and scatting ‘Black Angel’s Death Song.’ Sometimes, back-there’s no way for the song to be as effective soulfully instead. It’s reminiscent of some of stage, they’d ask me to play back a particular as it is on the banana album. the versions of ‘Sister Ray’ from this period song they’d done in the set … The Quine Tapes feature two songs recorded in the sense that, in an attempt to keep things

“They also invited me to watch their occa-on November 24: ‘Ride Into The Sun’ and interesting for both themselves and the audi-sional rehearsals at the club,” Quine contin- ‘New Age,’ which Reed introduces as “a very ence, the Velvets have deliberately turned the ues. “They’d work on arrangements for new interesting song.” Although the arrangement raunchy, amphetamine-fueled original into songs, such as ‘Ride Into The Sun’ and ‘New is similar in some respects to the 1969 Velvet a lethargic downer that nonetheless exerts Age.’ They got along quite well – there wasn’t Underground Live version, it’s a good five min-its own compelling aura. Another great twist the slightest hint of whatever problems they utes longer here, courtesy of a much longer is the insertion of some possibly improvised would experience recording Loaded a few and fairly repetitious instrumental section verses that give this performance a more mys-months later.” at the end. There are also some alternate tical tinge, and drive the narrative along fur—

Doug Yule will later emphasize in the lyrics, implying that the song is still a work-ther. It’s possible that one of these lines, about fanzine The Velvet Underground that rehearsin-progress, and some neat, violin-like fuzz standing on a corner, waiting for the sun to als such as these are crucial to introducing tones (probably a bass guitar played high up rise, will later influence the revised ‘Sweet new material into the band’s arsenal quickly the frets), but the economy of the 1969 Velvet Jane’ lyrics, as heard on Loaded, which begin and regularly. “[Lou would] say ‘I have a new Underground Live version gives it the edge. with a similar image. song’ and he’d sit down and start playing it,” ‘Ride Into The Sun’ is quite unlike the The other Quine Tapes recording from he recalls. “When I was there it was often me studio out-take recorded in late 1969, and November 27 might seem like the Holy and him doing that before everyone else was not just because it rambles on for a good 11 Grail to serious VU fans upon first glance: a there. But other times it would be everyone minutes. Doug Yule takes the lead vocal, and 17-minute track entitled ‘Follow The Leader’ together and we’d start fooling around with it some of the background harmonies get about not heard anywhere else. It’s the only such and work it out, and then we would invariably as close to The Beach Boys as anything the exclusive on The Quine Tapes, but is something play it that night at the show … then it would Velvets have done before or will do in the of a letdown. It sounds more like a jam than be part of the repertoire and then it would future. The song has a harder edge and looser a proper composition, starting off with four evolve over the next few nights … Most of the approach here than on the studio version, but purely instrumental minutes before Reed

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starts to sing. It is quite well formed by the impression that the band-members have been sees first the temporary departure of one of standards of other VU jams, however, and spiked with uppers. The version on 1969 Velvet the four musicians, and then the permanent sounds almost as though it’s waiting for more Underground Live is fast and urgent enough, but departure of their guiding force. lyrics, or for the band to perfect it. There’s this one crosses the line into worrisome mania. some typically stellar drumming and choppy It’s not as good for that reason, but it still offers Friday 12 rhythm-guitar that almost borders on funk ter-an interesting change from what the audience M RECORDING ToNy coNRad details ritory, while the main riff follows an uncomis used to hearing. By contrast, the December 1 unknown. monly sour progression. At the point where it tape of ‘Venus In Furs’ is pretty faithful to the Conrad’s ‘Fantastic Glissando’ is, according sounds like a chorus or bridge should appear, familiar arrangement, but with Yule’s funereal to the liner notes of his LP of the same name, there’s a sequence that’s slightly reminiscent, organ filling in for Cale’s viola. There are some seven-and-a-half ips of “stereo-phase glissando, oddly, of The Doobie Brothers’ 1973 hit ‘Long cool stabs of guitar after key lines in the verses, produced by sine wave oscillator processed Train Running.’ But Reed’s fragmentary, and some great upper-register, preaching-style through pump counter. Identical channels, stream-of-consciousness lyrics don’t add up to vocals in the bridge. but with head gap delay.” The result is an elec-much, and the fact that he only sings sporadi-Only one song from December 3 will make tronic buzz that rises and rises in pitch until it cally suggests that he hasn’t quite figured out it onto The Quine Tapes, but it’s long enough becomes shriek-like at the end. Conrad goes what to do with the song – or whether even that it would take up two whole sides of an LP, on to produce three variations on the same to make it into a full song. (He won’t aban-were it to be released in 1969. This 38-minute theme. ‘Process One Of Fantastic Glissando’ is don it entirely, however: it eventually ends ‘Sister Ray’ is the longest officially released “both tracks of ‘Fantastic Glissando’ played at up, with a more pronounced, funk-oriented VU track. The group will often be hailed three-and-three-quarter ips, mixed and proc-arrangement, on his 1976 solo LP Rock And as the ultimate antidote to mindless hippie essed through pump counter. Identical chan-Roll Heart.) jamming, but this performance is arguably nels, but with head gap delay.” ‘Process Two

By now, Robert Quine has made so many as excessive as West Coast bands such as The Of Fantastic Glissando’ does the same thing tapes of the Velvets at the Matrix that he could Grateful Dead and Country Joe & The Fish to ‘Process One’; ‘Process Three’ follows suit, easily fill three LPs or so, by the standards of at their most undisciplined. ‘Sister Ray’ is the tones and buzzes growing progressively 1969 running-times. He’s not done yet, however, the kind of song that lends itself to lengthy harsher and blurrier each time. and will tape another LP’s worth of material at improvisations, but there are several consid-All four tracks will eventually be issued in the group’s final Matrix shows next week. erably shorter versions – beginning with the 2003 by Table Of The Elements as Fantastic

17-minute studio recording – that do much Glissando. It’s perhaps the most uncommer-

, Late November better justice to the tune. cial of all the commercially available music by

Basin Street West, San Francisco, CA Although Quine records much more than the Velvets’ close associates of the 60s. It also According to Peter Abrams, the Velvets’ first the four hours of material that make up The demonstrates that, as willfully inaccessible as couple of weeks at the Matrix are followed by a Quine Tapes, it’s unlikely that the rest of the Lou Reed’s Metal Machine Music might sound booking at another San Francisco club along-tapes survive. As Quine recalls in his liner in 1975, it’s not dissimilar, conceptually, to the side soul great Bobby ‘Blue’ Bland. Although notes to the three-disc set, he converts four things avant-garde musicians with whom he’s no precise details are forthcoming, the pair-hours of what he considers to be the best worked have been creating since the 60s. ing probably takes place at one of Bland’s performances from the original cassettes to shows at Basin Street West from November 28 reel-to-reel; the original tapes “became quite Monday 22 to December 6. Casting his mind back to this worn, damaged, and ultimately misplaced.” As part of a Fusion magazine poll of the best odd match-up, and the audience’s reaction, According to Michael Carlucci, who encour-albums of the 60s, Jonathan Richman (whose Doug Yule recalls, “Well, they didn’t kill us … aged Quine to push for the official release of surname is incorrectly given as Richmond) I think that some people [who] came to see the tapes, “because tape was so expensive, he offers the first two Velvet Underground LPs Bobby Blue Bland left, and then other people took the best versions of everything and put as his first and second choices. As if there’s came in to see us. Thinking back, that’s kind them down to reel-to-reel, and erased every-any doubt about his love for the band, he of a weird situation to be in.” thing [else].” (Quine also records some of also cites no less than seven VU songs in his

the Velvets’ rehearsals at the Matrix, but will Top 20: ‘There She Goes Again,’ ‘Heroin,’

later admit to having taped over them after ‘All Tomorrow’s Parties,’ ‘I Heard Her Call

December deciding that they’re not too remarkable. Pre- My Name,’ ‘Jesus,’ ‘Candy Says,’ and ‘Foggy

sumably these are in addition to the seven Notion.’ (His last choice is particularly

tracks from a San Francisco rehearsal that do extraordinary, consider the thing won’t be

eventually appear on bootlegs.) officially released until 1985.)

After finishing up their stint at the Matrix, The Velvets are admittedly at an advantage

Monday 1–Wednesday 3 The Velvet Underground will never play in in this poll since Fusion is published in Boston,

Matrix, San Francisco, CA California again. They probably won’t play the hub of their most fanatical fan-base, but The Velvets definitely play at the Matrix on as well again, either. The brilliance of their their stellar performance on several writers’ December 1 and 3, as both shows are taped by late-1969 performances isn’t solely about the lists is testament to their growing popular-Robert Quine. It seems reasonable to assume playing: at no other point in their career have ity among both fans and critics. Dan Gra-that they also appear on December 2, too, but they been so adept at reshaping and varying ham puts The Velvet Underground at Number there’s no proof of any further dates after the their songs from performance to perform-Two on his list, explaining, “This is new 60s Wednesday show. ance. Few bands will ever do this so well, in rock’n’roll.” Editor Robert Somma puts both

Two songs taped on December 1 will eventu-fact, as the Velvets have in recent months. The the first and third LPs in his list, and cites ally appear on The Quine Tapes. The first, a ten-near-perfect balance will prove too delicate ‘Heroin’ and ‘Pale Blue Eyes’ among his Top minute ‘White Light/White Heat,’ gives the to maintain, however, particularly when 1970 20 songs. Stephan Halpert puts the banana

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DECEMBER1969 n WHITE LIGHT/WHITE HEAT

album at Number 10; Lenny Kaye includes hand and shake their hands, not a problem at issue of the British music magazine The Wire. Nico’s Chelsea Girl in his list of “everyone else all. What I loved about those days was that you It contains a similarly swampy mix of echoes there’s not room to mention”; and Paul Bar-could photograph and videotape a band, no and clanging, swirling instruments, but is toz “hope[s] someone else has listed White questions asked.” (In fact, some audience tapes even less conventionally melodic than either Light/White Heat. If not I just did.” will be made of the Velvets at the Second Fret ‘Universal Mutant Rain’ or ‘Invasion Of Thun— Although Bobby Abrams puts the third VU just after the New Year; see January 1–3 1970.) derbolt Pagoda (St Marks Epiphany).’ After LP at a relatively modest Number 17 in his an acceleration of rhythm, the jungle of ping-chart, he want to make sure readers know ponging tape-loops suddenly explode into a

why. “They were there in the beginning,” he hellish burst of high-pitched distortion that Also in

writes. “The first discotheques, the first light rates among the least accessible moments

shows, the first raunch lyrics (‘you better in MacLise’s music – which, given his track

hit her now’), and the first big move drug record, is really saying something. 1969 … songs. They’re still there, and if you doubt Also in 1969, MacLise’s soundtrack to The the group’s abilities, listen to this album on Children gets an airing when Gerard Malanga’s codeine.” ‘Sister Ray’ meanwhile shares the M RECORDING aNguS MacLiSe details film is released. A two-minute excerpt, ‘The “best 60s drug song” accolade with The Byrds’ unknown. Cloud Asylum,’ will eventually be included ‘Eight Miles High,’ The Rolling Stones’ ‘We Angus MacLise has continued to be here, on the 1999 Sub Rosa compilation Gerard Love You,’ The Beatles’ ‘With A Little Help there, and everywhere in the multimedia Malanga – Up From The Archives, where it’s From My Friends,’ and Marianne Faithfull’s underground during 1969, working in litera-listed as having been recorded in 1966. This ‘Sister Morphine.’ ture, film, and music. Several recordings dated year also marks the release of a compilation Fusion’s vote for “the most perfectly balanced 1969 will later be included on archival com-of MacLise’s poetry, The New Universal Solar and culturally apt ballot” cast by a reader goes pilations. ‘Cembalum,’ as featured on Brain Calendar, as printed by Fluxus founder George to Tim Jurgens, who lists the banana album Damage In Oklahoma City, is a three-and-a-half- Maciunas. A 20-minute recording of the same fifth and the third album sixth in his list, as minute instrumental played – you guessed it name featuring MacLise reading poetry is well as choosing ‘Heroin’ as the decade’s best – on cimbalom. Like MacLise’s earlier record-included on The Cloud Doctrine; the date and drug-song. He will soon land a job as the maga-ings with the instrument, ‘Cembalum’ has an location remain unknown. zine’s copyeditor, allowing him to bestow more eerie, Asian/Middle Eastern flavor, but he accolades upon the Velvets in Fusion’s best-of- now seems to be plucking the strings harder ALSO … 1970 poll (see January 22 1971). than ever, which gives the performance an La Monte Young puts out his second and third aggressive edge. Also included on Brain Dam- recordings this year, although one is only Thursday 25–Wednesday 31 age In Oklahoma City is the 41-second ‘Another available on one side of a flexidisc included Second Fret, Philadelphia, PA Druid’s Nest,’ featuring MacLise on “maxi-with the eighth issue of Aspen magazine, which On Christmas Day The Velvet Underground mum cimbalom.” The distortion here is so contains his ‘Excerpt From Drift Study 31 1 69 begin a ten-day stint at one of their favorite ven-heavy that this snippet might have been better 12:17:33–12:49:58pm.’ More substantial is the ues; the engagement is set to run until January 3 off left in the archive. album issued by Young and Marian Zazeela 1970 and includes shows on both New Year’s Eve Even more obscure than these two tracks on Edition X, a limited edition of 2,000 cop-and New Year’s Day. Support each night comes are a couple of recordings given the date ies that becomes known as The Black Record from the comedy group Lobotomy. “probably 1969” and included on a CD because of its black-on-black artwork. Side According to a later review in What Goes On bound into the first issue of the Dutch maga-one presents ‘3/21/69, 10:26–10:49pm,’ by Bob Kachnycz, who is present for four of zine Green Groceries in 2000. ‘Szabo Loft’ runs featuring Young’s sine-wave drone accompa-the shows, “They were expanding to newer to almost eight minutes and is one of the nied by Zazeela’s vocals; side two offers an songs, and the mood was more relaxed. They clearer-sounding MacLise recordings of the extract from ‘Study For The Bowed Disc,’ with were jamming away on things like ‘New York, period, featuring MacLise on bass tambou-Young and Zazeela bowing a gong. In his essay New York City, follow the leader, New York City’ rine and somebody by the name of Szabo on ‘Notes On The Theatre Of Eternal Music and [‘Follow The Leader,’ as heard on The Quine folk-raga guitar. The five minute ‘Universal “The Tortoise, His Dreams And Journeys,”’ Tapes] over a solid rhythm riff. Or, as it turned Mutant Rain’ is credited to Joyous Lake, and Young recalls asking Cale for help in finding a New Year’s, a country version of ‘Heroin.’” features MacLise on tambourine and bongo; record label at one point; this probably occurs Also in the audience is high-school musi-Loren Standlee on voice, flute, and tape-echo around 1969, by which time Cale is working cian George Manney, who seizes the oppor-chamber; Ziska Baum on voice and dulcimer; for more than one label, both as producer tunity to take some photographs, including and Raja Samyana on guitar and tape-echo (Elektra) and recording artist (Columbia). In one of Maureen Tucker and Lou Reed singing chamber. With its eerie mix of trance effects any case, Cale is unable to convince anybody ‘After Hours’ together in front of the group. and world-music elements, the piece is remi-to release Young’s experimental material. As Manney recalls, the band have been sleep-niscent of ‘Invasion Of Thunderbolt Pagoda Both Cale and Tony Conrad briefly hook up ing on the floor at the home of a waitress dur- (St Marks Epiphany),’ recorded a year earlier with Young in the Theatre Of Eternal Music in ing this Second Fret stint, which is indicative with the same musicians plus Hetty MacLise, 1969 for rehearsals and performances of ‘Map both of how friendly relations are between although ‘Universal Mutant Rain’ is much Of 49’s Dream The Two Systems Of Eleven venues and bands such as the Velvets, but also slower and even dreamier. Sets Of Galactic Intervals Ornamental Light-of how the days of Steve Sesnick convincing The same musicians appear on the simi-years Tracery’ (which Young views as part of MGM to pay for fancy hotels are over. larly titled ‘Universal Mutant #3,’ recorded ‘The Tortoise, His Dreams And Journeys’). “It “Lou was cool with the crowd and they went this year in Woodstock and eventually issued was no problem doing that,” says Conrad. “We over really well,” Manney recalls. “In fact, when on the two-CD compilation The Wire Tapper were friends, and if there was an opportunity I sat in the first row, you could stick out your 6, which is included with the October 2000 and an idea to do it, it was fine.”

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WHITE LIGHT/WHITE HEAT n ALSO IN 1969

AND … “an example of an experimental, postmodern

Lillian Roxon’s Rock Encyclopedia, the first seri- work, combining poetry, prose fiction, and a ous rock-music reference book, is published type of New Journalism. Lundbye intervenes

this year. It recognizes the importance of The into Nico’s life, setting her in imaginary Dan-

Velvet Underground with a substantial entry ish and international settings, casting her in

that will probably titillate teenagers’ interest several odd and obscure roles, sex object

in the group for years to come. “The most being prominent among them. But he also

important thing about The Velvet Under- intervenes with her work, citing many of the

ground was that in 1966 and 1967 they were song titles from her early solo work, and ‘riff-

as far away as a group could possibly be from ing’ on lines from the songs on these records

the world of incense and peppermints and and the characters mentioned in them [such

lollipops and even earnest teenage protest,” as Lenny Bruce]. Roxon notes. “Theirs was the dim underworld “The style of writing is very experimental of drugs and sexual perversion, of heroin both in form – ranging from a prose narra-

addiction and the desperate loss of hope that tive in four parallel columns to fragments/

goes with it. Their concern was with death aphorisms/one-liners and what reads like a

and violence. They were singing about a world screenplay for a Warhol ‘movie’ set at the

that exists and that they knew … Musically, Chelsea hotel – and in terms of themes and

using sounds and voices in a way most groups references to other writings. Lundbye seems

didn’t start using until 1968 … There is no particularly preoccupied with the mirror as

word for their sound but sometimes it seems image, using it in many of the little micro-

as if a presence has taken it over, perhaps even fictions in the book, showing Nico in front His Satanic Majesty himself. You can easily of mirrors or being stared at and mirroring

Conrad notices a definite difference in imagine someone performing black masses herself in the gaze of others. the way the group is now organized. “Back with The Velvet Underground’s albums. Not “For a VU aficionado there is not much fac-in the 1963–65 days, the sort of collaborative for the kiddies.” tually to be gleaned from this book,” Sørensen core of the group had fundamentally worked Roxon, an Australian journalist based in adds. “Lundbye’s English seems to have been together to combine the different terms of New York, knows at least one of the Velvets pretty bad, leading him to mishear almost all long duration and the principles of harmonic personally. One of her favorite groups is The the lines from The Marble Index, which he uses tonality that provided the technical under-Easybeats, the only Australian 60s rock-band in the ‘screenplay’ segment, starting with pinnings for what we were doing,” he recalls. to get a big hit in both the USA and the UK ‘Close To The Frozen Waterlines’ (‘close to “Basically what La Monte did was to remove (‘Friday On My Mind’). In his discussion of the frozen borderline’), ‘I Do Not To Much the original impulse of the music as I’d seen it the group’s late-1967 flop ‘Falling Off The Talking’ (‘I don’t do too much talking’), ‘In to dismantle composition as an enterprise. In Edge Of The World’ in the liner notes to The A Crusade Parody’ (‘in a crucial parody’). the interest of moving ahead in the perform-Easybeats’ Absolute Anthology, Glenn A. Baker He also got the room numbers from ‘Chel-ance of the music, and to be able to continue reveals that the 45 “was instantly added to the sea Girls’ wrong, putting 56 and 115 instead to be productive, he began to compose sys-jukebox at Max’s [Kansas City], where Lou of 506 and 115! tematically within the context of that kind of Reed would play it every night – confiding “This book is a drugged-out, 60s textual performance tradition. Then he also found to Lillian Roxon that it was ‘one of the most experiment, perhaps written in a deep depres-it necessary to initiate a system of discipline beautiful records ever made.’” sion, and certainly functioning as a literary that would hold a group together. That is, a Meanwhile, in Denmark, the well-known OD on downers. [Which is] not entirely inap-group of people who weren’t founding mem-poet Vagn Lundbye’s experimental novel propriate, given its title character …” bers, who weren’t founding collaborators, and Nico is published by Berg. It’s written almost therefore had the disadvantage of really hav-entirely in Danish, but is inspired in part by ing to learn the practices that we had evolved the singer, and uses song and album titles from La Monte. and lyrics from her first two LPs as chapter “And so, the whole thing became much titles. Some pages of the book mix large blank more authoritarian under his guidance. It spaces with the printed word, and while there was, I think, quite appropriate for him to are 32 pages of photos of Nico, each one begin calling it the Theatre Of Eternal Music, prints the exact same headshot from around to set it up as a kind of theater with him-1966, perhaps taking the cue from the repeti-self sort of in charge. It was a little awkward, tion techniques employed by Andy Warhol. because my relationship to him was more col-The jacket is designed by Per Kirkeby, who will laborative, and the other people’s relation-go on to become an internationally acclaimed ship was more that he was the group leader painter while also working as a poet, film-of this Theatre Of Eternal Music. I’d start to maker, and sculptor; he also wrote the blurb play, and then people are saying, ‘No, the printed on the back. rules are, we play like this.’ And I’m thinking Bent Sørensen, who holds a PhD in English like, what, whose rules? But this was a minor from the Department Of Language And Cul-problem.” (Conrad will go on to play with ture at Aalborg University, helpfully provides a Young and Zazeela on several further occa-summary of Nico for those readers of this book sions, as late as 1972.) who can’t speak Danish. The novel is, he says, Vagn Lundbye’s novel Nico, as published in 1969. 265

The Velvets leave MGM for Atlantic Records in early 1970 and

record their fourth album, Loaded, during the spring and

summer. They also finally play New York City again – after a

three-year gap – when they take on a two-month residency at

Max’s Kansas City. Maureen Tucker’s pregnancy forces her to

take a leave of absence from both the Loaded sessions and the

1970 Max’s engagement. Doug Yule’s brother Billy fills in at Max’s, but Lou Reed quits the group in August, just weeks before Loaded hits the shops. Reed’s last night with the group

is recorded, and will subsequently be released on record as Live

At Max’s Kansas City. The remaining band-members carry on

without him, but are really The Velvet Underground in name

only. Even now, however, the Velvets have started to become

cult icons.

JANUARY 1970 n WHITE LIGHT/WHITE HEAT

January appear on bootlegs with the date ‘winter as hard or as edgy as they did during the fall 1970.’ There’s no way of knowing whether of 1969. Perhaps they don’t feel it appro-that means the very beginning of the year or priate in such a small club – even one with the end, but since Reed won’t be so musi- so appreciative an audience as the Second

Undated January cally active during the final months of 1970, Fret. ‘White Light/White Heat’ is only about This month’s Crawdaddy includes yet more the beginning of the year seems more likely. half as long as the eight-to-ten-minute ver-critical props for The Velvet Underground Whenever it’s recorded, it’s an excellent, dra-sions played in 1969. ‘Sweet Jane’ and ‘Over in a lengthy article by Lita Eliscu entitled ‘A matic performance, and one wholly deserv-You’ sound much the same here as they do Rock Band Can Be A Form Of Yoga.’ It’s a ing of an official release at some point in the on 1969 Velvet Underground Live, although rambling, indulgent piece, and although it future. ‘Sweet Jane’ contains some different (pos-includes interview quotes from Lou Reed, sibly improvised) lyrics, and ‘Over You’ is Eliscu’s writing style makes it hard to tell Thursday 1–Saturday 3 introduced by Reed as his Billie Holiday what he actually said or didn’t say. “The Vel- Second Fret, Philadelphia, PA impersonation. ‘Foggy Notion’ starts off in vet Underground is one of the few groups to The Velvet Underground’s New Year begins a slower blues-funk mood than is heard on afford imaginations the play of universes, of with the last three shows of their ten-night any other circulating version, but eventu-astrological heavens, of grounds and spaces stand at the Second Fret, which began on ally explodes into a more satisfying rave-up as wide as time itself,” she writes at one point. Christmas Day. Local fan Bob Kachnycz toward the end. “Each album, and there are three, is a pro-brings along a Sony stereo recorder and a Kachnycz tapes the rest of the set, too, but gression, the stuff and elements of how-to microphone, and with Doug Yule’s permis-will unfortunately lose it in a robbery the fol-Yellow Brick Road, but the detours are your sion, tapes the band on January 2. “That fall lowing year. He remembers the band playing own business. The most popular method of there had been a rumor of a double album ‘New Age,’ ‘What Goes On,’ and ‘Ocean,’ “with nearly describing something which is nearly VU bootleg of both studio and live material,” Lou on his 12-string, and Hans [Onsager] the what the Underground might be about in a he recalls in the fifth issue of What Goes On. mixing-board man holding down Maureen’s hip, capsulated form is ‘Heroin’ to ‘Jesus’ – “I told them about the rumored bootleg and cymbal stands so they wouldn’t go over while both song titles and both brand names.” they really liked the idea.” she crashed away.” Two interesting surprises It’s interesting to note that, although the follow: ‘Goodnight Ladies,’ “with a whisper-

ALSO … group’s third album failed even to reach ing solo by Lou and Doug,” and ‘Sad Song,’

On the other side of the world, the Festi-the Top 200, a two-LP bootleg is apparently which won’t be released until Reed records it val label releases the only single by a group a viable proposition by late 1969. It’s proof for his 1973 LP Berlin. (A VU demo recorded from Newcastle, Australia, called The Velvet that, while the Velvets’ national following is on April 16 1970 will eventually appear on Underground, which comprises unimagina-small compared to those of the first widely Loaded: Fully Loaded Edition.) tive covers of Jefferson Airplane’s ‘Somebody bootlegged artists (The Beatles, Bob Dylan, On the final night of the run, 200 people To Love’ and Love’s ‘She Comes In Colors.’ and The Rolling Stones), it’s just as fanatical cram into the Second Fret to give the Vel-It might seem like too much of a coincidence as anyone else’s. The Velvets might even be vets a memorable sendoff. Kachnycz rushes for two bands on opposite sides of the globe thinking that, given MGM’s lackluster pro-home between sets to get his recorder, but to have come up independently with the same motion of their official albums, a double-LP only returns in time to tape the last nine min-idiosyncratic name. But as Glenn A. Baker bootleg might be as good a way of getting utes of ‘Sister Ray.’ The recording will later writes in the liner notes to So You Wanna Be A their name around as any other. Doug Yule appear on bootlegs, but its subpar sound and Rock’n’Roll Star Vol. 2: The Psychedelic Years Of confirms that VU shows were often recorded incomplete form make it the least essential Australian Rock 1967–70, the Australian VU by fans “on Sony stereo machines that fit in circulating version of the song, despite the “claim complete ignorance of any American a little briefcase with speakers. People would zaniness of Yule’s organ-playing during the usage of their title, having lifted it (like Reed, bring those and just slide them up on the fastest passage. Cale, and co) from the book of the same stage, just surreptitiously press ‘on’ and just name – essential ‘head’ reading in 1967.” (It sit there, and nobody [would] bother them. Wednesday 7 would still have been possible for the group I don’t remember any serious miking up or Danny Fields puts The Velvet Underground’s to have heard of their New York namesake, anything like that.” third LP in seventh place on a list of his however – even as far back as the 1966 single On January 2 the Velvets’ first set (per-favorite albums of 1969 in the New York ‘Sunday Morning,’ which was actually released formed in front of about 80 people) includes underground newspaper, the Rat. “Lou Reed in Australia.) ‘I’m Waiting For The Man,’ ‘Some Kinda is the best, the most advanced, songwriting in The Australian VU will never release Love,’ ‘I’m Sticking With You,’ ‘After Hours,’ the world today,” he writes by way of expla-another record, but a later line-up of the ‘Sweet Bonnie Brown’ (called ‘Sweet Molly nation. Fields has recently worked as Nico’s group includes a guitarist named Malcolm Brown’ by Kachnycz, who recalls “a long gui-press agent, and has been in the VU circle for Young, who will go on to find fame in AC/DC. tar/bass solo”), and ‘I Can’t Stand It.’ Talk-several years. He’ll soon become even more He’s also the younger brother of Easybeats ing to Lou Reed between sets, Kachnycz asks heavily involved with the group now that he’s guitarist George Young, co-author of the 1967 “why he didn’t do the feedback guitar-solos moved from Elektra’s publicity department single ‘Falling Off The Edge Of The World,’ anymore, and [Reed] said he wanted to do to a similar position at Atlantic Records, the described by Lou Reed as “one of the most some new songs for the next set, and didn’t label to which the Velvets will sign this spring. beautiful records ever made.’” know if anyone would like it.”

The first four songs from the second set Friday 9

AND … will later appear on bootlegs. While the Paramount Theater, Springfield, MA A solo demo of Lou Reed singing ‘Ocean’ muddy sound-quality makes it hard to make In late 1969, Steve Nelson moved the shows backed only by acoustic guitar will later definitive judgments, the Velvets don’t sound he had previously been putting on at the

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WHITE LIGHT/WHITE HEAT n JANUARY 1970

there, people had come out from Boston” make the cut, but is singled out “for special

– a testament to the band’s growing cult fol- mention” as one of “four albums that nobody

lowing, since Springfield is almost two hours seemed to like except me.” (The others are

from the city. Skip Spence’s acid-folk classic Oar, which

Tickets for tonight’s show are priced at will eventually gain a rabid cult following,

three dollars. Support comes from Fat, who and two even more obscure discs, Halfbreed will shortly release a rare self-titled LP on by The Keef Hartley Band and Heartbeat by RCA, and Barry T & The Studebakers, whose Jimmie & Vella.) greatest claim to fame is probably playing this show with the VU. Although he’s not , Mid-to-late January listed on the official bill, Jonathan Richman Quiet Knight, Chicago, IL opens for the Velvets tonight using Sterling According to an article in the Chicago Tribune, Morrison’s Gibson 335 and Vox Super Beatle The Velvet Underground play at this Windy guitars. It’s probably this show that Morrison City club for “about two weeks.” The exact

will later refer to in There’s Something About dates are unclear, but this semi-residency has Jonathan: Jonathan Richman And The Modern definitely started by January 14 at the latest, Lovers by Tim Mitchell, in which he recalls and probably wraps up on January 25 (as the teenaged singer-songwriter “ask[ing] if indicated in a subsequent Tribune listing). he could open for us, and we said: ‘Can’t see The venue itself might be relatively low-key, anybody stopping you!’… I guess he played but the schedule isn’t: the Velvets are play-

[four or five] songs, ‘Howard Johnson’s’ ing three separate shows per night, at 9pm,

among them, to an … uncertain effect on 11pm, and 12:30am, with “special seating for

the audience.” minors.”

“I think I gave him his first indoor gig,” As Lynn Van Matre writes in the Tribune on

adds Nelson. “The way he tells the story is that January 16, “Advance notices of the group’s

he went and got Sterling’s permission. But the appearances had promised the … freaky light-

fact is, he wouldn’t have gotten on the stage show which accompanied it on its last visit to

Woodrose in the small town of South Deer-without my permission. [If] it was okay with Chicago.” It’s not part of the show, but Van field to this venue in the much larger city the Velvets, I would have said, ‘Well, if it’s okay Matre is nonetheless suitably impressed by the of Springfield (also part of Western Mas-with them, it’s okay with me.’ Sort of like, ‘If “howling, throbbing beat intensified by three sachusetts). “Even though there were a lot it’s okay with mom, it’s okay with me,’ that giant amplifiers … and when they get it all of colleges around there, we really weren’t kind of thing. He just got up there with a gui-together, which [on] Wednesday took quite making it at the South Deerfield location,” he tar and his amp, and he started wailing away a while, the Velvets exude a sort of exciting, explains. “I think the landlord wanted to raise in his inimitable manner. I think people in cynical, savage degeneracy, their songs deal-the rent or something like that, I remember the audience were just completely perplexed ing with mainline drugs, some kinds of love, we had some dispute with him. Also, Deerfield as to what it was all about.” whips, and leather – Dylan-esque with de Sade was very conservative; it was the location of Nelson believes that the Velvets’ shows for overtones.” the Deerfield Academy, this conservative prep him in Western Massachusetts during 1969–70 Van Matre describes Lou Reed as “whip-school. There were a lot of people there that provided the inspiration for their song ‘Train pet thin, curly-haired, in boots almost con-weren’t too keen on having us around, and Round The Bend,’ as featured on Loaded. cealed by bell-bottom trousers, ruffled shirt people were trying to run us out of town. “That’s talking about going back to New York with cuffs peeking from black jacket sleeves, “Between all that, we started thinking, from playing in Western Mass, because they black scarf festooned with full-blown roses ‘Well, maybe we should go somewhere where would take the train up to Springfield,” he about his neck” – a dandy look verified by we can get at a bigger market.’ We found an explains. Doug Yule will introduce the song the photograph accompanying the story. absolutely incredibly beautiful theater in as being about the Long Island Railroad at a Maureen Tucker by contrast is “a frowsy, Springfield, and we could draw people from May 27 1973 gig, but according to Nelson, “If friendly redhead who radiates a naive eager-Hartford [Connecticut] there, because that’s you look at the time that it was [written], it’s ness as she drums, working up the sweat of only about 20–30 minutes away. In South when they were playing [in Western Massa-honest labor, and who giggles with pleasure Deerfield, that was too far, we wouldn’t draw. chusetts] a lot. And [Reed sings] about [how during her occasional singing stints on the We felt like we needed a bigger market to he] ‘couldn’t be a farmer,’ ‘I’m not a country simple ‘Afterhours’ and ‘I’m Sticking With serve, and had this beautiful theater to work boy,’ ‘take me back to the city,’ all that kind of You’ (’cause she’s ‘made of glue’). But then, with, so we just moved our operation and thing. It’s not really that connected with Long her part over, she scuttles back to her drums, called it ‘The Woodrose Presents At’ … But Island. So I don’t really buy that. I grew up in Reed grins twitchily, the other guitarists stare it was still basically the same people, the same Long Island. It doesn’t have too many bends impassively and the group gets into something operation. We just moved our home.” on that track!” like ‘White Light/White Heat’ or ‘I’m Waiting In the audience tonight is Nelson’s wife Jan, For The Man,’ the words almost indistinguish— who remembers the Paramount Theater as Sunday 11 able in the screeching, frantic beat that can “a great place. Shabby-chic of course, but it Shorty before appearing at the city’s Quiet commandeer your ears and somehow find its had a beautiful stage and great acoustics, and Knight club, the Velvets are mentioned in the way inside your feet, head, and brain, where [the Velvets] did a great performance. The Chicago Tribune, in which critic Robb Baker it explodes.” place was packed, which was unusual. The is tasked with listing his 40 favorite albums A handwritten setlist by Sterling Morrison audience loved it, there were a lot of fans of 1969. The Velvet Underground doesn’t documenting all 31 songs played by the group , An arrow denotes an estimated date. 269

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on January 15 will later be reproduced in some and William Burroughs (prose), a light The Main Point is a small but very popular cof-copies of the three-LP VU bootleg Searchin’ For show, dance, theater, and what the Village feehouse in the suburbs of Philadelphia that, My Mainline. It includes, in order: ‘I’m Wait- Voice describes as “inflatable environments,” like the Second Fret and other clubs across ing For The Man,’ ‘Some Kinda Love,’ ‘Lucy tonight’s event is likely one of the more mem-the USA, is branching out from its folk roots Brown’ (probably a variation on ‘Sweet Bonnie orable New York multimedia happenings of to include rock groups as well. Years later, the Brown’), ‘I’m Sticking With You,’ ‘Lisa Says,’ the era. club will be remembered mostly for helping to ‘Ocean’ (here titled ‘Here Come the Waves’), break Joni Mitchell, Bruce Springsteen, and ‘Heroin,’ ‘White Light/White Heat,’ ‘I’m Set other singer-songwriters, but it also hosts the

Free,’ ‘After Hours,’ ‘What Goes On,’ ‘Foggy Velvets. Support comes from Donal Leace, February

Notion,’ ‘Sweet Jane,’ ‘I’ll Be Your Mirror,’ described as “a personable young folksinger”

‘Femme Fatale,’ ‘I Can’t Stand It’ (here enti-in a blurb in the Villanovan, the student news-tled ‘Can’t Stand It Anymore’), ‘Beginning To paper of nearby Villanova University. Oddly, See The Light,’ ‘Venus In Furs,’ ‘Rock & Roll,’ the same press clip notes that the Velvets

‘Run Run Run,’ ‘Candy Says,’ ‘Pale Blue Eyes,’ Thursday 19 have made radio and TV appearances in the ‘There She Goes Again,’ ‘One Of These Days,’ Midwest and on the West Coast during the

‘Sister Ray,’ ‘Jesus,’ ‘We’re Gonna Have A Real previous fall, but no other evidence exists of

Good Time Together,’ ‘Over You,’ ‘The Story the group appearing on television in 1969. (A

Of My Life,’ and ‘Sunday Morning.’ (The March 6 1970 story in Fusion mentions that same bootleg also includes another shorter, the Velvets will be returning to the Main Point undated setlist, comprising: ‘We’re Gonna “within the month,” but there’s no further

Have A Real Good Time Together,’ ‘Some record of this subsequent engagement.)

Kinda Love,’ ‘I’m Sticking With You,’ ‘I’m

Waiting For The Man,’ ‘Lisa Says,’ ‘Beginning

To See The Light,’ ‘White Light/White Heat,’ March ‘I’m Set Free,’ ‘After Hours,’ ‘Lucy Brown,’

‘Femme Fatale,’ ‘New Age,’ ‘Heroin,’ ‘Sweet

Jane,’ ‘I’ll Be Your Mirror,’ ‘I Can’t Stand It,’

‘Over You,’ ‘Here Come The Waves,’ and

‘Pale Blue Eyes.’) Undated March

Head Quarters, Reading, PA

Friday 23 The March 6 edition of Fusion states that the M RECORDING JohN caLe aNd TeRRy Velvets are set to play at the Head Quarters RiLey details unknown. “within the month” – which could mean later After a gap of eight months, work resumes in March, or in early April – but there’s no

on Church Of Anthrax, resulting in the album’s other record of such a show taking place.

first completed track, ‘The Soul Of Patrick

Lee.’ Adam Miller comes in to provide a vocal Friday 6 overdub; it’s possible that the session amounts Fusion runs a basic (and generally positive) just to fine-tuning and overdubbing of the overview of the Velvets by Robert Greenfield version recorded in May 1969. ‘The Soul Of entitled ‘c/o The Velvet Underground New

Patrick Lee’ will eventually open side two of York, NY’ – a phrase later used as the title of

the LP as the only thing on the record that a 2007 exhibition of rare VU memorabilia at

could be called a rock song. With its haunting Glenn Horowitz Bookseller in New York City.

mood, reminiscent almost of British folk-rock, The magazine also prints a lengthy interview

it’s also the only Church Of Anthrax track that’s with Sterling Morrison by Gregg Barrios, con-even remotely similar to the material on Cale’s ducted last year in Texas (see October 23–25

true solo debut, Vintage Violence. (Final rework-1969). ings of the four remaining Anthrax tracks take place on unspecified dates later in 1970, and Wednesday 11–Sunday 15

are covered at the end of this chapter.) Second Fret, Philadelphia, PA The Velvet Underground are playing in Phila-

Saturday 31 delphia – and at the Second Fret in particular Angus MacLise, Bleecker Street Cinema, Just over a month before the album’s release, – so regularly that the city and venue could New York, NY all ten of John Cale’s Vintage Violence composi-almost be said to have taken over from Bos-MacLise’s performance at midnight tonight tion are registered today. ‘Gideon’s Bible’ is ton (and the Boston Tea Party) as the group’s forms part of a benefit for the Paris FilmMak-registered as ‘A Day With Clancy,’ while the second home. If the Velvets are serious about ers’ Cooperative, an event that also features song later known as ‘Ghost Story’ is almost maintaining their boycott of New York City, screenings of Tony Conrad’s The Flicker, Ira certainly the one registered today as ‘The but still in need of live work, it makes sense Cohen’s The Invasion Of Thunderbolt Pagoda, Haunting.’ to play regularly in Philadelphia, the closest Andy Warhol’s Couch, and the world premiere major city to Manhattan. Support for the final of Piero Heliczer’s The Stone Age. Combined Thursday 19–Sunday 22 three shows of this five-night engagement with readings by Gerard Malanga (poetry) Main Point, Bryn Mawr, PA comes from the obscure local act Phaedra.

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“It was a good venue, ’cause it was a mod-turning up to sing. It’s something I want very label vehemently rejected the acetate of those erate-sized club,” says Doug Yule when asked badly to get rid of. I don’t want to play in sessions submitted to it for consideration by about the Velvets’ regular visits to the Second any more clubs. I’d like to do concerts, and Norman Dolph. John Cale might however see Fret. “It was kind of intimate, like the Matrix. maybe colleges would be good. But I don’t it is as some form of cosmic justice that his But the reason we kept going back was prob-have a manager, and nobody knows me here.” debut solo album, Vintage Violence, is coming ably because they would book us, and Sesnick, It’s also reported that Nico has between 15 out this month on the very same label, lit-he’d take whatever he could get that would and 20 songs of her own that she wants to tle more than four years later. (Confusingly, pay him some money. It was close – you could record, although the album she goes on to March 25 and May 6 are both mentioned as actually take a train down – so it was a good make later in 1970, Desertshore, includes just release dates on CBS documentation, suggest-opportunity for him. I liked it there, ’cause eight of them. ing that the album might be slightly delayed. it was a fun place to practice, and it was also When it comes to finding good manage-It will certainly be out by the summer, how-a nice city to walk around in general. But it ment, of course, Nico can be her own worst ever, as it’s mentioned as a new release in the really wasn’t any more memorable than any enemy. “I am looking for a manager, and want June 26 1970 edition of the Commonwealth other venue.” to do some concerts here [in London],” she Reporter in Fond Du Lac, Wisconsin.)

tells the March 14 edition of Disc & Music Vintage Violence fails to make the charts,

Friday 13 Echo. “Perhaps the Albert Hall. I did sign with however, with Columbia proving no better at

In a letter to Danny Fields, Nico mentions Jo Lustig [manager of Pentangle, Steeleye breaking Cale as a solo act than MGM with having recently played at the Roundhouse in Span, Ralph McTell, and others] a couple The Velvet Underground. (As of this writing, London. The gig is arranged by Joe Boyd, who of years ago, but then I flew off somewhere the only one of Cale’s solo LPs to chart is Honi also wants to produce the singer’s new album. and never came back. I bumped into him the Soit, which reached Number 154 in 1981.) “I don’t know if it is to please me, or if it is to other day and he’s still cross, and won’t have As silly as it might seem nearly 40 years later, send down the people’s throats,” she writes me back again.” (Nico’s association with Jo the problem stems in part from the title and in an unexpected flash of gallows humor. She Lustig might have actually been instigated in the cover. Although Vintage Violence is actually also notes that the Philippe Garrel film in 1965, when she spent time in London and a fairly mild and relatively accessible singer-which she’s been acting, La Cicatrice Intérieure, recorded her first single for Immediate.) songwriter album, Columbia is initially under is almost finished, but as far as coming back The Disc & Music Echo piece also notes the impression, because of the title, that it to the USA is concerned, “I would return to that Nico and Philippe Garrel will shortly be might contain inflammatory or controversial New York but I am scared that nobody wants heading to Siberia to finish the film that will material. The album’s release comes at a time to know me anymore.” become La Cicatrice Intérieure, but it’s doubt-when actual violence has recently broken out

ful that this particular trip is ever made. The across the country in the form of student dem-

Sunday 22 Melody Maker article ends with Nico making an onstrations, race riots, and terrorist bombings

Roundhouse, London, UK eerie premonition of her own demise. “I can’t by radical groups. (Ironically, Columbia only Although the dates and locations are difficult stand the thought of going to New York, so fans the flames by advertising the record with to pin down, Nico appears to have played I’m flying to Ibiza,” she says. “It’s my favorite the line “it’s been a long time bleeding.”) several solo shows in Europe this winter, place, and I think I’ll die there.” Those unfamiliar with Cale – or for that including concerts in Amsterdam, Paris, and matter those familiar with him through The

London. One confirmed appearance is on Wednesday 25 Velvet Underground – might also get the this March 22 Roadhouse bill alongside Kevin The Velvet Underground initially had Colum-impression from the jacket that the record Ayers, Third Ear Band, Jody Grind, and Gra-bia Records in mind when they recorded the is violent or at least jarring. Cale initially had cious, even if the Melody Maker advertisement bulk of their first album in April 1966, but the Andy Warhol design a jacket, putting spools for the concert manages to misspell her name

as ‘Niko.’ It might be here that Nico first

meets Ayers, with whom she’ll play a more

celebrated concert on June 1 1974 that also JOHN CALE

features John Cale and Brian Eno. Vintage Violence “She contrived to transcend barriers of taste

and finally left the stage to warm applause,”

writes Richard Williams in his Melody Maker A1 ‘Hello There’ (CALE) review of the show. “Hers is difficult music. A2 ‘Gideon’s Bible’ (CALE) Its tonal range circumscribed by the sound of A3 ‘Adelaide’ (CALE) the harmonium she played and her intensely A4 ‘Big White Cloud’ (CALE) personal, desolate delivery. The emotional A5 ‘Cleo’ (CALE) range of these interior monologues is, how- A6 ‘Please’ (CALE) ever, unlimited, and among the most memo- B1 ‘Charlemagne’ (CALE) rable of the songs were ‘My Empty Pages,’ B2 ‘Bring It on Up’ (CALE) ‘No One Is There,’ and a new song in her B3 ‘Amsterdam’ (CALE) native German.” B4 ‘Ghost Story’ (CALE)

Williams also writes a short Melody Maker B5 ‘Fairweather Friend’ (GARLAND JEFFREYS) feature on Nico this month, in which the

singer confesses that she hasn’t been asked US release: March 25 1970 (Columbia CS 1037) to do any more gigs. “Who should ask me?” UK release: 1971 (CBS 64256) she wonders. “I have a reputation for not

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of film from photographs given to him by years in burgundy, anise, and chili peppers revisits an old favorite, recording ‘I’m Waiting Cale onto a white surface. Cale thinks it … this is an important album, even though For The Man’ – a song he’s already attempted looks great, but the label rejects the artwork it takes a while to take hold. It stands up well at least once in the studio – for a BBC session because it shows him with long hair, which next to such masterpieces as [Van Morrison’s] to be broadcast on April 6. Using The Hype he doesn’t have anymore. A headshot of Astral Weeks, Jesse Winchester’s album, and – as his backing band, Bowie gives the song a Cale’s face (with suitably close-cropped hair) yes, I dare say it – [Bob Dylan’s] Highway 61. far harder-rocking arrangement here than on covered by a nylon stocking is used instead. It is a deeply moving, personal statement by the 1967 studio out-take, with slashing, fuzzy “The cover and the title may have represented an artist who just doesn’t compromise in any power-chords and a heavy, dragging beat that John, but I don’t think they represented the direction and I believe that it is destined to accelerates into a harem-like rhythm at the content of the album,” notes co-producer become one of the most important albums of end. Lewis Merenstein. “That album is as much the past few years. The Velvet Underground are still largely ‘vintage violence’ as powder puff, compared “Obviously, there is a story here,” Ward unknown in the UK, so there can be no doubt to The [Velvet] Underground. When they continues. “There is a list of characters on that Bowie plays a vital role in exposing the were warmed up on stage, there was some vin-the back, and times and places crop up as group, and Lou Reed’s songs, to British audi-tage violence.” they would in a diary. The story goes untold ences over the next few years. In fact, in a

It is nonetheless a pretty striking image, in a literal sense, though, and the inferences couple of years he’ll be singing ‘I’m Waiting while the jacket exhibits further good taste don’t make a whole. No matter, because it’s For The Man’ on stage with its composer. by including a short poem about Cale by his just as interesting to listen and let the total friend and collaborator Garland Jeffreys as gestalt form slowly. About all you can tell

well as a ‘list of characters’ by Cale that hints after the 60th listening is that there is more April at the themes of some of the songs. A brief to be gotten, and it may take years. Like Van liner note by Merenstein lets browsers know Morrison’s lyrics, Cale’s pop out at you at odd that Cale has played in The Velvet Under-times and sock you right in the stomach … ground and produced Nico and The Stooges, The songs themselves are delightful, melodic but it won’t help the album shift many copies, things which almost (but not quite) belie the Undated April and nor will Cale’s failure to play even one spirit of the lyrics.” By the start of April, The Velvet Underground concert as a solo act in 1970. (He won’t give In Fusion, copyeditor Tim Jurgens will sub-have almost certainly finally left MGM Records his first such performance until January 17 sequently give Vintage Violence an honorable and signed with Atlantic; Sterling Morrison 1971.) mention as one of the “other good ones” in himself gives a date of April 1970 to Mix maga-

“John didn’t have a band to play with, ’cause his list of the best albums of 1970. “At one zine. Founded in the 40s, Atlantic went on to Garland was working on his own project, so it and the same time a piece of high-faluttin’ establish itself as perhaps the greatest inde-wasn’t John Cale & The Garland Jeffreys Band, fluff and a Serious Artiste statement, Vintage pendent pop-music label around. It started so to speak,” Merenstein explains, adding that Violence is alternately catchy and absorbing,” out primarily as a rhythm & blues imprint, CBS “didn’t promote [the record]. I don’t he writes. “Whatever Cale was trying to do, I but moved into rock’n’roll and jazz in the 50s, think they had a clue how to promote it, or think he succeeded.” helping guide Ray Charles, The Drifters, The what to promote. They put it out, and waited Praise such as this notwithstanding, Colum-Coasters, Bobby Darin, and Aretha Franklin to for something to happen.” Part of the prob-bia will opt not to hold on to John Cale for stardom. The label is no longer wholly inde-lem, Merenstein says, is that Cale “wasn’t seen another solo album, although the label does pendent, having been sold to Warner Bros in as a mass-market performer. I think they were still issue Church Of Anthrax, his collaboration 1967, but is still a major player in the record trying to find out where to put him, or where with Terry Riley, in February 1971. Cale him-industry, having moved in recent years into it worked best for him. If I’d had John with-self will spend much of the latter part of 1970 the rock market with The Rascals, Cream, Buf-out that band and created some kind of John helping to mix CBS’s back catalog into the falo Springfield, Led Zeppelin, The Bee Gees, Cale orchestral kind of a situation, they might quadraphonic format, which often involves and Crosby Stills Nash & Young. have felt more familiar with it, and pursued it. working on recordings highly dissimilar to Atlantic co-founder Ahmet Ertegun alleg-As a parallel, Warner Brothers did [the same his own music. (“I remember him telling me edly turned down the chance to sign The thing] with [Van Morrison’s] Astral Weeks; they that one of the best mixes in quadraphonic Velvet Underground in 1966, partly because didn’t know what it was. But if [Vintage Violence was Paul Revere & The Raiders,” Susan Pile he didn’t want to release ‘drug songs.’ He’s had] sounded like The Velvet Underground, recalls.) When Cale eventually resumes his still the chairman of the label now, but has then they would have known, ‘Ah, we got John solo career, it will be for a different label, enough taste and humility to bring the group Cale doing something that’s familiar to us.’ Reprise Records. over to Atlantic when the opportunity arises. The disc jockeys would have jumped right on According to Sterling Morrison, Ertegun first

it. Coming from The Velvet Underground to ALSO … approached them at a private industry show Vintage Violence, it was like 180 degrees.” David Bowie, the young singer-songwriter who at the Salvation in New York in early 1970.

The album won’t get much press coverage has adored The Velvet Underground since (Although not open to the public, this show either. The rare rave review it receives from hearing an acetate of their debut album in – for which the Velvets shared a bill with The Ed Ward in the September 17 issue of Rolling December 1966, has recently made his chart Chambers Brothers – is one of only two that Stone is perhaps a textbook example of how breakthrough in the UK with ‘Space Odd-the group are known to have played in Man-great reviews don’t necessarily sell records. ity.’ It will take a while for him to build on hattan between May 1967 and June 1970.) Ward describes Vintage Violence as “an album the success of that late-1969 Top Five hit, but The circumstances of the Velvets’ transition of amazing complexity,” adding that “most of he’s already begun to shed the sub-Anthony from MGM to Atlantic will remain murky; so the songs sound like a Byrds album produced Newley theatricality of his 1967 debut LP in too the relationship between the group and by a Phil Spector who has marinated for six favor a harder, kinkier rock sound. Today he MGM. MGM will often be pilloried in later

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years for its failure to serve the group better, that they didn’t know how to handle us, what so, and will later tell Mix magazine that Curb but some things should be said in the label’s to do with us. Or any rock’n’roll group they “wanted to get rid of the controversial bands, defense. Firstly, MGM – or at least its Verve had taken on. They never distributed our including the Velvets.” subsidiary – did sign the group at a time when records. I don’t know how many times we’d It’s possible too that dropping the Velvets is other big labels – including Atlantic – passed play somewhere, and people would say, ‘We simply a financial decision, a consequence of on the opportunity. Secondly, the label rarely can’t get your records.’ Not just the kids, but bureaucratic incompetence, or both. A March interfered with the group’s artistic ambitions, disc jockeys, record store owners.” 7 1970 cover story in Rolling Stone reveals that except perhaps for when Tom Wilson had Some accounts suggest that The Velvet the company has lost $17 million in the past them record ‘Sunday Morning’ – a great song Underground had a four-album deal with year alone, and that Curb has already released in any case – in an attempt to make their first MGM. The group’s original contract does 80 acts and 250 staffers. Lou Reed himself album more commercial. not mention this: it stipulates only that the will later tell Creem that he doesn’t think Curb

Of course, this artistic freedom might well group is obliged to record a minimum of six kicked the Velvets off MGM because of their have been granted out of ignorance rather tracks between May 2 1966 and May 1 1967; drug associations, adding, “We wanted to get than benevolence. “We were allowed to a minimum of 12 for the first year in which out of there.” put out those things mainly ’cause nobody MGM exercises its option to extend the con-Regardless of how Curb and his company there knew anything,” Reed later tells the tract; and a minimum of 24 tracks per year might feel about the Velvets, it’s obvious that British magazine ZigZag in an unpublished after that up to the year ending May 1 1971. the group are not big moneymakers. Their 1972 interview. “Had they known, I’m sure Even so, it will later be speculated that the third and last LP for the company failed to it wouldn’t have been allowed out. But since material recorded by the group in 1969 was chart, and as such they’re prime targets for no one listened … or they’d listen to our stuff an attempt to fulfill the obligation of a fourth the label’s cost-cutting measures – even if and say, ‘My god … that’s fine,’ and just wave LP before they moved on. MGM is quick to exploit the VU back cata-us out of the office.” A few years later, in a If that’s the case, it doesn’t explain how the log, releasing its first VU compilation LP in 1977 Melody Maker interview with Allan Jones, Velvets manage to wiggle out of the contract August. By 1972 the troubled label will be sold Reed adds, “We didn’t have to fight anyone in early 1970 without completing or issuing a to Polygram, which will eventually treat the to have them recorded. I mean, the record fourth LP. Perhaps MGM considers the 1969 VU back catalog with the respect it deserves company didn’t know what we were doing. out-takes to be a fulfillment of the contract, (albeit not until the CD era). They couldn’t stand LISTENING to our but the label won’t issue the material in any There’s also the possibility that the Velvets’ records. Really. All they knew is that we sold form until the mid 80s. In fact, in her inter-departure from MGM is not so much insti-just enough albums to justify making another view with Victor Bockris for UpTight, Tucker gated as unnoticed. Among the more aston-one, and other groups were being signed up even hints that the Velvets might have hoped ishing revelations in the March Rolling Stone and they were citing us as an influence.” (The for the MGM out-takes to be issued by Atlan-expose is that the label has “failed to keep highest-ranking executive at Verve who might tic. “I think I figured it would just get picked Laura Nyro, Tim Hardin, Frank Zappa, and be construed as being in any way sympathetic up by the next record company, not realizing The Mothers Of Invention simply because to artistic integrity when The Velvet Under-that MGM would own it,” she recalls. “But their contracts had run out and [it] had failed ground signed in mid 1966 was Jerry Schoen-when we switched labels, MGM wouldn’t give to pick up their options.” Even in the wake baum. He’s long gone by 1970, having moved up the tapes … as far as I know we couldn’t of the clean-cut Cowsills’ third hit, the article himself to Atlantic on August 5 1968.) put our hands on it, because I’m sure if we continues, “MGM once again failed to pick

Curiously, VU manager Steve Sesnick will could have we would have released it right up the option. Obviously aware of the mis-later note that MGM actually did give the away on Atlantic.” management of the company, The Cowsills Velvets substantial support for hotels, touring It will also later be suggested that MGM is let their option run out and then [resigned] expenses, and advertising. This is confirmed glad – and perhaps eager – to be rid of The Vel-with MGM at a much higher rate.” in a February 2000 Mojo interview with Doug vet Underground. A lot of personnel changes The article also details “the failure of MGM Yule, who says that Sesnick “fooled MGM for have taken place at the company since 1966. accounting to keep copies of contracts drawn years. We traveled first class when I first joined By 1970, the label is run by Mike Curb, who with entertainers,” adding that “there was no the band. First-class hotels, first-class airfare, has begun to move it in the more wholesome way for MGM to know exactly what was owed and MGM footed the whole bill. And it was direction of acts such as The Osmonds. Later an artist until the artist demanded payments. his chutzpah that did that. Because the group this year, Rolling Stone will report on Curb’s Enormous advances were paid out to solo art-didn’t have any success to back it up.” Perhaps termination of 18 MGM acts who “advocate ists and groups and there was no way to review the general chaos into which MGM has fallen and exploit drugs.” Curb declines to name the contracts.” Given the depth of disorganization by the late 60s makes it easier to pass lavish acts in question, while in December 1970 an at the company, it’s just possible that MGM expense accounts through the company. MGM rep tells Rolling Stone that “it wasn’t 18 doesn’t even pay attention to whether the For a while, according to Vic Briggs of The groups” and that Curb was misquoted, add-Velvets are still signed to the label – even if, Animals, the label doesn’t even have a chief ing, “The cuts were made partly to do with assuming they resigned on May 2 1969, the executive. the drug scene … maybe a third of them had VU would theoretically be obliged to stay at

All of this is disputed by Maureen Tucker, to do with drug reasons. The others were the label until May 1 1970. who in her reliably candid recollections in dropped because they weren’t selling.” Even The closest we’ll ever come to an explana-UpTight: The Velvet Underground Story claims so, had they still been signed to the company, tion from MGM itself comes in the May 1971 that MGM didn’t pay for any of the group’s The Velvet Underground would certainly have issue of Creem, in which a Los Angeles repre-travel costs, and that she was sometimes given been at the top of any real or imagined ‘drug sentative of the label tells Lester Bangs, “The eating expenses of two dollars per day while purge’ at MGM. It’s possible that the label is [Velvets’] lead singer is the most absolutely on the road in 1969. Even more galling to already keen to wash its hands of the band in spaced person I have ever met in my entire her, as she tells What Goes On years later, “is early 1970; Sterling Morrison certainly thinks life. I think he was on speed all the time they

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were here. And on top of all that, he had the he scribbled ‘unknown glyphs in spontane-ity. Because he has a very strong feeling for nerve to tell me what a fucked-up company ous writing’ done in a trance.” A full-page her, and she’s totally honest. I think she’s MGM is, how much he hates the way we’re photo of Hetty MacLise is also included in kind of, to a great extent, the glue that kept handling ’em, and why don’t we give ’em the article. things rolling many times when they might any promotion – he’s sitting there running have otherwise come into pieces. She’s one

down the people who are giving me a pay- Wednesday 15 of my favorite people of all time; she’s just a check every week! What am I supposed to do, M RECORDING Atlantic Recording Studios, magnificent person.” agree with him?” It’s possible therefore that 1841 Broadway, New York, NY. Producer/engi-In any case, the Velvets have a large stock-the Velvets have talked their way out of any neer Adrian Barber. pile of songs to choose from when the ses-good graces the label might have been able to The Velvet Underground are without Mau-sions commence – more so perhaps than grant them, although the LA rep’s comments reen Tucker when they assemble at Atlantic at any other point in their career. As well don’t address whether MGM actually is giving Recording Studios in mid April to begin work as the ten Lou Reed compositions eventu-them much promotion. on the album that will become known as ally chosen for the final LP, they’ll lay down

All things considered, it’s a no-brainer Loaded. Pregnant with her first child, Tucker demos and out-takes of at least nine other for the Velvets to abandon ship and make is forced to take a leave of absence from songs during the course of the spring and a fresh start, record-wise, with Atlantic in the band. “I came down there to try [but] summer. That’s not even counting the 15 1970. They’ve made some money from tour-I couldn’t reach the drums I was so fat,” she or so tunes that are still festering in MGM’s ing, but it’s not making them rich: accord-recalls regretfully in Victor Bockris’s UpTight: vaults as 1968–69, and therefore presum-ing to a March 6 article in Fusion, the band The Velvet Underground Story. “I was really disapably eligible to be re-recorded for Atlantic. makes between $600 and $2,500 per week. pointed at that too, because I really wanted There are even a few songs that the band They need to sell more records to maintain a to play on ‘Ocean,’ and I just couldn’t.” (The have played live but not yet recorded, such as viable career. But by the time they start work song is recorded at the sessions, but won’t be ‘Over You,’ ‘Sweet Bonnie Brown’/‘It’s Just on their real fourth album in mid April, used on the final LP.) Too Much,’ ‘Goodnight Ladies,’ and ‘Fol-there’s already a bad omen, with one of the It’s not clear exactly when Tucker plays low The Leader.’ There’s enough in fact to band-members unable to participate in the her final show with the Lou Reed line-up of fill a strong double-album. “It always seemed recording sessions. The Velvet Underground, but she definitely that we had so much material,” Yule recalls.

doesn’t play on any of the tracks that have “Lou was very prolific. I think at any point

M RECORDING aNguS MacLiSe St Mark’s been released from the Loaded sessions. (She in his life, he could probably put together a Church, 131 East 10th Street, New York, NY. does however sing on an out-take of ‘I’m Stick-double album.”

As part of a recital at St Mark’s this month, ing With You.’) This can’t help but change It’s not unusual for recording contracts to MacLise records a four-minute piece featur-the tone of the band drastically. Even the stipulate that unreleased songs cut for one ing his usual polyphonic hand-drums and his habitually modest Tucker acknowledges with company cannot be subsequently re-recorded wife Hetty on Phantom Of The Opera-like organ. a laugh in The Velvet Underground Under Review for another label, which perhaps explains why Released on the 2002 compilation The Cloud that there were “a few songs that needed me the Velvets are wary of digging too deeply into Doctrine, it’s simply titled ‘Organ & Drum.’ … Lou and Doug have both said since, ‘[We] their bag of MGM leftovers. But no such legal

It’s also around now that MacLise is pic-should have waited for Moe.’” prohibition appears to be in place, since one tured and quoted as part of the ‘Beyond The Velvets proceed without Tucker, of the two demos laid down on April 15 is Reason’ feature in the spring issue of the however, and end up using four different ‘Rock & Roll’ – a song the Velvets recorded arts magazine Horizon. It’s a photographic drummers at one time or another to cover for MGM on June 19 1969 (as eventually portfolio of various artistic goings-on in up for her absence. “I don’t think any of us included on Another View). ‘Rock & Roll’ will the bohemian counterculture, including a knew she was pregnant until Loaded was just end up being the only MGM-era leftover to few “witches, warlocks, herbalists, shamans, about to happen,” Yule recalls. “Sesnick said, make it onto Loaded, but the demos and out-astrologists, and disciples of other mystical ‘Maureen’s pregnant, she can’t play.’ That takes on the later Fully Loaded Edition include practices” in the Stockridge, Massachusetts, has been to my undying regret that I didn’t remakes of ‘Ocean,’ ‘I’m Sticking With You,’ community in which the MacLises are now have the balls to say, ‘No, then let’s wait till and ‘Ride Into The Sun,’ suggesting that the based. (Stockridge is also the location of the Maureen’s ready. I’d rather work a day job band aren’t too worried about this issue. (It restaurant that inspired Arlo Guthrie’s ‘Alice’s then,’ ’cause we lost the closeness of the seems surprising therefore that one of the Restaurant’ and the film of the same name, third album by doing it as a studio album.” standouts of the 1969 MGM recordings, ‘Lisa in which Hetty MacLise appears.) (In The Velvet Underground Under Review, Yule Says,’ appears not to be recorded in any form

The text beside the picture reads: “Angus notes, “By her not being there, it wasn’t a during the Loaded sessions.) MacLise grooves at right with ‘The Instru-band anymore. The thing that I love about The producer of this April 15 demo session ment,’ a contraption built from a barbecue the third album is that it’s a band. And the is an Englishman, Adrian Barber, formerly of part in the image of a lyre. A music shaman, or thing that I hate about Loaded is that it’s not The Big Three, a Liverpool-based group who healer, MacLise here merely fiddles at a social a band.”) at one point in the early 60s were among The gathering in Stockridge. Full trance-sessions “An offshoot of Maureen not being there Beatles’ toughest local rivals. Since joining the are usually held in a marble quarry, in the was that everything else kind of fragmented,” staff at Atlantic, he’s worked with acts such meadows, or at nearby Bash Bish falls under Yule continues. “She’s an anchor, the most as Cream, The Bee Gees, and The Allman a full moon; the call of the drum brings peo-honest and straightforward person I’ve ever Brothers; before that, he made some lo-fi ple together and the nonstop music sessions met in my life. She’s the only person I’ve seen tapes of The Beatles in December 1962 that ‘purge the evil spirits.’ ‘In ancient Greece,’ who can stop Lou at any kind of mood; no will eventually be released as Live! At The Star-says MacLise, ‘music was the last resort in heal-matter what kind of mood he’s in, she can Club In Hamburg, Germany. Both he and Doug ing madness.’ MacLise wears a vest on which shut him down and bring him back to real-Yule play drums on the two tracks that are

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recorded today, with some of the parts pos-The smiley-faced ‘I Love You’ is a long way as the ten-minute epic included on 1969 Velvet sibly being overdubbed. from the way the menace of ‘Venus In Furs.’ Underground Live, there’s still plenty of drama, The Velvets have been road-testing ‘Rock As the title suggests, it’s one of the Velvets’ particularly with its eerie organ. Yule and/ & Roll’ since at least late 1969. Today’s demo slightest recordings. With no drums and or Barber can’t quite approximate Maureen (included on Loaded: Fully Loaded Edition) is a only one guitar, it sounds even more under-Tucker’s spare touch on the drums, however, clear improvement on the June 1969 out-take, cooked than the other demos from this ses-even if the cymbal work has obviously been particularly in terms of Reed’s confident vocal sion, although there is some mildly interesting inspired by the crashing, wave-like parts she and the offbeat jangle of the rhythm guitar. and almost violin-like sustained guitar. The played on the song before being sidelined. It’s Some parts – notably the backing vocals – still song is one that Reed will fish out to fill out another song not destined to make Loaded, require some refinement, however. his 1972 solo debut. “I always wanted to write but the Velvets will attempt it at least once A much bigger surprise to VU archivists is a song called ‘I Love You’ and make it fresh,” more during these sessions, with a markedly a bass-less ‘Satellite Of Love’ (also included he explains in the August 1972 issue of Circus. different approach. on Loaded: Fully Loaded Edition), which will “I figured if I could take a phrase like that Exactly who plays the eerie organ on this later become a highlight of Reed’s second and turn it into something, it would be a real version will remain an interesting point of solo album, Transformer. The Velvets take this accomplishment.” dispute. In the liner notes to Peel Slowly And slightly goofy yet affecting tune at a much ‘Walk And Talk’ is another song that will See, none other than John Cale recalls being brisker pace than Reed will a couple of years later end up on Lou Reed, where it’s renamed brought in by Steve Sesnick to overdub an later. It could still do with some polishing, ‘Walk And Talk It.’ It’s a more satisfying, organ part onto an out-take of ‘Ocean.’ He however, while at some point between now streetwise roots-rock effort, but hardly one of reiterates this in his autobiography, explain-and 1972 Reed will rename the characters Reed’s songs for the ages. Like ‘I Love You,’ ing that the group couldn’t get the right in the bridge, with Winkin’, Blinkin’, and it signifies a move toward the more main-sound, and speculating that it might have Nod eventually becoming Harry, Mark, and stream sound that will come to typify most been Sterling Morrison’s idea to call him in. John. of the Loaded sessions, even if most aren’t as Cale then offers a terse summing-up of the Considering how fun and catchy ‘Satellite blatantly commercial as these two. Loaded-era Velvets: “All I could see was that Of Love’ is, and the extent to which the Vel- ‘Oh Gin’ is a relative sketch of a lyric, but at everything had become more fragrant, the vets are trying to make Loaded their most com-least has more of the trademark VU edginess playing had become much gentler, there was mercial enterprise yet, it’s a little surprising in the form of Reed’s impish, vibrato vocal an almost overwhelming emphasis on play-that the song doesn’t make it onto the final and the way the guitars jerkily bump along. It ing loud.” album. The group will play it live at least once, will later be adapted and expanded into ‘Oh, In the liner notes to Loaded: Fully Loaded according to Sterling Morrison, at a show in Jim’ on Reed’s 1973 LP Berlin, although only Edition, Doug Yule claims to have played the Revere Beach, a few miles north of Boston. the last half of that recording resembles the organ himself, but concedes that Cale might There’s no other record of the band playing ‘Oh Gin’ recorded today by the Velvets. appear on yet another version of ‘Ocean’ there while Lou Reed is still a member, how-The Velvets first attempted ‘Ride Into The from these sessions (the one labeled as a ever, and while Ted Demos of The Apple Pie Sun’ in 1969, and while it will never be one ‘demo’ rather than an ‘out-take’ on the reis-Motherhood Band remembers sharing a bill of their greatest songs, it is notably improved sue). Yule also suggests that Sesnick might with the Velvets in Revere Beach, the show here with its elegiac organ, sweetly buzzing have brought in Cale without consulting probably predated the writing of ‘Satellite guitar, and just the right amount of innocent the rest of the Velvets. Does this then mean Of Love,’ since Demos’s band broke up in yearning in Doug Yule’s double-tracked vocal. that Sesnick is trying to set the stage for Cale the late 60s. It’s a nice dreamy ballad, and wouldn’t have (whose solo career is not exactly thriving) been a bad filler track, but it too will fail to to re-enter the band, or at least become a Thursday 16 find release for many years yet. contributor of sorts – and in doing so help M RECORDING Atlantic Recording Studios, ‘Sad Song’ is one of Reed’s finest regret-to revive a band that could be starting to 1841 Broadway, New York, NY. Producer/engi-ful ballads, and is imbued here with a sense flounder as they get to grips with recording neer Adrian Barber. of compassionate humanity that’s often an album without Maureen Tucker? If that’s In one sense, today is a productive day, swamped by its author’s crusty public image. the plan, nothing comes of it. Cale’s first solo with the Velvets laying down demos of no less While the arrangement of this demo could LP is due out around now, while the other than six different songs, Adrian Barber and use a bit more power, it’s almost releasable co-founder of The Velvet Underground will Doug Yule once again sharing drum duties. as it is, but instead is another song that won’t soon also be out on his own. In another sense, however, it could be viewed be issued until Reed resurrects it as the dev-as unproductive, since none of the songs will astating curtain-closer on his Berlin LP. The Friday 17 end up on Loaded. (They will however try at Velvets however are seemingly trying to make Paramount Theater, Springfield, MA least two of them, ‘Ocean’ and ‘I Love You,’ an upbeat, commercial album for Atlantic, The Velvets take a break from recording to again later on in the sessions.) It’s almost as if without the extreme mood-swings that char-return to the Western Massachusetts venue they’re getting the rejects out of the way first, acterized their early LPs; perhaps ‘Sad Song’ they first played on January 9. A tape exists of although a couple of these songs would have is simply too sad. the show, and while the sound isn’t too hot, made strong additions to Loaded’s tracklisting. ‘Ocean’ is another song that the Velvets with faint vocals and a general blur of ambi-All six of these demos will be included on the first attempted for MGM in 1969, when it was ent noise, it does offer some insight into how Fully Loaded Edition, and although two of them still known as ‘Here Come The Waves.’ Since the group sounds right as they’re starting to had already featured on Peel Slowly And See, then it’s had ten months or so to develop on work on Loaded. Most strikingly, it sounds these versions add some incidental pre-song stage, and certainly sounds better this time as though the band is operating without a chatter and, in the case of ‘Walk And Talk,’ around. Reed’s vocal is more assertive, and drummer on some of their quieter songs. a brief false start. while this six-minute demo is not as sprawling Instead of digging up a temporary replace-

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as I said, they never let me down. [To] some

people in the audience, who knows? Maybe

they wouldn’t even know the difference.”

The peculiarly pared-down VU play with

commendable enthusiasm. It’s hard to tell

that anything is amiss from Reed’s enthusiastic vocals, while the setlist is notable for the inclusion of a number of oddities, among

them an untitled three-minute instrumental

that bears a passing resemblance to the instrumental breaks sometimes thrown into ‘Foggy Notion.’ It could just be a warm-up or soundcheck, since you can hear an emcee yelling “test” once in a while before he overeagerly introduces the band, but the playing is still pretty hot. There’s also a frustratingly incomplete recording of the final minute or so of ‘Oh Gin,’ which bounces along energetically

even in its drummer-less state. It has a notably grungier, bluesy feel by comparison to the version recorded at Atlantic a day earlier, and sounds as though it might be an outgrowth of another basic song the Velvets have previously played live, ‘It’s Just Too Much.’

Elsewhere on the tape, ‘Sweet Jane’ is of

interest since by now Reed has rewritten the lyrics, which are now close to the form they’ll take on Loaded, complete with the narrative of sorts that revolves around the characters of Jack and Jane. There are still some neat

variations: the times are not “different,” but “special,” and the radio plays ‘The Dance Of The Wooden Soldiers,’ not ‘The March Of

The Wooden Soldiers.’

The same goes for ‘Lisa Says,’ where Lisa

says “hey Mr America” before asking for a kiss, but unfortunately the tape cuts off in the middle of the bridge. And as with ‘Sweet Jane,’

the lyrics to ‘New Age’ are moving toward

the Loaded version; there’s a guy asking for an autograph now, but the actress is not yet fat, just blonde. Reed is also still singing about making it with Frank and Nancy, and leading

us over a bridge, not a hill. The rest of the tape offers renditions of ‘I’m Waiting For The Man,’ ‘Some Kinda Love,’ ‘Foggy Notion,’

‘Candy Says,’ ‘Beginning To See The Light,’

and ‘Heroin.’ All are well played, but suffer from the generally crummy quality of the recording.

Although some accounts have it that

Jonathan Richman opened for the Velvets at

their previous Paramount Theater engagement for Maureen Tucker, they’ve decided [to] bass on the other tunes. And it went over ment on January 9, Yule thinks that he played to soldier on as a trio, with multi-instrumen- well with the audience.” tonight instead (or as well). “We did two sets talist Doug Yule switching to drums for a few “It probably wasn’t their greatest gig,” says that night,” he recalls. “In between the sets, songs. Steve Nelson of this performance by the three-Jonathan Richman did a guest set in front of “We set up the drums the way I played piece Velvets. “To put it bluntly, I think that it the curtain, just him and his electric guitar. I drums, which is a standard kit,” Yule recalls. was a gig, they needed the money, they came, remember watching that with my mouth open “I’m a mediocre drummer at best. But there they played. They didn’t get to play a lot; I going, ‘My god!’ I was just amazed. It took were some songs we wanted to have drums on, don’t know how they managed to live.” Nelson years to be able to digest that. Finally I went so I played drums on those, and I switched happily gave them the work, he says, “because, to see Jonathan [years later] when he came to

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Seattle, and stopped in to see him, just to say out-takes, alternate versions, different mixes, no excuse for it … The album came out okay, that I did finally digest all of that and who he and demos will subsequently be unearthed for as far as production it’s the best, but it would was and what he was, and just came to really Loaded: Fully Loaded Edition. These offer clues have been better if it had real good Lou vocals appreciate his particular spark of genius.” as to how many of the songs evolve and are on all the tracks.”

refined as the Velvets make a conscious effort, In a May 1971 interview with Lester Bangs

C FILMING Paramount Theater, Springfield, for the first time, to produce a commercially for Creem, Reed confirms that he “originally MA. accessible album. intended to do almost all of the vocals on this

Believe it or not, a pre-1971 film of the Doug The Loaded sessions are marked by several album, but I blew my voice out at Max’s, so Yule/Lou Reed line-up does exist – but only of changes in the way The Velvet Underground Doug took over on several of them, and [the the group playing without Maureen Tucker, operate in the studio. Unlike virtually every songs] got changed around a little – like ‘New and without sound, and in a form that might other top group of the era, they have not Age’ was supposed to be funny, a girl thinking never be seen. As Steve Nelson explains, he until now used any guest musicians on their she was like a movie queen and the guy down has video footage of the April 17 show, “[but] records, but this will have to change now the block was Robert Mitchum. And ‘Sweet it’s not very well shot, because I was first start-that Maureen Tucker has been sidelined. Nuthin’’ was even more different – it was ing to fool around with video, and this friend Four different drummers will end up tak-intended as a rather sly song making fun of of mine had this camera. There’s no sound. ing her place at various points: Doug Yule, some people that it describes and not at all as I don’t know what happened. It was screwed who recalls, “I know I played on ‘New Age,’ the sort of very serious statement it ultimately up. We didn’t know what we were doing. So because there’s a mistake at the end where I became.” Reed also claims to have had trouble I have some video of Doug singing ‘Candy reverse the beat in the ride-out, and I think getting Yule to sing a key line in ‘New Age’ Says,’ ’cause I can read his lips. And then it I played on ‘Rock & Roll,’ too”; engineer so that “catch him” rhymes with “Mitchum.” goes into ‘Heroin’ [with Yule on drums]. Adrian Barber; Yule’s younger brother Billy, (Yule repeatedly sang “catch him” instead of

“I probably have about seven or eight min-who will also take Tucker’s place for the Vel-Reed’s desired “kitchum.”) utes of video,” Nelson continues. “It’s very vets’ extended summer engagement at Max’s As befits such protracted recording ses-grainy, black-and-white, and kind of shaky, as Kansas City; and little-known Long Island sessions by a band needing to cover up for a we didn’t really necessarily know what we were sion man Tommy Castanaro, who probably missing fourth member, the production doing. This camera we were using, a Sony comes in via the Musician’s Union, and is duties are more diffuse this time around than Portapak, was really the first [portable video credited only as ‘Tommy’ on the back of the ever before. The Velvets have been produc-recording device] that ever came out. We were LP because nobody can remember his name ing themselves since the end of 1967 – in just fooling around with this thing.” at the time. fact, given the hands-off methods of Andy

It is nonetheless possible that the tape With Doug Yule multi-tasking on bass, gui-Warhol and Tom Wilson, they could be said might eventually be seen, as Nelson has been tar, piano, organ, and drums, there’s more to have produced themselves from the begin-“trying to match the audio [from the audience overdubbing on Loaded than any previous VU ning. Midway through the Loaded sessions, tape] to the video,” the result of which would LP. “Most of the tracks were recorded two or however, British producer Geoffrey Haslam be “a video with sound of them playing at the three instruments at a time,” he explains in is brought in, and will eventually share the Paramount doing ‘Candy Says’ and ‘Heroin.’ the Fully Loaded liner notes, “and about half production credit with The Velvet Under-I’m not sure I have the whole ‘Heroin’ [on the drums were overdubbed later.” Yule is also ground and another Atlantic staffer, Shel film], but I have a lot of it. I do video produc-singing lead more now than he was during Kagan; Haslam and Adrian Barber are listed tion, so this isn’t a particularly strange thing 1968–69, and as such is taking a bigger role as engineers. for me.” (As of this writing, however, Nelson in the studio than ever before. In fact, he later “The sessions for Loaded were extremely dif-doesn’t have a sufficient audio recording of recalls, he’s now acting as the band’s arranger ferent than those which produced the third ‘Heroin’ to work with.) and musical director. “The year before [Reed album,” Yule recalls in the fanzine The Velvet

left],” he tells the New Musical Express in Octo- Underground. “Many of the songs had been

, Mid April–July ber 1971, “I had a great deal of influence, played live, but the recorded versions were

M RECORDING Atlantic Recording Studios, leading the group, writing songs and doing very different. The emphasis was on airtime. 1841 Broadway, New York, NY. Producers The arrangements, because nobody else would Every song was looked at with the understand-Velvet Underground, Geoffrey Haslam, and work for one reason or another. The Loaded ing that there was a need to produce some Shel Kagan; engineers Geoffrey Haslam and album was predominantly myself doing Lou kind of mainstream hit. On the third album Adrian Barber. Reed’s songs … I was more of an influence we had just played what we wanted, but now

The exact dates on which The Velvet Under-and the group was trying to make it on a com-we brainstormed. New things were tried for ground cut the Loaded material are unclear, as mercial level. Finally we decided we weren’t the first time on the studio floor and they the tape boxes make no reference to specific making money on the underground scene, were usually taped. Songs were built intellec-sessions. The liner notes to Peel Slowly And See and so we had to get on the overground, tually rather than by the processes that live indicate a timeframe of April–July, while the but not selling out … just aim it at people performances brought to bear, instinct and Fully Loaded Edition specifies only “spring/ in general.” trial and error.” summer 1970.” The sessions can’t have started There’s a simple reason why Reed sings less In The Velvet Underground Under Review, any earlier than April 18, however, as the Vel-on Loaded, and it has little to do with Yule’s Yule adds that even the themes of the songs vets played in Western Massachusetts the day escalating influence. As Morrison will ruefully “are more poppy. ‘Who Loves The Sun’ … before; according to Doug Yule, the bulk of note in his 1986 interview with Ignacio Julia, that’s a straight, flat-out pop song.” In an the recordings are finished by the time the “I knew [playing at Max’s] was gonna hurt interview for this book, he recalls going to group begin their residency at Max’s Kansas Lou’s voice, which it did, making it impos-great lengths to produce that elusive hit 45. City at the end of June. sible for him to sing on half of the songs on “I remember editing ‘Head Held High’ and

The dates might be sketchy, but quite a few the album. That’s not desirable, that’s stupid, chopping the shit out of it, compressing the

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crap out of it, specifically to make it into a verse. (An alternate mix on the Fully Loaded some other Loaded tracks), and while this gives certain length and a certain style. [We] were Edition adds some pre-song chatter and, more the studio version some appropriate grit, the even recording it with the idea of, ‘This is significantly, doesn’t fade at the end, coming wear on his voice is noticeable. “At some of gonna be a single.’ It was high energy from instead to a stop on a most pleasing burst of those sessions, he would really push himself, opening to close.” Beatles-esque harmonies as a piano decays singing very hard and screaming, shouting,”

The Velvets are also making a conscious in the background.) Yule recalls in a February 2000 Mojo interview. effort to infiltrate the growing FM radio, ‘Sweet Jane’ is the most renowned Loaded “He’d do five or six hard vocals right in a row. album-oriented audience. “Its purpose was track, but in some respects it’s also the one He’d tear his throat out and then he’d stop; to garner FM airplay,” Yule notes, “which was that will generate the most dissatisfaction he couldn’t do any more that night.” the predominant sort of vehicle for groups from Reed after the album’s release. For An early version of the song unearthed for that weren’t putting out 45s as their main some reason, the “heavenly days of wine and Loaded: Fully Loaded Edition is closer to the live way to the public, and the cult groups, who roses” bridge – which features in numerous ballad arrangement, but with a little more of we had been, and didn’t basically get a lot live versions, including the one heard on an electric charge behind it. (Jane is still in of airplay. Those mainstream FM album- 1969 Velvet Underground Live – is edited out a corset at this point, however, and Jack in a cut stations were the other route to good on Loaded, much to Reed’s displeasure. The vest, rather than the other way round.) It’s gates, money. [Loaded] was designed to reach bridge worked before as a magnificent, unex-really no more than a skeleton, however, and that.” pected contrast to the verse and chorus, but seems almost as if it might just be a practice—

Furthermore, Yule adds, “We were relying perhaps Atlantic cut it in an overeager desire run, particularly with Steve Sesnick beating heavily on overdubs. On the third album, we for radio play. (Fortunately, the full-length, an out-of-time cowbell throughout. It’s much had done sort of live tracking, and then just four-minute version will later be resurrected worse in fact than any of the other studio or dubbed in solos and vocals. But Loaded was for both Peel Slowly And See and Loaded: Fully high-fidelity live recordings of the song that a constructed album, built up track by track Loaded Edition.) will later make it into circulation. from a small core of basic tracks. A lot of Leaving aside the relative merits of the long Several live and studio versions of ‘Rock effects, heavy compression. It was definitely and short versions, ‘Sweet Jane’ is a superbly & Roll’ predate the one included on Loaded, a complete studio album.” raunchy riff-rocker. It’s much more energetic but this is perhaps the only time when the

An unintended consequence of Tucker’s and harder-rocking here than it was in con-LP recording clearly outdoes its predecessors. absence and Yule’s newfound prominence is cert in 1969, its classic power-chord riff having The performance on 1969 Velvet Underground that Sterling Morrison’s studio participation been expanded and toughened with the addi- Live is superb, but the one on Loaded does diminishes. “He was unhappy with Loaded,” tion of a high chord near the end. “That gui-exactly what a studio recording of ‘Rock & Yule says, “because he felt that he had been tar figure was finalized just around the time Roll’ should do, refining and honing the song effectively shut out because Lou and I were we started recording it,” Yule explains in The in a way that enhances rather than dilutes its kind of bubbling around doing all this stuff. Velvet Underground Under Review. “It had been a power. The power-chord riffs are lean yet riv-That was kind of a spin-off of the whole Mau-little different, not as strong before that. And eting; Reed’s vocal oozes cockiness (and even reen thing, and it never should have hap-after that, that really defines the song. Playing ventures briefly into falsetto); the backing pened. After a while, he just stopped coming. it live after that was all about that particular vocals are imbued with just the right amount He’d say, ‘Well, you need me to record any-guitar figure. And to this day, if you play that, of sarcasm; and the glowing, sustain-laden thing?’ And we’d say, ‘Well, we don’t know.’ anybody who’s ever heard that will say, ‘Oh, guitar-solos are admirably economical. Even ‘Well, okay, call me if you need me.’ But he that’s ‘Sweet Jane.’” the drumming is spot on – a rarity during was just kind of feeling bad about it, and I Reed confirms that the chord wasn’t added the Loaded sessions, during which Tucker’s was less than sensitive to that. I was less than until eight months after the first performance absence often leads to a more conventional sensitive to pretty much everything in those of the song in an unreleased rehearsal-tape early-70s hard-rock sound. days.” version of ‘Sweet Jane’ recorded in 1971 at The alternate mix of ‘Rock & Roll’ included

Of the ten songs that eventually end up on the home of Richard and Lisa Robinson. “I on Loaded: Fully Loaded Edition is a lot more Loaded, ‘Who Loves The Sun’ sounds almost maintain it’s that fourth chord, that little hop interesting than many such bonus items of like an announcement of the Velvets’ inten-at the end, that makes that song what it is, the CD age, featuring flippant, falsetto, doo-tion to take a turn for the poppier, particu-makes it fly,” he tells Chris Roberts in Walk wop vocals during the instrumental intro. It’s larly when it’s chosen as the opening track. On The Wild Side: Lou Reed: The Stories Behind a neat idea, but might be a little too tongue-It’s a buoyant rocker with a sentimentally The Songs. “Otherwise you’ve got ‘Twist And in-cheek. (The back of the Fully Loaded Edi-jazzy chord-progression and ‘ba-ba-ba-ba’ Shout.’” Another fine addition is the weird tion also promises a ‘full-length version’ of the backing harmonies that might have come burst of almost celestial guitar that opens the song, but it appears to be the same as the one right off a sunny AM-radio single. That track, revealed by Geoffrey Haslam in the included on the original LP.) doesn’t mean it’s not a good song, or that Fully Loaded liner notes to come from “an As with several tracks on Loaded, ‘Cool It there aren’t traces of irony in the juxtaposi-out-take of something, just a piece of music Down’ sounds more ‘normal’ than anything tion of such a despondent lyric with so uplift-on tape. It’s got a lot of multiple delay on The Velvet Underground have yet recorded. ing a melody, but that irony would no doubt it. But it heightened the surprise of coming There’s no evidence to suggest that Lou Reed be more pronounced had Reed rather than into ‘Sweet Jane,’ to give that downbeat more has deliberately started to tailor his writing in Yule taken the lead vocal. As if to remind impact.” a more commercial direction; his sensibility us that they’re not just your average rock The lyrics, too, have taken on a tougher seems simply to be moving that way. ‘Cool It band, the Velvets add a short, largely word-shape, putting the third-person characters Down’ might be one of the less memorable less bridge in which they seem determined in greater focus while also hinting more bla-VU songs, but it cuts a respectable groove in to jam in as many different chords as possi-tantly at their transvestitism. Reed’s vocal is the camp, pseudo-soul style Reed will develop ble before landing right back on the cheery unexpectedly raw and throaty (here and on further in his early solo career. It’s also one

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of the two Loaded tracks that feature Tommy See version is about a half-minute longer, credits indicate that he also plays on ‘Oh! Castanaro on drums, the other one being extending the final repetition of the chorus Sweet Nuthin’,’ an out-take of ‘Ocean,’ and ‘Head Held High.’ and instrumental tag. It’s also included on perhaps also ‘Train Round The Bend’; his

An early, rudimentary ‘Cool It Down’ Fully Loaded Edition, which adds yet another brother Doug says he also plays on ‘Cool first released on Fully Loaded Edition sounds version that runs about a minute longer than It Down.’ According to Billy, “After playing like a clunky cousin in comparison, par-the LP mix (the balance coming from an even Max’s for a bit, we went in and re-recorded ticularly in the drum department. There’s longer final refrain). ‘Sweet Nuthin’,’ ‘Lonesome Cowboy Bill,’ and a New Orleans-style rhythm & blues piano The five songs selected for side two of ‘Head Held High.’ We were there because at the forefront, wordless scat-singing in Loaded amount to the most straightforward after playing the songs together for two weeks, the instrumental break, and another brief side of an Velvet Underground LP. The open-they had gelled into a better arrangement: rave-up at the close. The lyrics are also very ing ‘Head Held High’ is pretty bluesy, blustery ‘Sweet Nuthin’’ because we got into the tri-different in places, notably when Reed pleads hard-rock by VU standards, but there’s a slight plet rhythm at the end and it seemed to work, for “Henri” to move his camera in the sec-knife-twister when Reed refers obliquely to and ‘Cowboy Bill’ because I used a galloping ond verse. The Henri in question is, as the his parents being “disfigured” when evaluat-rhythm throughout that seemed appropriate. photographer himself confirms, Henri Ter ing their well-meaning advice. Reed’s vocal We did not use the ‘Head Held High’ ’cause Hall, who has become friendly with the band is about as frayed and manic as it gets on the the first was so good: no room for improve-after meeting them at Max’s Kansas City. A album, although the soul-rock backing vocals ment. Doug may have played drums on ‘Cool Dutchman working in New York as an assist-rein the edginess in a bit. An early version It Down.’” ant to fashion photographer Alberto Rizzo, included on Fully Loaded Edition is far more Doo-wop has had a subtle influence on a Ter Hall will soon take a number of pictures stripped-down, with a more Velvets-like, impa-number of Velvet Underground songs, but of the band inside the studio, including the tient rhythm, but the overall sound is a bit no other VU recording pays stronger hom-one used on the back of Loaded. (He’ll also thin. (For the trainspotters, there’s also an age to the style than ‘I Found A Reason.’ It’s take a number of seldom-seen portraits of alternate mix on Fully Loaded Edition described not necessarily intended as such, since the individual group members – including the in the liner notes by David Fricke as a “distor-late-1969 demo included on Fully Loaded Edi-temporarily sidelined Maureen Tucker – at tion-fortified mono mix probably created for tion is played in a country-folk-blues style, Rizzo’s studio.) potential single release.”) complete with harmonica. To those already

The closing track on side one of Loaded, The Velvet Underground’s connection to familiar with the group, it might well sound ‘New Age,’ will later prompt further grum-Andy Warhol is barely audible on Loaded, but like a deliberately satirical pastiche of the bles of discontent about the way it’s recorded. the lyrics to the Yule-sung ‘Lonesome Cowboy genre when Loaded is first released, so dis-Although Reed has sung the song magnifi-Bill’ are partly inspired by Warhol’s 1968 film similar is it to anything on the band’s other cently on stage, he is forced now, because of Lonesome Cowboys. (Reports will later appear albums. Heard outside of that context, it’s a vocal fatigue, to hand it over to Doug Yule, about another, entirely different VU song nicely soothing ballad, with vocal harmonies whose delivery of the lyrics is relatively callow called ‘Lonesome Cowboys,’ but there are inspired by Art & Dotty Todd’s 1958 Number and perfunctory. “No slur on Doug, but he no known versions of it in circulation.) In a Six hit ‘Chanson D’Amour’ (but with the ten-didn’t understand the lyrics for a second” is surprising stylistic departure, the song is virtu-sion and ambiguity many have come to expect Reed’s blunt assessment of the result in the ally country-rock – a big trend in late-60s and from Reed’s lyrics). Peel Slowly And See liner notes. early-70s rock, but not one that the Velvets ‘Train Round The Band’ marks a complete

The lyrics have changed substantially since would be expected to embrace. change of mood, its ballsy, stuttering blues-the song was first played live, and now center It’s temping to view ‘Lonesome Cowboy rock ringing with echoes of late-60s Rolling on a dialogue between an over-the-hill actress Bill’ as a knowing country-rock satire, but it Stones. The shrieking guitar-hook isn’t too and an autograph-seeker. The arrangement is should be remembered that country sensibili-far removed from ‘Honky Tonk Women,’ but also slicker, with more of a piano-organ base, ties aren’t entirely alien to The Velvet UnderReed’s vocal has a characteristically expansive soul-rock harmonies, and a run-of-the-mill, ground, as indicated by the Hank Williams-like and at times almost hysterical energy that slow rock backbeat. Reed later tells Creem’s inflections on some of their July 1965 demos, sets the song apart from the era’s blues-rock Dave DiMartino of the “big Spector-like pro-and perhaps even Reed’s vocal on the 1969 bands. The lyric is a fairly direct and simple duction” he once had in mind for the song, out-take ‘One Of These Days.’ This might declaration of allegiance to the city. The Vel-“like when the bass takes the solo on the way be a mere trifle in the overall scheme of the vets are a distinctly urban band, and the line out that was supposed to be big baritones and group’s work, but it’s an engagingly catchy, about failing to take to the country life might tubas and all that.” The eventual production galloping romp. be a jab at the back-to-the-land ethos currently is far less grandiose. As for the horn-like bass The early version included on Fully Loaded sweeping the hippie community. heard on the fadeout, Yule reveals, “We used Edition is more interesting than most of the As noted elsewhere, Steve Nelson believes an acoustic bass-amp, which is a big 18-inch set’s bonus items. The arrangement is mark-the song might have been inspired in part by speaker-driven, folded-horn amplifier. It had edly different, grounded as it is by a road-the numerous gigs the Velvets do in Western a built-in fuzz-tone that sounded like a great house piano; the vocal is less cornpone, if still Massachusetts in the year prior to the Loaded big deep baritone or bass saxophone; a very a little hokey; and the overall performance is sessions. The Velvets will struggle to replicate distinctive fuzz effect. That’s actually how full-bodied enough that it’s almost releasable the Loaded arrangement live as they’re unable that ride-out on the bass was done every time (even if a significantly different approach won to get in sync with the tremolo of Reed’s guilive.” out in the end). tar. “‘Train Round The Bend’ sort of came

The Loaded version of ‘New Age’ still has ‘Lonesome Cowboy Bill’ is one of several into being in the studio, just from a setting on merit, but the 1969 Velvet Underground Live Loaded-era recordings to feature Billy Yule the tremolo on the amp,” Doug Yule recalls. performance is far superior, with a far more on drums; exactly which others he plays “The song was happening before that, but it resonant aura of mystery. The Peel Slowly And on are less certain. The Fully Loaded Edition kind of blossomed and we said, ‘Oh, we gotta

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do that.’” (The Fully Loaded Edition’s ‘alternate very well played – the guitars are out-of-tune Max’s Kansas City in June but in the studio, mix’ is almost a minute-and-a-half longer, but and the drumming ham-fisted. on this ‘Ocean’ session, which probably takes most of this amounts to a longer instrumental Out-takes also exist of ‘Satellite Of Love’ place in May. “I was first called in to play on tag, with Reed also singing an extra verse.) and ‘I Love You’ that are wholly unlike the ‘Ocean,’” he recalls. “Doug called looking for It’s probably not intended as such, but it mid-April demos. The version of ‘Satellite Of me on Friday night but I didn’t hear about will subsequently be hard not to see closing Love’ included on Peel Slowly And See can be it till early Saturday morning. I called him track ‘Oh! Sweet Nuthin’’ as a valedictory fare-easily distinguished from the Fully Loaded Edi- back and he said, ‘Get into Atlantic Studios well of sorts, particularly as it’s a bittersweet tion demo by the presence of bass. But while as soon as possible.’ I jumped on the train, ballad with an epic sweep. Doug Yule’s voice the sound is fuller and backing vocals have walked into the studio, met Steve Sesnick, might not be right for songs such as ‘New been integrated into the chorus, the arrange-Lou, and Adrian, listened to the track a cou-Age,’ but here his guileless singing might ment is similar, with some fluffed guitar-chords ple of times, and played it on an unfamiliar actually work to the tune’s advantage. Like in the last chorus guaranteeing that it won’t set of drums. That take is on the extended many songs written and recorded in the after-be released in 1970. The overwrought vocals Loaded. I thought Lou and Adrian were very math of ‘Hey Jude,’ it ends with a long, long on the ‘out-take’ (as opposed to ‘demo’) ver-complimentary of my drum track, but later it repetition of the chorus that pushes the song sion of ‘I Love You’ included on Fully Loaded seemed that Lou and Steve were disagreeing close to the seven-and-a-half-minute mark. Edition suggest that Lou Reed might not be about something and building up my part was ‘Oh! Sweet Nuthin’’ itself is no ‘Hey Jude,’ taking the song entirely seriously. But there just a way to poke at Steve.” but it is a nicely moody piece that once again are some mildly interesting, stabbed guitar-By the end of these sessions, The Velvet shows off the band’s growing affection for notes with violin-like sustain, and Reed does Underground certainly have more than fully rounded, pop-rock harmonies. say “that was cool” at the end. enough material than can possibly fit onto An early version of the song included on Maureen Tucker makes her sole contribu-a single LP. How these songs are used, and Loaded: Fully Loaded Edition not only shortens tion to the Loaded sessions as a singer, not how the resulting LP is packaged, will end up the length by more than three minutes but a drummer, on the out-take of ‘I’m Sticking helping to drive the final nail into the coffin boasts a typically howling, heart-on-sleeve With You’ that will eventually surface on Fully of the group’s reign as a leading creative force vocal from Lou Reed that makes for a valu- Loaded Edition. The 1969 MGM out-take uses in rock music. able contrast to Yule’s more placid interpreta-only rinky-dink music-hall piano until the tion. It also has an unusually pulsating and final verse, but since then the Velvets seem to Monday 20 mildly distorted, staccato guitar-part at its have decided to make the arrangement a little The first issue of New Times runs a lengthy root that might, judging by the sole surviv-more elaborate, bringing in acoustic guitar, piece by young rock-critic Lenny Kaye that ing live version (see May 8–10), be indicative piano, additional backing-vocals on the verses, qualifies as the most thoughtful, detailed arti-of how the group originally played the song and what might just be a viola. There’s still a cle written about the group to date. He weaves in concert. seesawing, vaudevillian flavor to the tune, and a basic history of the band into an informed, Even after the April 15–16 demos and vari-the full band still enters in the final, rockier appreciative rundown of their three LPs, ous alternate takes and mixes of songs have refrain. But for all that, the starker MGM ver-while also noting how their sound has evolved been accounted for, there are still, amazingly, sion still has a more appropriately amateur-over the years and built the foundations of a yet more leftovers from the Loaded sessions ish charm, particularly since the chuckling substantial legacy. that won’t see official release until the 90s. male vocals on the refrain of the 1970 remake “Lou Reed refers to each of the group’s ‘Love Makes You Ten Feet Tall’ is the only aren’t nearly as apt as their straight-faced albums as ‘chapters,’ and looking at how they one of these of which no other VU record-counterparts on the earlier version. fall into a line, one neatly after another, you ing exists, although Reed will re-record it (as The final Loaded out-take, included on both can easily see that he’s right,” he writes. “As ‘Love Makes You Feel’) for his solo debut in Peel Slowly And See and Fully Loaded Edition, is a group, the Velvets’ progression has never 1972. The song certainly has potential. Mix-another attempt at ‘Ocean.’ It marks a sub-been the common move of good to bad, or ing romantic elation with musings about the stantial and creative change to previous live even simple to complex, but rather from one borders between dreams and reality, it offers and studio performances of the song, with total level to the next, each one explored, set a sense of psychological probing missing from grand, stately Hammond organ, a few judi-down, and left to be built upon by the next. much of the Loaded material. Musically how-ciously placed guitar-licks, and the somber The albums stack on top of each other, and ever it’s somewhat unmemorable and indeci-orchestral embellishment of two cellos and to pull one out and take it from its neighbors sive, while the Fully Loaded Edition simply isn’t bass, arranged by Doug Yule. is to risk toppling the entire construct … In “All of it was a line of long notes, like har- many ways, The Velvet Underground are a

monic fabric,” he later tells the Velvet Under- changed band. The frantic pushing that was

JOHN CALE ground fanzine. “I was really pleased with the so much a part of White Light/White Heat is ‘Cleo’ way the cellos fit in. They gave it this kind of gone now, replaced by an ethereal calm that

watery space which I liked a lot.” The whis- seems to signify that the mainline has indeed

pery lead vocals are bathed in reverb, add- been found, the next level ascended to and

A ‘Cleo’ (CALE) ing to the generally haunted feel. But in the attained.”

B ‘Fairweather Friends’ (GARLAND end, this is merely the latest of at least three Kaye goes on to make a sad but true pre-JEFFREYS) studio attempts at ‘Ocean’ that fail to make diction about there being no imminent com-the grade, despite being clearly superior to mercial breakthrough for the group. “The US release: April 21 1970 (Columbia some of the other songs ultimately chosen Velvet Underground is probably the group’s 4-45154) for Loaded. most commercial album, yet like the oth— Interestingly, Billy Yule will later reveal that ers, it’ll probably leave them in as large an

he played first with the Velvets not on stage at obscurity as they now find themselves,” he

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continues. “When people do know about label’s Reprise subsidiary. Although he was to – cult status, such as Tom Rapp, Nancy them, they remember ‘Heroin,’ or do they born and bred in the USA, Boyd has been Michaels, David Blue, and ex-Fug Ed Sand-think it’s all a put-on, or they somehow lump based in the UK for a few years, and become ers. (Alas, Nico is set to join the list of Warner them in with other New York underground known for his production of acts such as Bros/Reprise singer-songwriters who never groups like The Fugs. It’s sad, of course. The Fairport Convention, Nick Drake, and The make the charts.) Velvets are probably the most creative band Incredible String Band, as well as the debut Exactly when the Desertshore sessions take in America today, dealing in an area which single by Pink Floyd. Boyd asks John Cale to place is not clear, but they probably begin in most other groups studiously avoid whenever produce the sessions for what will become May at Vanguard Studios in New York before possible: life.” Nico’s next LP, Desertshore. Cale ends up being completed in July at Sound Techniques, It’s not the first or last high-profile piece doing the arrangements, playing all of the a studio in London often used by Boyd and Kaye writes about The Velvet Underground, instruments except for trumpet and Nico’s the engineer he favors, John Wood. Nico cut and it’s not only as a critic that the group are harmonium, and singing harmony vocals on demos of most of the Desertshore songs on making an impression on him. Kaye is also a ‘My Only Child,’ but Boyd himself will still August 20 1969 (as included on The Frozen musician, and within a few years will be play-receive a co-producer’s credit on the finished Borderline). As with The Marble Index, Cale’s ing guitar with poet and fellow VU fan Patti album. (The only other musician involved is main job seems to be devising arrangements Smith. When their duo expands into a bigger another singer, Adam Miller, a friend of Cale’s to vary and embellish the stark, harmonium-line-up, their band will become one of the who recently lent his voice to ‘The Soul Of and-vocal base without tinkering too much first mid-70s acts to lay the foundations for Patrick Lee,’ a track from Cale’s as yet unre-with the essence of the material. In that new wave and punk; not coincidentally, they’ll leased collaboration with Terry Riley, The respect, he succeeds in helping Nico to make sometimes cover VU songs during their live Church Of Anthrax.) an album that’s similar to The Marble Index performances. As Cale recalls in Nico: The Life & Lies Of in terms of its bleak, avant-garde art-songs, An Icon by Richard Witts, “Her singing was but perhaps fractionally warmer and more Tuesday 21 more confident, and I was surprised to hear approachable in places. In the July 25 1970

Today sees the release of a rare US single by how her songs had become more musi-edition of Melody Maker he even announces John Cale. ‘Cleo’ is one of the more com-cally coherent. The melodies became more an ultimately unrealized plan to “use a string mercial tracks on his Vintage Violence LP, but adventurous, beautifully constructed, too. She orchestra on some tracks, and possibly a rock is unlikely to pick up much airplay or go on focused much better on having subtle, sim-band on one cut. I’m making her sing without sale in too many record stores. ple lines and shorter phrases. And she started her harmonium.”

writing changes – contrasting sections, even.” The most well-known song on the record,

Joe Boyd however confirms in a March 2007 ‘Janitor Of Lunacy,’ which Nico wrote after

May interview with the Guardian that the downbeat the death of Brian Jones, sticks to the har-

pallor of the music mirrored Nico’s real life. monium-vocal base, but Nico’s haunting,

“Being around Nico was kinda depressing,” resonant vocal is as impressive as any she will

he recalls. “She was a very tortured character. ever record. ‘The Falconer’ is also inspired

I mean, you can see the romance of Warhol, by an important figure in her life, having

, May–July the Factory, and the Velvets, but when you been written for Andy Warhol following his M RECORDING Nico Vanguard Studios, 71 get up close up to it, you think ‘Jesus, this is near-fatal shooting in 1968. Here however her West 23rd Street New York, NY, and Sound pretty gloomy, boring stuff.’” voice and harmonium are enveloped by omi-Techniques, 46a Old Church Street, London, Nico might seem like a spectacularly nously buzzing sustain and low piano notes, UK. Producers Joe Boyd and John Cale, engi-uncommercial artist for one of the world’s while Cale also adds some surprisingly pretty neer John Wood. biggest labels to take a chance on, but there’s piano in the bridge. What could have been yet In later interviews, Nico will give the logic to her signing to Reprise. By mid 1970, another blast of gothic doom becomes a far impression of having left Elektra voluntar-Warner Bros (and Reprise in particular) has more multi-textured and almost cinematically ily, in part because of her dissatisfaction with begun to make a concerted effort to sign eerie recording, and one of the highlights of the way the label promoted The Marble Index. singer-songwriters. Billboard even runs a fea-these sessions. In the liner notes to The Frozen Borderline ture in its July 18 issue headlined ‘WB–Reprise Sung for and to her son, Ari, ‘My Only 1968–1970, however, publicist Danny Fields Push In Singer-Songwriter Mart,’ explaining Child’ is another imaginative track on which clearly states: “Nico was dropped by the label.” that the label “is developing a strong hold Nico eschews the harmonium in favor of a If Nico is unhappy with the Elektra’s promo-on the singer-songwriter market. In addition, plaintive and largely a cappella vocal that’s tional efforts, the label might in turn point the label complex has also pioneered the reminiscent almost of medieval folkmusic. It’s out that she hasn’t been easy to promote. She ‘new thing’ in the pop scene, the individual another triumph for Cale as arranger, as her has played few concerts in support of The Mar- disc artist as opposed to the group concept vocals are periodically accentuated and punc-ble Index, and rarely made herself available which has held sway, more or less, since the tuated by solitary trumpet and almost choral to the press. But she will remain concerned advent of The Beatles six years ago.” For all vocal harmonies. Ari himself then provides a with the label’s distribution of the record, her eccentricity, Nico just about fits the singer-haltingly childish French-language vocal on writing to Fields on April 18 1973 requesting songwriter bill, and joins a roster that also the 72-second ‘Le Petit Chevalier,’ on which that he ask Jac Holzman to “press more Marble includes recent signees Joni Mitchell, Arlo the other only accompaniment is a subdued Indexes and have them sent to Europe, France Guthrie, Van Morrison, Neil Young, James harpsichord. It’s a disturbingly spooky interin particular.” Taylor, Eric Andersen, John Sebastian, and lude later described by Rolling Stone as “a chill— When he learns that Nico is no longer with Gordon Lightfoot. The label has also signed ing little chanson reminiscent of The Village Elektra, producer Joe Boyd convinces Warner a bunch of singer-songwriters who will never Of The Damned.” Bros executive Mo Ostin to sign her to the break out – and in some cases never even rise The German-sung ‘Abschied’ marks a

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return to a kind of classical-folk fusion, with Velvets are still adding new songs to their set. tually. In the meantime the cult grows larger Nico’s harmonium offset by Cale’s sad viola. As well as ‘Cool It Down’ and ‘Head Held with every public appearance. They’re the Some will later speculate that Nico wrote this High,’ both ‘Train Round The Bend’ and kind of group that people turn their friends sunless, despondent song in response to her ‘Oh! Sweet Nuthin’’ are played, even though on to and those who dig the Velvets are almost mother’s death in February, but she had in none will be available on record until Loaded religious about it.” fact recorded a demo of it in August 1969. is issued in the fall. Also in the set are ‘I’m Morris also offers an advance report on ‘Afraid’ is the one Desertshore track that Waiting For The Man’ (with all three Velvets how the group’s upcoming album’s shaping might have found its way into the commer-on guitars), ‘What Goes On,’ ‘Sweet Jane,’ up, but neither of the songs he mentions cial singer-songwriter market of the early ‘Rock & Roll,’ ‘Some Kinda Love,’ ‘New Age,’ will end up on the LP. “The group is happy 70s. Like most of Nico’s compositions, it’s and ‘Candy Says.’ with their new affiliation. They feel they are a sad song, but it also has a prettiness to it. Hardcore fan Bob Kachnycz is in attend-now dealing with a record company [Atlan-There’s no harmonium, with Cale instead ance for one of these shows, and once again tic] that believes in what they’re doing. And opting for the kind of laidback piano heard tapes the Velvets. Only 15 people are in the Lou says the new record will be the first ‘real’ on so many female singer-songwriter records audience – quite a comedown, since around album the band has done. They have enough of the period, although his viola adds to the 200 people came to see the band at the same material for at least two records and they will artiness. Combined with lyrics that, by Nico’s venue on January 3. Kachnycz is happy, how-be working with a producer (possibly Jerry tough standards, are fairly uplifting and inspi-ever, to have caught a couple of new songs Ragovoy) who knows studio techniques – an rational, the song might just about have made played in different arrangements. In a report area the band admits they know nothing it onto FM radio without raising too many for the fifth issue of What Goes On, he writes, about and have little interest in. The forth-eyebrows during the early 70s, but its relative “Lou set his 12-string to feedback to sustain coming album will be broader than any of the inaccessibility doesn’t detract from a gorgeous the notes, and tremolo for a repetitive syn-others and will include a song called ‘Here and restrained bittersweetness. thesized viola sound, and did ‘Train Com-Come The Waves’ [‘Ocean’], apparently a It’s back to the depths of despair, how-ing Round The Bend’ with a real fervor that major work, and ‘I’m Stickin’ With You,’ a ever, on the German-sung ‘Mütterlein,’ on makes the Loaded version unlistenable. He country show-tune by Maureen Tucker, the which one of Nico’s most funereal melodies then slowed the tremolo for a sad and beau-group’s drummer.” is adorned with clanging bells, mournful tiful ‘Oh! Sweet Nuthin’.’” Ragovoy would have been an intrigu-trumpet, choral backing vocals, and Cale’s ing choice of producer for Loaded. He’s thunderstorm piano. The album reaches Friday 22–Sunday 7 previously worked with soul singers Garnet a more rousing finale with ‘All That Is My The Unicorn, Boston, MA Mimms, Howard Tate, and Lorraine Ellison, Own,’ a typically mordant song decorated The Velvets are booked for a two-week engage-and written or co-written several classic pop-with medieval fanfares, horror-movie swoops, ment at this Boston coffeehouse, which has soul hits, including Mimms’s ‘Cry Baby,’ Elli-miscellaneous scrapes and bangs, and several proven crucial in popularizing The Chambers son’s ‘Stay With Me,’ Erma Franklin’s ‘Piece brief sections where Nico speaks in a whis-Brothers and The Paul Butterfield Blues Band Of My Heart,’ and ‘Time Is On My Side,’ as per treated with megaphone-like distortion. on the East Coast. performed by Irma Thomas and The Roll-Like much of the record, it sounds like some ing Stones. Janis Joplin has also recorded a kind of message from a cheerless limbo, or number of his songs, including ‘Cry Baby,’

perhaps from somewhere between life and ‘Stay With Me,’ and ‘Get It While You Can.’ June

death, or dream and reality. And like all of But in the event he doesn’t have anything to

Nico’s work, it will prove too uncompromis-do with the album. ingly downbeat an enterprise to ring up many

sales when Reprise issues the results at the Wednesday 24– end of the year. Undated June Friday August 28

Hullabaloo magazine changed its name to Max’s Kansas City, New York, NY

Friday 8–10 Circus in 1968 and has since been covering Except for a private industry party at the Salva-Second Fret, Philadelphia, PA the rock scene with more seriousness. This tion Club earlier this year, and a pair of ben-This weekend’s shows are the Lou Reed line-month it runs a piece by Phil Morris, ‘The efit shows (for WNET TV in November 1967, up of The Velvet Underground’s final docu-Velvet Underground: Musique And Mystique and for Merce Cunningham’s dance company mented visit to the Second Fret (or to any Unveiled.’ It’s not quite as in-depth as Lenny in May 1968), The Velvet Underground have Philadelphia venue for that matter). The club Kaye’s recent New Times article, but offers not performed in their hometown for about has recently run into trouble, and has been a similarly literary overview of the group’s three years. The drought ends with a bang closed for a few weeks. The Velvets are chosen career and albums. “The Velvets’ vision went on June 24 when they begin what turns out to reopen it, playing two sets a night with an far beyond the surface implications of their to be a two-month residency at Max’s Kansas intermission but no support act. lyrics,” he writes. “They weren’t merely into City, perhaps the hippest club in Manhattan – A fairly horrible-sounding tape of one drugs and deviant sex. They were and are con-the longest sustained residency of the group’s of these shows verifies that the Velvets still cerned with art. They were literate and articu-career, even counting their legendary stint at haven’t found a temporary replacement for late and they enjoyed using their intellect to the Dom in 1966. Maureen Tucker. Doug Yule switches to drums create music that explored new concepts of In subsequent interviews, the Velvets will for a few songs (‘Cool It Down,’ ‘Rock & Roll,’ form, content, and presentation. And they generally maintain the view that they deliber-‘Head Held High’), but the sound quality of chose the most modern tools of technological ately refused to play in New York in retribu-the tape is so poor that it’s barely possible to America with which to construct their pieces tion of sorts for the city’s lack of appreciation tell which song is which. … What they do is totally real and honest and for the band, and also for local radio stations’

One thing that can be discerned is that the that approach will undoubtedly pay off even-refusal to give their records much airplay. In

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truth, they could surely have found some-stop in at Max’s too, and there’s even a future son should know what it’s about. I’m not a where willing to book them, and at least a superstar, Deborah Harry, working there as machine that gets up there and parrots off cult audience willing to support them – after a waitress. What’s more, as Reed writes in these songs.” all, some of the Velvets’ most zealous champi-his foreword to Yvonne Sewall-Ruskin’s High Steve Nelson attends the opening night ons live in New York. Perhaps their obstinacy On Rebellion: Inside The Underground At Max’s with his wife, and later recalls that the inti-has to do with a refusal to play on terms that Kansas City, owner Mickey Ruskin “was per-mate in-crowd atmosphere at Max’s isn’t are less ideal than they can set out of town. sonally responsible for my survival for three always an advantage. “It wasn’t like the way Lenny Kaye’s recent New Times article hinted years because he fed me every day. While I that I had seen them in and presented them at lingering grudges with Bill Graham, with sometimes showed up for the 5pm buffet, it when they were a rock’n’roll band, and they whom the Velvets clashed in May 1966 in San was actually the ‘tab’ that made it possible for had an audience that came to hear them as a Francisco, and who now runs New York’s most me and a small army of other artists to exist band,” he recalls with some disappointment. prestigious venue, the Fillmore East. “They just to the left of the line that defines more “It was back to what the whole scene had been don’t work New York anymore,” Kaye writes. extreme modes of criminality.” when they were in New York and there were “If you ask, they’ll tell you it’s because there By 1970, Max’s has started to put on live all these hip scenesters attracted to Warhol aren’t any clubs left to play here, or that they music on the tiny stage described by Doug and the Exploding Plastic Inevitable. The can’t stand Bill Graham, or any number of Yule in the liner notes to the two-CD reissue audience wasn’t really into it, and didn’t really other Official Reasons.” of Live At Max’s Kansas City as being “not seem to care, frankly. It was a big event in the

In the June issue of Circus magazine, Phil much bigger than a good-sized living room.” sense that they had a great reputation in New Morris notes that “Fillmore East audiences There’s no room on the stage in fact for any-York, [and] this was the first time they were requested [the Velvets] in a poll,” but adds thing except the Velvets and their equipment. playing there in three years, but for a lot of that the band “turned the gig down.” Ster-But the group is a natural fit for Max’s as it people who were there, they were the event ling Morrison will later confirm this story in establishes itself as a live venue: they’re well themselves. I think you can hear on the tapes his 1986 interview with Ignacio Julia. “There known to the in crowd, and hipper than any from [Max’s] that everybody was talking the were two reasons for not playing it: it was band bar none, but not so big that they’re whole time. If they’d been in the Fillmore in New York, that was one reason, and the too big to play in such a small club. The first East, I think the audience would have treated other was Bill Graham, a big second reason. few midweek sets aside, however, the room is them in a different way, as opposed to kind of He used to call us up and scream and swear usually full to capacity. background music while you were making the at us for not playing there … I think we are “It was very small, it was very intimate, it was scene at this place called Max’s.” the only band touring around in the 60s that fun,” says Doug Yule in The Velvet Underground For ten weeks from June 24, the Velvets didn’t play the Fillmore East at least once. I’ve Under Review. “It was like playing in a house play a couple of sets a night, five evenings per never even been in the place, I wouldn’t go concert, just about, ’cause half the people week, from Wednesday to Sunday. The shows in it because of Graham. We meant business, there, everybody knew. [It was] successful, start at around 11pm and 1am; admission is we meant what we said.” The group’s stance musically. There was an opportunity – because three dollars. It starts as a temporary engage-might be admirable in principle, but turning it was five nights a week and two sets a night – ment – a July 4 New York Times article indicates down a stop at one of America’s most popular to experiment with some stuff, to try out new that the group will finish up the following day, rock venues can’t be helping their attempts material, or different ways of doing new mate-while the original Steve Nelson-designed post-at making inroads into commercial markets, rial. Sometimes Lou would say, ‘Uh, why don’t ers list dates of June 24–28 and July 1–5 – but or within the music business itself. you sing that one tonight?’ So I would. And ends up being extended after the initial run

More intriguingly, Doug Yule suggests in of course, I never knew all the words, ’cause of shows goes well and generates widespread his 1995 interview with Pat Thomas that “it I’m not a words person. But we’d do it just for praise in the New York press. was uncomfortable for Lou to play in front of fun.” In an interview for this book, he notes, Nelson’s poster design is unusual in its his past. He had made a lot of compromises “I took over some of his stuff when we were billboard-like rectangular shape, which uses with a lot of very interesting people in New at Max’s just ’cause he was tired of doing it. cutout headshots of the four band-members York. I know when we later played at Max’s, There was a time when he would like to screw – including the absent Maureen Tucker – which was the first gig that the Velvets played around with the audience’s head by switching taken from an MGM press kit. Nelson previ-in a long time in New York, a lot of that came me for him in various ways. Sometimes he’d ously used the full photographs on posters for back to him.” get on and introduce me as his brother, or the Velvets’ January 9 1970 show at the Para—

So why the about-face? It might be borne stuff like that.” mount Theater. Such is their iconic power partly out of convenience. The Loaded ses-Lou Reed however has a very different that the images will later be reproduced about sions at New York’s Atlantic Studios are taking view of the residency. “I hated it,” he tells a dozen years later on the front of one of the longer than those for any other VU album; rock journalist and future Warner Bros East first widely distributed Velvet Underground playing and recording in the same city makes Coast A&R head Karin Berg. “I couldn’t do bootlegs, VU Live ’68. it easier to carry on with both. The venue itself the songs I wanted to do and I was under a lot “In a way the inspiration for the layout of also comes into play. The Velvets first started of pressure to do things I didn’t want to and the photos was the [famous] Richard Ave-hanging out at Max’s during the summer it finally reached a crescendo. I never in my don pictorial of the Beatles that was in Life of 1966. Plenty of the overspill from Andy life thought I would not do what I believed magazine,” Nelson explains. “There was this Warhol’s Factory crowd hangs out here on a in and there I was, not doing what I believed four-head shot that was sort of draped with a regular basis, as do some of the rock critics and in, that’s all, and it made me sick. It dawned black cloth or something like that, all kind of publicists Lou Reed knows, including Lillian on me that I’m doing what somebody else is linked together. So I took these pictures, cut Roxon and Danny Fields. Reed even met up telling me to do supposedly for my own good them out, and laid them out so all the faces with Janis Joplin at the club on one occasion because they’re supposed to be so smart. But were really tight together. It’s really meant in 1969. Various other interesting characters only one person can write it and that per-to mimic the ads that you see in the subways

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in New York, where there are these long, well, but this realignment won’t be quite so “Lou always seemed complimentary. I don’t horizontal things posted up in subway cars. smooth. Billy is not as experienced as the remember anybody saying, ‘Don’t play this’ I mean, what could be more appropriate for other musicians in the band, and because or ‘Try playing it this way.’” The Velvet Underground than to be adver-he plays in a much more conventional style Some other, more subtle changes are taking tised in the New York subway? Of course, that (and with a much more conventional drum-place as the Max’s residency gets underway never happened. Nobody was gonna go pay set) than Tucker, he inadvertently pushes the that will later be seen as warning signs that the the subway system for rights to install these Velvets even closer toward mainstream rock, band’s days are beginning to be numbered. things.” (Max’s owner Mickey Ruskin does at and even further from the sound than made Knowing that he’ll be in New York for the least give Nelson $1,000 to cover his fee and the group unique. As even his older brother whole summer for the first time since 1965, pay for the printing of 1,000 posters.) admits in the expanded Max’s liner notes, Sterling Morrison has signed up for the two Such a long day-in, day-out engagement “Bill was an energetic player and fit himself summer courses he needs to get his Bachelor means that the Velvets really do need a reg-well into the band, but it was a very different Of Arts degree from City College Of New York. ular drummer, at least on an interim basis, sound than the Velvets produced with Moe.” He’s studying English literature and drama, while Maureen Tucker gives birth to and Tucker herself adds, “Technically, Billy was a and starting to think about applying for grad-starts raising her first child. In their usual much better drummer than me, but I just had uate school and earning a doctorate. impulsive fashion, they call on Doug Yule’s a whole different take.” If playing at Max’s five nights a week, 17-year-old younger brother, Billy, who’s just “One problem for me,” notes Steve Nelson, recording an album, and going to college all finished the 11th grade and is still living in “is that regardless of whether he was a good at the same time sounds like a hectic sched-Long Island. Billy has never even heard The drummer or not, he just played in a very dif-ule, Morrison’s wife, Martha, notes that he Velvet Underground play; his brother had at ferent way. Moe had that unique style, pound- “could do that with his eyes closed. I remem-least seen them once before joining in 1968. ing on the drums, as opposed to more typical ber once he read Ulysses in the middle of a But after one soundcheck-type practice, [rhythms] with the cymbals and all that. Billy party, no problem – went to school, passed the Billy Yule gets himself a summer job with the was just playing much more of a typical rock test. People drunk all around him and throw-band. He’s given meals and complimentary drummer. So for me right away the sound was ing footballs – it didn’t matter.” She goes on cinema tickets as compensation, but not his wrong.” to say that “there was never any question that daily roundtrip fare from Long Island (where “I know that the Velvets were interested in [Sterling] was in the band 100 per cent.” But he’s currently repeating two classes in sum-attaining some success; more airplay, maybe a while Morrison plays the Max’s shows with rea-mer school.) hit record,” Yule himself notes. “To this end, sonable enthusiasm, even if he’s often reading “We got the thing at Max’s, and it [was] they were trying to think in terms of ‘com-books for his classes in the dressing room, like, ‘We need someone to play drums,’” mercial’ tunes. And isn’t that the point hav-he’s having less and less to do with their deci-Doug Yule explains. “And I said, ‘Well, Billy’s ing a band, that is, in most cases right after sions in the studio. His friendship with Reed is not in school right now. He can play.’ In ret-meeting girls? So there was pressure, maybe dwindling, too, and he’s beginning to retreat rospect, it was probably kind of a stupid thing from Steve [Sesnick], to make Loaded a bit from the band’s creative forefront. to do, ’cause Billy was only 17 at the time. He more mainstream rock’n’roll. It may be that At the same time, Doug Yule is now defi-was a good drummer, but I’m sure we were this was the point of bringing in Doug in the nitely making himself heard on the creative breaking laws by having him at Max’s.” Billy first place. And as the sound was approaching end, which is causing its own resentments. is much less of a financial risk than a legal rock’n’roll as I understood it, it never even Reed is growing unhappy with Steve Sesnick, one, however, as he himself recalls: “From entered my head to try for an imitation ‘Moe who is keen for the band’s frontman to be where I was sitting, Max’s was NOT a ‘pro-Tucker style.’” more of a rock’n’roll animal on stage. He fessional’ gig as I was not actually paid for Just as was the case when Tucker joined will later claim to have hated playing at Max’s it. Max’s was more like a bar gig with ‘old the group in 1965, Billy is uncertain at first under such tension, except for the final night friends’ showing up – not my old friends, whether he will end up playing with the Vel- – the one captured on tape by an intimate of though some of my friends did check it out vets for more than a few weeks. “For the first Andy Warhol and later issued as Live At Max’s now and then.” week I was learning the songs and getting Kansas City (see August 23 1970). Reed is not Billy started playing in his school band used to the whole thing,” he recalls. “The looking forward to hitting the road in support and/or orchestra at the age of ten, and second week, which was supposed to be the of Loaded, either, and will later cite the diffi-joined his first rock band at 14. And while last week, I was comfortable but still careful, culty of writing on tour as one of the reasons he’d never seen the Velvets live before join-so it was probably my best time. After that, I why he decides to leave the Velvets. ing, he was fairly familiar with the group. brought in the second bass-drum/fourth tom-With the release of Loaded still some way “When Doug joined the band it was pretty tom and just went a little crazy trying whatever off, and no guarantee that it will be the com-exciting because I had actually heard of the came into my head rhythm-wise, so it was a bit mercial smash everyone hopes of it, no one is VU,” he recalls. “Someone brought White looser after that.” making much money. This might not be so big Light/ White Heat into school in the ninth In a 2005 interview with Modern Drummer, he a deal for the Yules: Billy’s just a high-school grade and played it at lunch. So, I’d heard adds, “I didn’t see much difference between kid filling in, and Doug is still full of enthusi-that one and the third album, well, because Moe’s style and conventional rock’n’roll style asm for the band he joined less than two years Doug was on it. I wasn’t too familiar with the except for the lack of fills or a hi-hat and ride ago. “It was a wonderful summer with very first album [but] I must have heard it by the cymbal in whatever piece she was playing. little pressure and lots of music,” he recalls time we played Max’s.” Her technique left her no extra hands to in the liner notes to the expanded Max’s CD.

Taking the Angus MacLise days as a starting work with. Later on she did take to ‘sit down’ “The nights were very informal. Lou joked point, this is the sixth line-up of The Velvet drumming. In fact, she did come to Max’s one with the audience and the band, throwing Underground in five years. All of the previ-night and played the second set ‘convention-out casual remarks as the muse moved him. ous personnel changes have served the group ally’ on my drums.” About Reed, Yule adds, Sterling lurked in the background, the quiet

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observer, tossing out the occasional terse com-ment accompanied by his mischievous smile.”

But for the older Reed and Morrison, there’s been little to show for five volatile years of hard work in the Velvets, in terms either of finances or widespread recognition. Alternate career paths – in Reed’s case as a solo artist, and in Morrison’s in academia, out of the

music business altogether – are starting to

look more viable.

In spite of all this, the Max’s Kansas City residency attracts critical raves right from the outset – even from the New York Times (see July 4). An enthusiastic report of the very

first show by one of the venue’s busboys, Dick Pountain, later appears in the November 13 along with what Lou calls rock’n’roll versions the sloppiness (and frequent stopping and 1970 edition of Friends magazine in his native of the group’s old standards, like ‘I’ll Be Your starting) common to rehearsals. The tape Britain. Pountain has only been working at Mirror’ and ‘I’m Waiting For My Man,’” he also includes the only live (or almost live) the club for a week when he sees Lou Reed writes in the Voice’s July 2 edition. “The first VU version of ‘Walk And Talk It’ in circula-introduce the Velvets’ first Max’s set with set was done ‘in concert,’ with the audience tion, and the song actually sounds pretty tight the words, “Good evening, we’re The Velvet seated behind tables, but in no time at all eve-and complete, moving along in a cool Chuck Underground. We’d like to start with a tune ryone was fighting the urge to dance. People Berry style. we recorded a few years back to get a hit for a started smiling, sometimes in amazement, as Speaking of Berry, this tape also contains poor pop artist.” That’s the cue for ‘I’m Wait-the boys began pulling these incredible notes some true Velvet Underground rarities: ing For The Man,’ which is followed by ‘White from their instruments, and then they started cover versions. The first is of Berry’s ‘Little Light/White Heat,’ ‘I’m Set Free’ (sung by beating time on their knees and bobbing their Queenie,’ which the group played way back Doug Yule), ‘I’ll Be Your Mirror,’ ‘Some Kinda heads. By the time they were halfway through in December 1965 to fill out their sets at the Love,’ ‘Beginning To See The Light,’ ‘Candy the first set people were yelling ‘Right on,’ Café Bizarre. It’s not so much a complete ren-Says,’ ‘What Goes On,’ ‘Sweet Jane,’ ‘Cool and you know what that can do to a per-dition, however, as something tacked onto the It Down,’ ‘New Age,’ ‘Oh! Sweet Nuthin’,’ former, especially if he’s white and the guy end of a fetchingly wistful new song entitled ‘Heroin,’ and a song Fountain identifies yelling is black. The room is very small, and ‘Wild Child.’ Even during this hectic summer, only as ‘A Story Song’ (possibly ‘Sister Ray’). very conducive to that kind of support.” Reed is still writing new material and intro-“They sound something like the old Velvets, A more wary account is provided by Jan Nel-ducing it to the band. This version lasts only the old Who, and Creedence Clearwater stuck son. “Lou was very flip,” she recalls. “I mean, a minute, and is perhaps not quite finished, together,” Pountain writes. “Hard-rock with he was happy to be in New York, but he was but it’s the only circulating VU recording of a the trademark of Lou Reed’s Bo Diddley also giving the finger to a lot of people in the song that will eventually end up on Lou Reed. strumming. Maureen Tucker’s stethoscopic audience who’d written him off and caused The Velvets then attempt a half-minute pass drumming isn’t there, but Doug’s brother him so many problems in the past. They were through ‘Good Lovin’,’ a Number One hit swings a lot more.” just never … at their best in New York.” for The Rascals in 1966. It’s similar to many “I was living with friends in New York in of the covers from The Beatles’ Get Back/Let 1970, involved in radical politics,” Pountain Friday 26 It Be sessions in that it’s not so much a real later recalls. “I ran out of money and a girl- M RECORDING/REHEARSAL Max’s Kansas performance as a half-assed, half-serious jam friend told me Max’s gave jobs to Europeans City, New York, NY. on a fragment of a song. without social-security cards: I got a job as A couple of days into their residency, one Another item that might be mistaken for a busboy for about three months. The set of the Velvets’ rehearsals at Max’s is taped; 16 a lost VU song is ‘Oh Mickey,’ which appears changed quite a lot. They were previewing/ tracks from the tape will later be bootlegged. in fact to be a brief, adlibbed, doo-wop ode working on a lot of the numbers for [Reed’s It certainly makes sense for the group to be to the owner of Max’s Kansas City, Mickey 1972 solo LP] Transformer, and Lou Reed was rehearsing now, at the start of their residency, Ruskin. “Oh Mickey, you run the best club of very reluctant to play certain old numbers, while they’re still breaking in new drummer all in New York,” Reed croons, to the appar-particularly ‘Heroin.’ If the crowd insisted he Billy Yule. (There would seem to be little need ent mirth of a woman listening in who then would ‘do a Dylan’ on it by playing it at a silly to rehearse after that, since the band are set breaks out in hysterics. The band then break fast tempo. I don’t think the cult was fully run-to play two sets a night, five nights per week, into a jingle for Max’s that’s likewise clearly ning yet, and few people made a special trip to but as Doug Yule notes, “We often practiced in been made up on the spot. see them. There were a few Factory stragglers, clubs in the afternoon preceding a show.”) Elsewhere on the tape is a minute-long like Brigid Polk, who would be there most The recording is made with a single mono voice-and-guitar busk through something nights, and Candy Darling. Lou seemed pretty mic, so is pretty lo-fi, but the clearer parts called ‘I’m Free,’ which is not the same song miserable all the time I saw them, and there aren’t far from the quality of the live material as either the VU classic ‘I’m Set Free’ or didn’t seem to be much warmth between the issued on Live At Max’s Kansas City a few years Reed’s later solo composition ‘I’m So Free.’ members at all.” later. It does at least give scholars a chance to It’s a cheerfully romantic rocker that seems Also in attendance, and similarly impressed, hear some relatively obscure performances – to show promise but appears never to be fully is Richard Nusser of the Village Voice. “The of songs including ‘I Found A Reason,’ ‘Head developed. “I don’t know about any plans to Velvets served up scads of crisp, new material, Held High,’ and ‘Cool It Down’ – albeit with do this tune,” Doug Yule later notes, “but

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hearing it, I recall playing it. Lou sometimes cocious and lacking discipline, but admired ‘What Goes On.’ While Doug Yule (he does unveiled songs without warning and other by their peers nevertheless for originality and remind me of Christmas), bass guitarist, sometimes made up tunes on the spot.” ‘Wild innovations. Now they are all bloody virtuosos, times vocalist, and lead guitar on ‘Sweet Noth-Child,’ he adds, “is another example of Lou with a mature sense of knowing when they ings,’ is having a ball. And when Doug sings trotting out material as he was moved. I don’t are good and enjoying it. The result can be ‘I’ll Be Your Mirror’ you almost forget that think we ever played that live.” positively exhilarating.” Nico ever sang.”

The last of the obscurities on the tape Vehr’s article suggests that the Velvets

is ‘It’s Just Too Much.’ There’s only about Saturday 4 might have been reluctant to disclose the a minute and a half of it, but it’s a marked Almost as if to make up belatedly for New real reason for Maureen Tucker’s absence. improvement on the lazy blues of the original York City’s past neglect of The Velvet Under- “The drums were played by Bill Yule (another arrangement, with a chunky, descending Bo ground, the local press continues to shower Christmas present) who is subbing for Mau-Diddley-esque riff at the end of the chorus. the group with praise. Most notable is today’s reen Tucker, who has been in the hospital The tape also includes energetic versions of six-paragraph review of the Max’s shows in with pneumonia,” he writes. “I don’t know ‘New Age,’ ‘I’m Waiting For The Man,’ ‘Who the New York Times, which is not just the big-if he’s ever played with them before or if he Loves The Sun,’ ‘White Light/White Heat,’ gest local paper, but one of the most widely took lessons from Maureen or what, but his and ‘What Goes On.’ If only the fidelity was respected English-language newspapers in drumming fits in perfectly with their music halfway decent, they might sound as good the world. (and it’s doubtful that there are many drum-as – or even better than – the performances “The music, which after all this time rates mers that could come up to that) especially on eventually issued from the group’s August 23 very high, is more rhythmic and forceful than one of their new songs, ‘The Ocean’ – you can Max’s gig. Although some will later express ever before,” writes Mike Jahn. “The Velvet actually hear the waves crashing against the reservations about the band’s state of mind Underground plays a hard rock that is pow-rocky coast of Maine or California … at the time of Max’s residency, they sound erful and tight as a raised fist; so unified and “The greatest thing about the Velvets is the in pretty good spirits here, and are playing together that it just rolls itself into a knot way they reach their audience,” Vehr con-pretty well, too, considering they’re using a and throbs. The group defies categorization cludes. “With such songs – how could they new, teenage drummer. as well as any other group currently making miss? The first notes of ‘I’m Set Free’ really Incidentally, if this rehearsal really does the rounds, better to say that their music is sets ’em free while the song gets stronger take place on June 26, it must come directly loud, driving, with remarkable interchange of and stronger as it moves to a crashing cli-before the show mentioned by Richard Nusser dynamics between guitars and bass, and that max. And each night at Max’s something in his July 2 Village Voice article about the Vel-awesome sense of unity. The vocals tend to happened in the audience that I’ve only vets. “By Friday night they were at the peak be second rate and subservient to the instru-seen at Rolling Stones concerts. Everyone of their power,” he writes. “The word must mental, which is a common condition. The was on their feet, dancing, carrying on, mov-have gotten out that the Velvets were back and musicians should be seen more often than ing and grooving, singing along with Lou in rare form, because the audience was right once every three years; they make 80 per cent Reed, whooping, laughing (and he jerks his there from the beginning. They applauded of today’s popular rock groups seem pointless head again – a sly smile oh!) – and every-the first notes of each old number and when and amateurish.” one in the room is having a ball – everyone Doug Yule, playing lead guitar, went into a It’s probably also around now that the feels stoned – everyone feels sexy – and you bluesy, heart-tugging solo on ‘Sweet Nothing,’ Max’s shows are given an ecstatic, full-page know, in your heart of hearts, that everything which is the Velvets’ ‘Hey Jude,’ they went review in issue 20 of the new biweekly Gay is alright because everyone’s together and wild, interrupting it twice with applause.” Power – perhaps the first printed indication of everyone’s happy. Welcome back Velvets!

Reed in particular’s appeal to a homosexual And this time, stick around. Maybe you are,

, Late June audience. “They seem to reach their audi-as everyone says, far ahead of your time – Maureen Tucker gives birth to her first child, ence through a magical sense-perception of but we’re catching up with you and isn’t it a daughter named Kerry. its heartbeat and body heat,” raves Bill Vehr. nice? … They do create a whole a world of “The whole room is quivering, the strong their own, an atmosphere incomparable to

odor of sweaty armpits mixed with the sweet- any other; which, once you’ve experienced,

July and-pungent aroma of vaginal juice pervades never leaves you.” the atmosphere, Lou Reed’s voice sneaks in You couldn’t ask for a more positive review.

over the raunchy, wailing guitars (now his But as Sterling Morrison will later recall, it

arms are in the air, now he’s pointing at you!, actually drives a further wedge between Reed

he smiles, then jerks his body, uh-huh!, now and the rest of the band. “Lou could be jeal-

Thursday 2 his tongue in his cheek, What? He’s camping ous of everyone,” he notes in Lou Reed & The Richard Nusser’s Village Voice article about on Pete Townshend – his arm is in the air, Velvet Underground by Diana Clapton. “It was The Velvet Underground is focused mostly his legs in a semi-split and his fingers come my contention that he left the band when the on the group’s first week at Max’s, but also crashing down on the strings of his guitar at magazine Gay Power reviewed the show and contains a few other general compliments. just the right moment – Wow! – his head jerks said I was the sexiest lead-guitarist since Keith “It seems the Velvets are now back to where forward, he smiles and the voice, once again, Richards, and Dougie was just as cute as a they once belonged,” he writes, “functioning sneaks in over the, by now, frantic, pulsating Christmas present under the tree. And this as a genuine rock’n’roll dance band, dedi-beat – ‘you ain’t got nothin’ a-tall, you ain’t is supposed to be Lou’s constituency! I said cated to laying down strong rhythms and a got nothin’ a-tall!’). to Steve Sesnick, ‘Boy, will Lou be hot when steady beat that gets the vital juices flowing. “Then there’s Sterling Morrison, tall, dark, he reads this.’” No fuzz-tones, no academic exercises. They and cool as a cucumber, playing the sexiest One such member of Reed’s ‘constituency’ were always good musicians, sometimes pre-lead-guitar since Keith Richard, especially on is future new-wave singer Wayne (later Jayne)

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County, who during the summer of 1970 is liv-will be released “within the next few weeks,” bemoans the absence of ‘All Tomorrow’s ing in a Lower East Side apartment with vari-with Adrian Barber producing. As Lisa Robin-Parties’ in a review for the May 14 1971 edi-ous Factory scenesters, including actors Jackie son, she and her husband Richard will shortly tion of Fusion, before revealing just how dis-Curtis and Holly Woodlawn – the same Jackie prove instrumental in helping Lou Reed start posable the other VU albums have become: and Holly name-checked in Reed’s ‘Walk his solo career. “There’s no reason to buy this one, when you On The Wild Side.’ “Surprisingly, Jackie and can buy all three of their Verve/MGM albums Holly paid very little attention to the idea of from a dump bin for a couple dollars more.”

Lou Reed at Max’s,” says Leee Black Childers, Reed goes on to cruelly but accurately pre- August

another resident of the apartment. “I guess dict that the Golden Archive Series “might be

they were used to him and his behavior, so your last chance to pick up on the remains

they were unimpressed. But Wayne County of some excellent albums [that] soon will

was enthusiastic – she had a major crush Even before the release of Loaded, the final be resigned to out of print limbo … I’d be going. We went every night, as far as I can Velvet Underground studio album to feature most amazed if six months or a year from remember. We certainly had nowhere else to Lou Reed, MGM is already starting to exploit now MGM proved me wrong by still having, go. We could go for free, eat sparingly for the group’s catalog. The unimaginatively for instance, all albums by The Velvet Under-free, and even score the occasional glass of titled Velvet Underground is part of the label’s ground in their catalogue.” (Bill Reed’s claim wine, plus see Wayne’s heartthrob. I was not Golden Archive Series of reissue compila-about the price of VU albums is confirmed by a professional photographer, or anything else, tions, organized perhaps as a last hurrah of rock critic Gregg Turner, who recalls being but I did use my camera as a prop to get to sorts as the label prepares to shift direction, able to find them “routinely for, like, 35 meet people. So, I hovered very near the stage having dropped its most adventurous groups, cents each” in the early 70s. The October 17 taking photos as an excuse to be near to Lou including The Velvet Underground and The 1972 of MIT student newspaper the Tech also Reed. Wayne literally sat at Lou’s feet, gazing Mothers Of Invention. Velvet Underground is a notes that The Velvet Underground & Nico “can up adoringly. more-or-less random sampling of songs from now be bought at unbelievably low prices, “I didn’t know my photos would be historic, the group’s first three LPs; few VU fans, surely, like at the Harvard Coop for $1.99.” Soon, of course, but I took a lot just to seem like would put ‘After Hours’ on a best-of. Nonethe-however, these original MGM albums will I belonged there. The negatives were lost less, it’s the album chosen by Ellen Willis as become much more sought-after, and much when the entire contents of my apartment the focus of her contribution to the 1979 book more highly priced.) went on the street for nonpayment of rent.” Stranded, a compilation of essays by 20 rock crit-Two further Velvet Underground compi-Fortunately, some contact sheets survived, and ics about which LP they would take to a desert lations appear in Europe this year, both of quite of the few of his pictures can be seen island, edited by Greil Marcus. which combine tracks from the group’s first in the liner notes to the expanded two-CD It’s interesting that, despite their supposedly three LPs with selections from Nico’s Chelsea edition of the Velvets’ Live At Max’s Kansas dismal sales performance at MGM, The Vel- Girl. One of them, the German Pop History Vol. City. “I have no idea how Rhino Records got vet Underground’s catalog is thought of as an 19, The Velvet Underground & Nico, is even a hold of the contact sheets, but I am glad they exploitable asset less than a year after they left double LP; the other, Superstarshine Vol. 20, did,” Childers notes. “If I say so myself, they the label. It raises doubts in fact as to whether appears around the same time in Holland, are really good shots.” their sales really have been so dismal, their confirming that the retrospective packaging Reed will claim that his heart wasn’t always low-to-nonexistent chart performance notwith-of The Velvet Underground’s legacy for an in his Max’s performances, but that’s not the standing. The Velvet Underground & Nico has by international audience has already begun. impression Childers gets. “The songs were now reportedly sold 215,000, with “700–1,000 real and Lou’s performance was genuine – orders still coming in monthly,” according to , Early-to-mid August he really seemed to be enjoying himself,” he Fusion magazine – quite a respectable tally Maureen Tucker comes in from Long Island says. “That feeling affected his audiences, for a 60s LP. Lest this figure appear to have one night in August to see The Velvet Under-who were probably largely unfamiliar with been picked from a hat, Circus mentions three ground at Max’s. It’s the only time she sees Lou as a performer. I didn’t really know the months later that the album “has sold 220,000 the band play with Billy Yule (who later claims other people in the audience, which ranged copies and is still selling.” that she sat in on drums), but she can already hugely in size from quite full to almost empty. It’s possible that these reports are exagger-sense that something’s amiss. “I didn’t hate it, The show was fairly consistent regardless. He ated, particularly in light of the fact that, in but it wasn’t the Velvets,” she says in the Peel was always well received whether the audi-1984, Brian Eno will tell Kristina McKenna that Slowly And See liner notes. “To me, there were ence was small or larger. Gossip was ram-Lou Reed told him “the other day” that The only two Velvets there, Lou and Sterling. And pant in the Backroom about Lou’s mental Velvet Underground & Nico sold a mere 30,000 it didn’t work. It was a nice, tight little band. stability and sexual quirks, but as far as the copies in its first five years of release. There’s But it wasn’t the Velvets.” shows went, he was very, very professional also the matter of the MGM royalty statement Of all the Velvets, Tucker has always had the and alert.” that shows the album to have sold about 60,000 smoothest and most easygoing relationship copies through February 14 1969 – some way with Reed, so it’s perhaps not surprising that

Monday 6 off the 215,000 copies it has supposedly sold it’s to her that he first reveals an explosive Lisa Mehlman devotes most of her syndicated just a year later (but still a much higher figure decision he’s recently made. “Lou took me Pop Wire Service column to a report on The than the one quoted by Eno). And despite outside and told me he was leaving,” Tucker Velvet Underground’s return to New York, Morrison’s boast about the album going ‘gold,’ recalls. “I was heartbroken. But I knew some-quoting Lenny Kaye’s belief that “more than the Record Industry Association Of America thing must have been terribly wrong, that he any other group, they defined a New York website does not list any of the Velvets’ albums had to leave in order to survive the thing.” time which may soon achieve legendary pro-as having achieved gold status. In UpTight: The Velvet Underground Story by portions.” The group’s next album, she writes, As for Velvet Underground, Bill Reed Victor Bockris, Tucker adds, “He was not get-

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ting along at all with Sesnick at this point … of pregnant Maureen Tucker; the increasing like a bad kid. The real snake is a guy named I had gotten the feeling, and I’m sure this is personal withdrawal of Sterling Morrison, the Steve Sesnick … he was a very bad person, try-true, that Doug was really getting on Lou’s only other remaining member of the line-up ing to divide everyone, telling one person one nerves. And the little combo of Yule and Ses-that hooked up with Andy Warhol back in late thing, telling another person something else, nick was becoming too much. Doug was get-1965 (who by now is barely speaking to Reed); and pitting people against each other, starting ting on my nerves a little, too. Doug’s a very and the ascension of Doug Yule and manager with John and me, and then working his way nice guy, okay, but, at the time anyway, he was Steve Sesnick to increased decision-making down through the band. That way he could starstruck, and began to think he was a lot power as both push for more influence on maintain power. I quit in the middle of Loaded more important than he was and was becom-the band’s music, image, and career path. because I couldn’t stand it anymore.” ing a pain in the ass. Being pushy and prima But it might also be that Reed has just finally Ironically, Reed’s decision comes just as donna-ish and just a general pain in the ass, had enough of the sex, drugs, and rock’n’roll, the Velvets seem poised to make their biggest and affecting Lou in a whole different way. I which has brought him considerable notoriety leap forward in some time. They’ve made a remember saying to Lou on the stairs, because but little in the way of commercial success. triumphant return to the stage in New York, I had sensed that Doug was a big part of the “I just walked out,” Reed tells Lester Bangs the city they’d previously shunned for three problem, ‘Why the hell don’t we just throw in a May 1971 Creem interview, “because we years, with a two-month residency at Max’s, Doug out? What the hell are you bothering didn’t have any money, I didn’t want to tour and have recorded an album that’s without with this fool for if he bothers you so much?’ I again – I can’t get any writing done on tour, doubt their most saleable endeavor to date. can’t remember if he even answered …” and the grind is terrible – and like some Whatever nuisance finally pushes Reed over

Tucker elaborates further in Lou Reed & The other members of the band, I’ve wondered the edge, however, his exit comes as a shock Velvet Underground by Diana Clapton. “Person-for a long time if we were ever going to be to most of his band-mates. For all almost ally, I think the real reason he finally left was accepted on a scale large enough to make us anyone else knows, August 23 is just another Doug. I didn’t see this as a big plot on the part a ‘success’ …” night in their Max’s stint. The band charge of Steve Sesnick. But yes, the moment Lou was In a subsequent interview with Karin Berg, through their two sets with the usual good-gone, Steve clearly picked out Doug as the Reed adds, “I was giving out interviews at humored energy that marks Reed’s final days, next ‘star.’ He took over the vocals and started the time saying yes, I wanted the group to even as their most innovative edges continue writing some songs. There seemed to be a lot be a dance band, I wanted to do that, but to be sanded down to an idiosyncratic brand of ego-petting. Maybe he felt that Doug would there was a large part of me that wanted to of bar-band-like rock’n’roll. They’re being simply be a lot easier to manipulate.” do something else. I was talking as if I were recorded, but no one in their right mind

Sterling Morrison gets at least a hint that programmed. That part of me that wanted to thinks the results that will be issued by one something is up some time around the do something else wasn’t allowed to express of America’s largest record labels. Longtime fourth weekend of August. He’s eating a itself, in fact was being canceled out. And it Warhol Factory girl Brigid Berlin (aka Brigid cheeseburger at Max’s one day when Reed turned out that that was the part that made up Polk) is recording the gig on a mono Sony approaches to introduce his parents to his ninety per cent of Lou … [I] got very sick at TC120 cassette recorder in the audience, friend and band-mate for the first time. Mor-what I saw, what I was doing to myself. I didn’t but only for personal use; certainly, Atlantic rison is astonished, as pretty much all he belong there. I didn’t want to be a mass pop Records wouldn’t use such a lo-fi setup if it knows about Reed’s parents is that they’ve national hit group with followers.” was seriously considering recording the group periodically threatened to confine their son Some time later, in the November 1987 in concert. Berlin has already recorded some to institutionalized mental care. A much big-issue of Creem, Reed confirms that “Doug Yule other VU shows this summer with another ger shock is to follow, however, right after the wasn’t the reason The Velvet Underground teenage fan, Jim Carroll, whose job tonight band’s final show of the weekend, on Sunday broke up. He was just this really young and is to hold the mic. What they’re doing isn’t August 23. naive kid, you know? A really nice and naive out of the ordinary; they’re just making docu—

kid … people would say things to him to get ments that intend to be nothing more than

Sunday 23 him going one way or another, but he wasn’t personal souvenirs.

M RECORDING Max’s Kansas City, 213 Park

Avenue South, New York, NY.

August 23 is a most momentous day in the THE VELVET UNDERGROUND

history of The Velvet Underground, and not Velvet Underground just because it’s when the recordings are made

that will eventually be released in 1972 as Live

At Max’s Kansas City. Tonight also marks the A1 ‘Candy Says’ (REED) end of the final chapter of the most important A2 ‘Sunday Morning’ (REED/CALE) part of The Velvet Underground’s career, for A3 ‘Femme Fatale’ (REED) it’s when Lou Reed unexpectedly leaves the A4 ‘White Light/White Heat’ (REED) band he co-founded back in early 1965 with A5 ‘Jesus’ (REED) John Cale after five-and-a-half jam-packed B1 ‘Heroin’ (REED) years, essentially bringing the group’s role as a B2 ‘Beginning To See The Light’ (REED) major force in rock music to a sudden close. B3 ‘I’m Set Free’ (REED)

The warning signs have been there for B4 ‘Here She Comes Now’ (REED/CALE/MORRISON) weeks, if not months, even if some of the B5 ‘After Hours’ (REED) other band-members are largely oblivious to

the gravity of Lou’s dissatisfaction with recent US release: August 1970 (MGM GAS-131) events. These include the prolonged absence

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If Reed knows that these are his last shows Reed made up his mind to leave for good The August 23 ‘After Hours’ is the only with the group, he doesn’t drop any hints during the break. known recording of the song with Reed sing-from the stage. Berlin’s tape captures what Indeed, the second set includes songs from ing. “The person who usually sings it isn’t sounds like a fairly typical night at Max’s, even the band’s early days that haven’t been played here,” he tells the audience, “’cause she’s if the hum of audience conversation – some at all this summer – some of which Billy Yule home sick today, and she actually does it way, of it hers and Carroll’s – indicates that not has never played before, and never even way better than I do. But it’s a lot of fun to everyone is listening with rapt attention. (An rehearsed. “That night was much different sing.” After responding to audience requests extremely stoned-sounding Carroll can be than all preceding nights,” he recalls. “Lou by explaining that “we don’t do ‘Heroin’ heard slurring a request for Pernods between called out a completely different setlist for the anymore,” Reed introduces ‘Femme Fatale’ songs.) second set, tunes from the first album that I as “a song about somebody who was very, very

The bulk of 1969 Velvet Underground Live hadn’t heard much. I was probably a bit more mean to somebody else … it’s another way of was recorded a little under a year before Live careful on that second set. That was the only saying some people have no heart, and they At Max’s Kansas City, and provides an easy night of the summer of 70 that those tunes don’t care what they do to you at all … It was comparison between the band at the peak of were played.” also the first song we ever wrote that had an their powers with the Doug Yule line-up (in “The last night I was there, when Brigid augmented chord!” late 1969), and now, with Billy Yule and not made her tape, that was the only night I really Perhaps the most unusual highlight on the Maureen Tucker on drums. Although Sterling enjoyed myself,” Reed later tells Karin Berg. tape is the ten-minute version of ‘Some Kinda Morrison will later express an odd dissatisfac- “I did all the songs I wanted – a lot of them Love’ that marks perhaps the only point in the tion about the 1969 Live recordings, which were ballads. High-energy does not necessarily evening where the Velvets show off their gift he says don’t capture the band’s true power, mean fast; [it] has to do with heart.” for radically rearranging a song in concert. he’s not too keen on their sound at Max’s, The set-opening ‘I’m Waiting For The They take off on extended bluesy solos that either. “It was small,” he tells Ignacio Julia, Man’ is played, like several other songs taped avoid repetitious cliché before moving into “[and] we were playing too loud for the size tonight, a few keys higher than usual, almost edgier and more abstract passages that remain of the place.” as if the tape itself has been sped up. Billy anchored to the song’s core. Billy Yule takes

More problematic is Billy Yule, whose use Yule’s drums splash so much that, as Carroll yet another opportunity to bash the drums of a full drumset gives him (and by exten-notes in the expanded Live At Max’s Kansas into submission as the group explode into sion The Velvet Underground) a much more City liner notes, “The main topic of conversa-the brief bridge near the end. The second conventional sound. Compared to the 1969 tion during a short break was the immense set then closes with another version of ‘Lone-Live versions, the Max’s performances sound differences between Moe Tucker’s spare drum some Cowboy Bill’ culminating in an instru-rather bland, tame, and perfunctory – not to style and this young blond kid, Billy Yule’s mental rave-up – a strange and unsatisfying mention a bit rushed at times – and lack the pure rolling thunder, all over the place with choice with which to end the last ever real throbbing bottom and uniquely dissonant fills and frills.” Velvet Underground concert. guitar-tunings that do so much to set the Other points of special interest included Elsewhere on the tape, Reed has more fun group apart from other bands of the era. (The the addition of the instrumental section that with the song intros, introducing ‘I’m Wait-guitars might be out of tune here on ‘Sunday precedes ‘Sweet Jane’ on Loaded to the live ing For The Man’ as “a tender folk song from Morning,’ but it hardly sounds deliberate.) version of the song, albeit with little attempt the early 50s about love between a man and There’s also a cheery, upbeat tone that – while to capture the studio version’s eerie cascade of a subway” before reminding listeners that not totally alien to the Velvets, depending on multiple delays. ‘Lonesome Cowboy Bill’ ends “you’re allowed to dance in case you don’t the material – drains some of the songs of the with a minute-long instrumental rave-up; and, know.” There’s then some genuine pathos menace needed to put them over. The Velvet just as Jim Carroll recalls, Billy Yule seems to when Reed introduces ‘Sunday Morning’ as “a Underground at less than full throttle are still be jamming any possible fill into ‘Beginning song about … ohh, when you’ve done some-superior to most other rock bands, however. To See The Light,’ which ends the first set. thing so sad and you wake up the next day and

The two sets this evening feature songs Berlin’s tape unfortunately misses the you remember it … It’s really fun to be able drawn largely from the group’s third album beginning of ‘Who Loves The Sun’ from the to play these for you,” he adds, with seeming – including ‘I’m Set Free,’ ‘Beginning To See second set; the incomplete version included sincerity. “I really don’t get a chance.” There The Light,’ ‘Pale Blue Eyes,’ and ‘Candy Says’ on the expanded Max’s is the only known live will be no further chances to do so with The – and the forthcoming Loaded, with two passes version of the song apart from the June 26 Velvet Underground, of course, unless you apiece at ‘Sweet Jane’ and ‘Lonesome Cowboy rehearsal. Doug Yule sings lead on ‘I’ll Be count their brief reunion in 1993. Bill,’ but there are flashbacks to earlier songs Your Mirror,’ capturing the vocals with more The final anticlimactic show at Max’s would such as ‘I’m Waiting For The Man’ and ‘White clarity than the 1969 Velvet Underground Live fade much deeper into memory were it not for Light/White Heat,’ which pales in compari-version. It’s the first of several ballads played Brigid Berlin’s tape. Atlantic Records publicist son to the longer and more vicious arrange-in a row, and is followed by ‘Pale Blue Eyes’ and rabid VU fan Danny Fields is also in the ment heard on 1969 Live. The Velvets also and ‘Candy Says,’ which Reed calls “like, my audience for the show, and later recalls hear-revisit the three kindest and gentlest songs favorite song. I hardly ever get to do it, I really ing afterward that Reed had quit. When pass-from their now faraway debut album, ‘I’ll Be do like it … if I look funny while [Doug’s] ing on the announcement to Berlin, Fields Your Mirror,’ ‘Sunday Morning,’ and ‘Femme singing [it], it’s because I’m identifying like notices her tape recorder and confirms that Fatale.’ In the liner notes to the expanded mad.” The people on Brigid Berlin’s table the night’s proceedings have been captured reissue of Live At Max’s, Jim Carroll says that don’t seem to share Reed’s opinion, as her on tape. In keeping with the generally hap-“Lou Reed opened himself up to the crowd tape picks up some loud and distracting chat-hazard nature of the Velvets’ career, it will in a way I’d never seen before” during the ter right in the middle that probably explains take almost two years for that tape to come second set, singing ballads in a fashion that why this version doesn’t feature on the origi-out on record after a peculiar deal that causes will later cause Carroll to wonder whether nal Max’s LP, just the expanded reissue. some hard feelings among those responsible

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for the recording. (That, however, is a story of melodic mumbling that sounded like words at the beginning wasn’t going to include Cale, for another entry.) but was nonsense.” we weren’t going that far back apparently …

Incidentally, some VU aficionados believe Brigid Berlin is known to tape the Reedless Lou at the time accepted the responsibility for that at least some of this material might Velvet Underground shows at Max’s on August [the tension between him and Morrison], he actually come from a tape made on July 26 – 26 and 28 (their last night). These recordings said it was his fault because he was on these another show known to have been attended by haven’t circulated since, and judging by Yule’s crazy diets. I don’t know, I just didn’t. I had Berlin, who’s been fanatically taping sounds description might make for gruesome listen-already thought that perhaps we had accom-anywhere and everywhere during the summer ing, should they ever be released. In a subse-plished enough – to start all over would be of 1970. The Peel Slowly And See liner notes quent interview for Modern Drummer, Billy Yule like rolling the rock uphill again. One of the also state that Sterling Morrison is never sure notes that George Nardo (with whom Billy lines I used to Lou, I guess I was trying to tell that the Max’s material comes from August has played in a previous band) comes in on him not to leave, was that even if we did do it, 23. Finally, on March 2 1999, one Joseph bass for these last few shows, and suggests that that it would take us three years to get back to Freeman posted the following on the Velvet the Reedless Velvets might also have played a the point that we were at the minute we were Underground Discussion Forum: “I recorded few more times after August 28. “For the last talking. And there was no certainty that we an entire set at Max’s (around the same time two weeks,” he says, “George filled in on bass, would do it anyway. I had kind of decided to as Polk’s). The tape was recorded on a Sony Doug moved into Lou’s spot, and Sterling got go back to school, get away, I was pretty disil-TCS-124, a portable stereo cassette recorder grumpier than ever, what with one Velvet and lusioned. And I might have been right, it took with an external single stereo mic. The quality three ringers.” (Billy might not incidentally Lou a long, long time to get back anywhere of the tape is very good and has never been have been told directly of Reed’s decision to near where the band was … all the way to [his bootlegged. I may be interested in having this quit at all, since he’d been considered a tem-1972 solo album] Transformer.” tape surface as a legitimate release.” At the porary fill-in for Tucker all along.) Even so, one wonders why Reed didn’t sim-time of writing, that has yet to happen, but the In the September 2001 issue of Record Collec- ply replace Doug Yule (as Tucker has already tape is reported to include ‘I’m Waiting For tor, Doug Yule dismisses the idea that he had suggested), fire Sesnick, and continue The The Man,’ ‘White Light/White Heat,’ ‘I’m Set been plotting with Sesnick to take over the Velvet Underground with Morrison and Free,’ ‘Lonesome Cowboy Bill,’ ‘Who Loves Velvets as “ridiculous,” adding, “That was the Tucker. He would certainly be in a good posi-The Sun,’ ‘Sweet Jane,’ ‘New Age,’ an uni-very last idea on my mind. I’ve always been tion to call some shots. It might take him a dentified bluesy instrumental, ‘It’s Just Too happier in a supporting role than as a leader, while to get back to where the Velvets are on Much,’ ‘Ocean,’ ‘I’ll Be Your Mirror,’ ‘What anyway, and I really enjoyed working with Lou his own, but a Lou Reedless VU won’t ever get Goes On,’ ‘Head Held High,’ ‘Oh! Sweet Reed. Absolutely. I never wanted him to leave, to that point without him at the helm. Perhaps Nuthin’,’ and ‘Some Kinda Love.’ as it was a joy to work with him.” Yule goes on there’s some obstacle preventing him from

to note that, “when [Sesnick] basically said cutting ties with Sesnick and Yule and carrying

Monday 24–Wednesday 26 to Lou, ‘I don’t care about you any more,’ on with the Velvet Underground name (which

At some point between the end of The Velvet Lou couldn’t cope without that buffer. Ses-Sesnick will soon end up owning as a result of Underground’s second set in the early hours nick had a talent for knowing what people an out-of-court settlement that sees Reed win of August 24 and their first set on August 26, wanted to hear, and for making each of us back sole songwriting credits for the Loaded Steve Sesnick must inform the other band-feel more important than the other mem-material). Or perhaps Tucker and Morrison, members that Lou Reed has quit. Maureen bers of the band. It’s divide and conquer, a who have already been through this once, Tucker already knows, and the next to find classic management technique. Lou’s psyche when Reed fired John Cale, have had enough out is probably Sterling Morrison, who later was very strong externally, but quite fragile of being party to Reed’s machinations. recalls receiving the news just a day or two internally. He had put his trust in Sesnick, Interestingly, both Tucker and Morrison after his unexpected introduction to Reed’s and he was deeply affected by the withdrawal elect to carry on playing as The Velvet Under-parents at Max’s. of that support.” ground with Doug Yule and a replacement

Although Doug Yule’s growing assertive- “During that summer,” Yule explains to for Reed, but both must know that the group ness apparently influences Reed’s decision to Creem in 1987, “I guess Steve decided Lou was has no real future without him. Reed himself leave, Yule himself has no idea what’s com-no longer manageable, so he began to look will spend the next few months living with ing. In the liner notes to the expanded Live to me because I was young and more easily his parents, even working briefly as a typist At Max’s Kansas City, he says, “Lou’s leaving handled. So he told Lou he was through with at his father’s accounting business for $40 was a complete surprise to me, but apparently him, that he didn’t care about him, and it per week. According to the profile of him by it had been brewing between Steve and Lou upset Lou quite a bit. That’s when Lou left Lester Bangs in the May 1971 issue of Creem, for some time. Sesnick delivered the news as … But when John and Lou were on stage – or rumors will even circulate that Reed is dead we finished dinner one evening late in the when me and Lou were on stage – there was before he gingerly starts to make his presence summer. He threw the comment into the con-a balance. With Lou gone, the balance was known again. versation: ‘Lou won’t be joining us tonight.’ gone. It wasn’t the same.” I misunderstood, thinking he was sick, but For his part, Reed retreats to his parents’

no, Steve assured me, he had quit the band home in Long Island of all places. Within a September forever. It was presented in a way that gave us few days he’s urging Morrison to form a new no choice but to rally our forces and play. No band with him, without the Yules or Sesnick, time to think or to argue, no time to dispute, but Morrison turns him down. “Lou suggested no time to do anything but figure out who after he left that he and I pick it up and start would do what on at least one set of songs. I all over with a different manager, get back Tuesday 8 found myself singing tunes for which I knew to the way it was at the beginning,” he later The Velvet Underground might essentially be only half the lyrics, and on several I did a sort explains to Ignacio Julia. “But the way it was over, but that doesn’t stop the kudos for their

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shows at Max’s Kansas City from continuing editing out of a bridge from ‘Sweet Jane’ and LP. Yule is the only band-member pictured to appear in the rock press. Fusion is the lat-the removal of nearly a minute from the end in Henri Ter Hall’s photograph on the back est publication to get in on the act, running of ‘New Age.’ jacket, albeit in long-shot profile, seated at a an article by Tom Mancuso, who likes what “Toward the end [of ‘Sweet Jane’], just piano and surrounded by amplifiers, mics, and he sees at the undated shows he recaps in before it gets heavier, it had a minor melody,” instruments. Both Yule and Reed are credited his article. Reed subsequently notes in an interview with with “lyrics & song composition,” with Mor-

“Even the summer absence of Maureen Karin Berg, “but they edited it out. That was rison also credited with “song composition”; Tucker, whose head-on drumming is, for sheer stupidity.” The final part of ‘New Age,’ on the back of the LP, and on the inner label, some, the best in rock, has not prevented he says, “was supposed to go on for a full the catch-all phrase used is “all the selections the Velvets from making Billy’s rolling style minute, that was the powerful part of the are by The Velvet Underground.” seem an asset,” he writes. “Sterling Mor-song, they have it go on for one chorus – how Reed isn’t able to restore the full versions rison avoids, as the rest of the group does, could anyone be that stupid? They took all of ‘Sweet Jane’ and ‘New Age’ (although both virtuoso power-plays, but, unlike the oth-the power out of the song.” In an April 1977 will eventually feature on 90s compilation ers, he must have to remind his hands not ZigZag interview, Reed adds another griev-CDs), but he does win the songwriting cred-to do it. Doug’s guitar work is good and his ance: “The guitar solo on ‘Train Coming its and copyrights to the Loaded songs after vocals have a lean innocence that’s excit-Round The Bend’ was fucked around with filing a lawsuit against Steve Sesnick. “I gave ing – provided the song hasn’t been sung and inserted.” (It should be noted, however, him the rights to the name ‘The Velvet Under-before by Reed or Nico. Reed’s vocals and that in his 1995 interview with Pat Thomas, ground,’ and I got my songs back,” Reed later lyrics vary from slurring indifference and lit-Doug Yule claims that all of the Loaded mixes explains to Creem in November 1987. “The erary refinement to prayerful earnestness and – including the ‘Sweet Jane’ and ‘New Age’ suit was settled out of court … He was a real bubblegum simplicity. Yet without its range of edits – were done by Reed himself.) piece of shit.” personalities and its skilled inflections, Reed’s Reed is also angry that the songs have been In the February 2000 issue of Mojo, Doug voice could still contest Jagger’s in original-sequenced without his input. “The thing is I Yule admits that Steve Sesnick “was hoping ity. Dylan’s lyrics shriveled to inanity without always took great care in putting the songs in I would be [Reed’s] replacement, which we their amphetamine mannerism. Lou Reed’s order so they made sense,” he tells Tony Stew-all know could never be the case. He went lyrics have faced down equally steep, stylistic art in a June 1972 New Musical Express inter-through the credits and asked, ‘Did you have changes and found new edges to cut their view. “One character would say one thing, anything to do with writing this song?’ Well, excellence.” and another character in another song would I would say Lou and I worked on it – picked Mancuso also supplies an advance preview answer it. There was reason why they were out the moss, as they say – at the Matrix in San of sorts for the material that will soon be put together in a certain way. But that’s not Francisco. ‘OK, good, you’re getting compo-heard on Loaded. “The characters of these new true on Loaded, because I left long before the sition credit.’ All the credits were designed songs … seem to be hurt, anonymous people mixing even. So Loaded doesn’t make sense. to minimize Lou.” (In Lou Reed & The Velvet ‘looking for love’ and treated to the Velvets’ I didn’t like the production. Like with the Underground by Diana Clapton, music critic sympathy and care,” he writes. “They are iso-vocals, sometimes they didn’t use the right Richard Meltzer recalls overhearing Sesnick lated in direct line, but different fashion, with mics.” discussing the possibility of removing Reed’s the outcast Severin [from ‘Venus In Furs’], There’s also the matter of the credits, vocals from Loaded when visiting the Atlantic or even the self-castrating Candy [of ‘Candy devised by Steve Sesnick, which have been offices to pick up an advance pressing of the Says’], of the earlier albums. The things they deliberately manipulated to bulk up Doug album.) say, and the things said to them, keep the Yule’s contributions. Yule is the first musician Sesnick “had in his head that he would religious poignancy of the third album. The listed; Reed is third, below Sterling Morrison transfer The Velvet Underground on to me music, however, resembles the harder sounds and above Maureen Tucker, who is credited and he could keep it,” Yule recalls in the Vel-of the first and second albums, but without with drums despite not playing them on the vet Underground fanzine. “This had been his their rage for order.”

Wednesday 23 THE VELVET UNDERGROUND

The exact release date of Loaded is unclear, Loaded but the general consensus is that is out by the end of September 1970. September 19 is one suggested date, but according to David A1 ‘Who Loves The Sun’ (REED) Fricke’s liner notes to the Fully Loaded Edi— A2 ‘Sweet Jane’ (REED) tion reissue, it’s not until September 23 that A3 ‘Rock & Roll’ (REED) Atlantic Records issues a pressing order for A4 ‘Cool It Down’ (REED) the album, a few days after the final master is A5 ‘New Age’ (REED) turned in. The album ends up being issued B1 ‘Head Held High’ (REED) not by Atlantic itself, but on one of the com- B2 ‘Lonesome Cowboy Bill’ (REED) pany’s subsidiaries, Cotillion. B3 ‘I Found A Reason’ (REED) Regardless of the exact date, by the time B4 ‘Train Round The Bend’ (REED) the album goes on sale, Lou Reed has been B5 ‘Oh! Sweet Nuthin’’ (REED) out of the band for at least a month. It’s probably during this time that several decisions US release: September 23 1970 (Cotillion SD 9034) are made about the album that will irk him UK release: March 1971 (Atlantic 2400 111) for years to come. Most vexing of all are the

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meal ticket for four-to-five years. I was a very the soundtrack to the 1979 film Rock’n’Roll songs available to them, the final tracklisting arrogant, ambitious young man, [and] Ses- High School to really do the trick. can certainly be called into question. ‘Ocean’ nick played on that. I remember him doing Loaded with hits or not, Loaded itself still should have made the cut, while ‘Satellite Of stuff like introducing me to someone as the manages to miss the charts entirely, despite Love’ is both superior to at least half of the next Paul McCartney. I just went for it hook, containing more mainstream FM radio-songs on the record, and more commercial. line, and sinker. You can’t con someone unless ready cuts than the group’s previous three As Doug Yule explains in his 1995 interview they’re greedy, and I was greedy.” albums combined, and receiving more with Pat Thomas, ‘Satellite Of Love’ “was

All in all, it’s a tatty end to a project that positive reviews than any of its predecessors. designed in Reed’s mind as a hit … that’s ironically seems to all but those privy to the The album’s failure is due at least in part what he was looking for – a hit.” And the fact group’s inner turmoil to be by some distance to Reed’s unexpected resignation from the that the Velvets appear to have failed even to the most slick and professional Velvet Under-group a month before the record’s release. record ‘Lisa Says’ during the Loaded sessions ground release to date. Even the jacket – a Although Atlantic does place a full-page ad suggests that Reed might be saving an ace in drawing of pink smoke rising from a subway for the LP with the headline ‘The Return Of the hole for his solo career. entrance – looks more ‘normal’ than any of The Velvet Underground’ in the February 5 When Loaded is first issued, of course, their previous LPs. It’s the only one of the 1971 issue of Fusion, it’s likely that the label reviewers know nothing of the behind-the-four primary VU albums, in fact, where the is reluctant to put too much into promot-scenes dramas and are mightily impressed artwork has no connection to Andy Warhol ing a record by a band whose primary singer with the record. Leading the way is Lenny or the Factory. This one was designed and and songwriter is no longer around either Kaye, whose lengthy review appears in the illustrated by Stanislaw Zagorski, whose credits for interviews or touring. Years later, in his Christmas Eve issue of Rolling Stone. “The also include numerous other Atlantic LP jack-autobiography, Atlantic Records chief Ahmet Velvet Underground on Loaded are more ets by acts such as Ornette Coleman, Rahsaan Ertegun will call Loaded “a great moment”; loose and straightforward than we’ve yet seen Roland Kirk, and The Modern Jazz Quartet. when the album is released, however, he’s them,” he writes. “There is an undercurrent to (Here, in his decision to use the image of probably not too pleased at all that Reed has the album that makes it more than any mere a subway, the Polish-born Zagorski seems jumped ship right before Atlantic can capital-collection of goodtime cuts. Lou Reed’s music to have taken the ‘Underground’ from the ize on the record. has always concerned itself with the problem band’s name literally.) “I know Ahmet was pleased with the of salvation, whether it be through drugs and

Similarly, the music on Loaded is more record,” co-producer Geoffrey Haslam notes decadence (The Velvet Underground & Nico), listener-friendly than anything the band in the February 2000 Mojo, “because he told or pseudo-religious symbolism (‘Jesus,’ ‘I’m have released before. In UpTight: The Velvet me. But I don’t think anybody at Atlantic had Beginning To See The Light’). Now, however, Underground Story, Reed claims, “I gave them any illusions about the difficulties of making it it’s as if he’s decided to come back where he an album Loaded with hits, and it was Loaded a commercial success. If it sold enough copies most belongs … with hits to the point where the rest of the just to kick over and pay the recording costs, “Each cut on the album, regardless of its people showed their colors. So I left them OK, the project worked. But they weren’t view-other merits, is first and foremost a celebra-to their album full of hits that I made.” In ing the band, at that time, as Led Zeppelin or tion of the spirit of rock’n’roll, all pounded the February 2000 issue of Mojo, Yule notes, Cream.” (Sterling Morrison will later claim, home as straight and true as an arrow. ‘Head “There was a sense of mission at those sessions in his interview with Ignacio Julia, that Atlan-Held High’ is the kind of joyous shouter that to make a commercial record. And each song tic’s promotion and distribution of Loaded is just begs to be played at top volume, ‘Train is like a different view of what a commercial “worse than MGM, which we never would have Round The Bend’ should satisfy all you hard-song is. ‘Sweet Jane’ is a kind of a power-trio thought possible.”) blues fanatics out there, while ‘Lonesome song, ‘Head Held High’ is kind of a metal- “I didn’t get a sense that they were bail-Cowboy Bill’ deserves a hallowed place on ish thing. ‘Cool It Down’ is mellower, funkier. ing on it, but it’s possible,” says Doug Yule. “I your favorite AM station. If Atlantic fails to ‘Who Loves The Sun’ is a poppier thing. It have no way to know how they saw the band, get a Top 40 hit out of any of these, especially was as if someone said, ‘One of these songs whether they saw it as a band or as Lou Reed the last, they might think well of overhauling has to be a hit. We’ll do each different style – and a band. Because there were definitely their entire corporate set-up. something has to take.’” [two] camps. Some people, when Lou left “Commercial potential notwithstanding,

As it transpires, there will be no hits taken the band, said, ‘Oh, then what’s the point?’ Loaded also shows off some of the incredible from Loaded. Six months will pass, in fact, And other people, it was like, ‘Oh, how’s it finesse that Lou Reed has developed over the before any singles are plucked from the going?’ I don’t recall anyone saying, ‘Oh, years as a songwriter, especially in terms of album at all. Reed and Yule are right, how-Atlantic doesn’t like us ’cause Lou left.’” lyrics. It’s always struck me as strange that no ever, to believe that some of the songs could Loaded occupies a curious place in the one has ever attempted to record any of the have been hits with the right timing and pro-Velvet Underground canon. It’s the group’s Velvets’ material, though it must be admit-motion. ‘Rock & Roll’ and ‘Sweet Jane’ in most accessible album, but will, with the pas-ted that its previously bizarre nature prob-particular sound like natural contenders for sage of time, become their least acclaimed ably tended to frighten many people off, but Top 40 airplay. Both will eventually become (even if does still generate plenty of critical there should be no excuse with the present rock standards of sorts, but only after a couple praise). It’s certainly less edgy and adventur-album. Building from chord progressions more pushes: first a cover of ‘Sweet Jane’ by ous than their previous efforts. Only ‘Rock & that are simple innovations on old familiars, Mott The Hoople on their 1972 David Bowie-Roll,’ ‘Sweet Jane,’ and ‘New Age’ meet the Reed constructs a series of little stories, fill-produced LP All The Young Dudes; then the standard set by the group’s very best songs, ing them with a cast of characters that came inclusion of versions of both on Reed’s Top and for reasons noted elsewhere, the Loaded from somewhere down everybody’s block, 50 concert LP Rock’n’Roll Animal. As much as versions are compromised in ways that pre-each put together with a kind of inexorable some VU fans might hate to admit it, however, vent them from being definitive. Given that logic that takes you from beginning to end it will take the inclusion of ‘Rock & Roll’ on the group had about two albums’ worth of with an ease that almost speaks of no move-

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ment at all … In fact, there’s so much variety good. Today she sends a postcard to Andy is reminiscent in a way of Loaded tracks like on the album that you could go through any Warhol, pleading with him to buy her son ‘Who Loves The Sun,’ particularly in terms number of the cuts and pick out much the Ari a television (one that runs on batteries), of its backing vocals; take 15 of ‘Friends’ suf-same things, those extra little touches that and promising to pay him back. fers from a squeaky lead vocal, which prompts make each one special and able to stand up Yule to ask at the end, “Was that mostly on

in its own right.” key?” Perhaps Atlantic is thinking of releasing

In the Consumer Guide column he recently these two songs as a possible single; perhaps October

began writing for the Village Voice, fellow New they’re trying to get a sense of whether the

Yorker Robert Christgau gives Loaded an ‘A’: new line-up is worth carrying on with. (If this

“The Velvets are to Manhattan what The Ras- is an audition of sorts, the group fail it, as

cals are to New York – that is, they really make they’ll never make another studio recording

‘Rock & Roll’ (a title), but they’re also really Undated October for the label.) intellectual and ironic. Lou Reed’s singing Lou Reed might be lying low in Long Island, As Maureen Tucker recalls of this uneasy embodies the paradox even on beat-goes-on but he’s not taking everything lying down. At period in What Goes On, “We picked up throwaways about cowboys and trains. Other some point this month he copyrights all of Walter and practiced for a while and went subjects include drag, poverty, not loving the Loaded songs in his own name, despite out. We did nicely with them. I thought we nature, and the new age, mysteriously con-the fact that the album already credits them sounded good. I think our major problem nected to an over-the-hill actress who would to Reed, Doug Yule, and Sterling Morrison. was that we didn’t have any writing talent. like her old age back.” Four days later, Yule responds by copyrighting Doug wrote some songs, but not like Lou.

Another big fan of Loaded is the young his arrangements of ‘Head Held High,’ ‘Rock And Sterling started becoming disinterested, Long Island singer-songwriter Elliot Murphy, & Roll,’ and ‘Sweet Jane’ to Vipri Music, the I guess … he started pooping out.” In an who will begin a solo career of his own in the group’s joint publishing company. interview with Karen O’Brien for Hymn To mid 70s shortly after writing the liner notes to Her: Women Musicians Talk, Tucker adds that, 1969 Velvet Underground Live. “Perhaps Loaded after Reed’s departure, “I was trying to make

was not the VU’s most adventurous work, but it work but at that point, it was just a band. November

for me it was the most solid and it showed It was more fun to go play in Boston than

the band at their most experienced,” he says. get a job in a local office so I hung around

He’s keen also to emphasize the value of the for a while.” oft-maligned efforts of one of the record’s key

musicians: “On my third album Night Lights Undated November Tuesday 3 I worked with Doug Yule. That was really M RECORDING Atlantic Recording Studios, Today sees the release of another rare single a great thrill, and I realized how much he 1841 Broadway, New York, NY. from John Cale’s Vintage Violence: ‘Big White contributed to that period of The Velvet The Velvet Underground have decided to Cloud’ backed with ‘Gideon’s Bible.’ Underground with his unique voice and carry on without Lou Reed. Maureen Tucker arrangement ideas.” returns to the line-up on drums, with bass- Thursday 19–Sunday 22

Loaded might lack the mystique of the first ist Walter Powers taking Reed’s place. Pow-three Velvet Underground albums, but it will ers played in Yule’s pre-VU band, The Grass nonetheless go on to accumulate its fair share Menagerie, and before that in another Boston of retroactive raves as the VU cult builds and group, The Lost, who put out a few mid-60s builds. The first edition of The Rolling Stone singles on Capitol. Record Guide, published in 1979, gives the LP At the end of the summer, the quartet five stars; its sister magazine puts Loaded at spent time rehearsing on a farm owned by Number 32 in a 1987 Top Albums Of The Last road manager Hans Onsager’s father. Yule Main Point, Bryn Mawr, PA 20 Years list, and Number 109 in a 2003 sur-has become the group’s undisputed musical This weekend’s shows are the only docu-vey of the greatest albums of all time. In the leader: he sings the lead vocals and is now mented concerts played by The Velvet Under-March 1980 edition of Musician, Roy Trakin free to play guitar, something he later admits ground in 1970 after their stint at Max’s hails Loaded as the third best album of the 70s, (in the liner notes to Final VU: 1971–73), “I’d Kansas City, probably with the revamped and “an amazing barometer for what eventu-been craving for some time.” He also seems to ally went down in the 70s”. have become the group’s primary songwriter,

of the four core VU albums to be given the JOHN CALE Yule compositions, ‘Friends’ and ‘She’ll Make In 1997, Loaded would become the first as this month the new line-up records two

Fully Loaded Edition, a two-disc set containing for the final Velvet Underground album, ‘Big White Cloud’ deluxe reissue treatment in the form of the You Cry.’ Both will eventually be re-recorded out-takes, demos, alternate mixes, and full- Squeeze, but by then only Yule will remain in length versions. For all Lou Reed’s reserva-the band, and will no longer be recording A ‘Big White Cloud’ (CALE) tions about how the album is assembled, it for Atlantic. B ‘Gideon’s Bible’ (CALE) will eventually establish itself as an integral Neither song is the same vein – or even part of the group’s core legacy. in the same league – as Lou Reed’s material, US release: November 3 1970

but the versions recorded this month cer- (Columbia 4-45266)

Saturday 26 tainly sound better, and more VU-like, than

As she waits for Desertshore to be released, the ones that will end up on Squeeze. Take 4 of Nico’s financial circumstances can’t be too ‘She’ll Make You Cry’ has a folk-rock feel and

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Yule–Morrison–Tucker–Powers line-up. Sup-released until 1972, by which time ‘Mütter-destructive to be played. Make no mistake, port comes from Compton & Batteau, a duo lein’ will have been removed from the sound-my friends, for this record is dark, dark. Its who recently put out an album on Columbia, track. (‘Abschied’ remains, alongside three dominant mood is Gothic: guttering candles having previously been part of the late-60s other Desertshore tracks – ‘Janitor Of Lunacy,’ sputtering black wax on cold stone floors as group Appaloosa. ‘My Only Child,’ and ‘All That Is My Own’ – the sound of Nico’s harmonium drifts in from and another Nico song, ‘König,’ that won’t another room. It doesn’t have a beat and you

Sunday 22 be properly recorded until it appears on her can’t dance to it …

Doug Yule’s lead singing has seldom been 1985 LP Camera Obscura.) “Nico’s roots are in plainsong and Euro-singled out for comment by critics, but it While some of the poor commercial per-pean art song, and this, combined with her sparks an interesting (if odd) comparison in formance of some of The Velvet Under-icy delivery, is enough to scare most people an obscure review of Loaded published today ground’s albums is offset to some extent by away from her music,” he continues. “The in the central Texas newspaper the Abilene rave reviews, Desertshore largely fails on both compositions on Desertshore, however, are not Reporter News. “Doug Yule is the Dylan of counts. It’s described in the New Musical quite as distant and outré as those on The Mar-hard-rock,” writes Dick Hartsook in his Off Express as “one of the most miserable records ble Index, her last outing with Cale … I really The Record column. “Can’t exactly explain it, I’ve ever heard,” and by Melody Maker as “a don’t know who to recommend this record to, except for the strange similarity of Yule’s voice medieval ruin of a record.” Robert Christ-but introverted adolescent girls, lovers of H.P. to that of dear old Bob Zimmerman. The style gau gives the album a ‘C’ in the Village Voice, Lovecraft novels and Nico fans (whatever they and the fantasy-land stories make The Velvet adding, “The Velvet Underground & Nico plus might be like) will go for it, and, if you’re in Underground sound like Steppenwolf with Chelsea Girl convinced me that Nico had cha-search of the unusual, you might too.” Dylan at the helm.” risma; The Marble Index plus Desertshore con-Dave Marsh, another of the most promi— vince me that she’s a fool. The difference is nent new American rock-critics, calls the

that now Nico writes the songs – songs with album “as stark and chilling and absolutely

December titles like ‘The Falconer’ and ‘Abschied,’ medieval as a Bergman flick” in his review

songs that indulge her doleful monotone for Creem. “We are still left with the insoluble instead of playing rhythms and tempos enigma that Nico has always represented,”

against it. Nothing new here – bohemian he writes. “But the wanderer has once again

Major labels probably released more strange hangers-on always get to publish their work passed our way leaving us once more with rock albums during the late 60s and early 70s while the less socially adept (‘charismatic’) something of value.” than ever before, but Nico’s Desertshore must are shafted.” In London’s Daily Telegraph, Maurice rank as one of the most unusual – and least Rolling Stone critic Ed Ward (who also gave Rosenbaum decides that Desertshore is “unmis-commercial. Even beyond the bleak, avant-John Cale’s Vintage Violence an emphatic takably a product of the same solitary genius garde art-song tone of the music, there’s the thumbs-up) does at least offer some quali-that produced The Marble Index … I do not fact that three of the album’s eight songs are fied praise to Desertshore. “This is a record find her voice cold or sepulchral, as some sung in German or French, further limiting its that should be approached with some trepi-critics have found it: there is a fire beneath chances of exposure in Britain and America. dation,” he begins. “Certainly it isn’t going to the marble, a genial, loving warmth within Nonetheless, Desertshore is duly released at top any charts or start any new dance-crazes, the strangeness. Her songs bring neither easy the end of 1970, housed in an odd jacket on nor are the lyrics going to be quoted by ear-comfort nor soft answers; only hard questions which zebra patterns frame a blurry still of nest young theologians or the underground that must be faced. They richly repay the clos-the singer taken from Philippe Garrel’s film press. That, however, doesn’t make it any less est attention.” Nico, Rosenbaum declares, La Cicatrice Intérieure. Perhaps someone is hop-a work of genius. The genius in question is “is not only one of the strangest and most ing that there can be some sort of crossover John Cale who has found in Nico a perfect compelling of today’s singers, she is also – in benefit, as the notes on the back mention foil for the side of his musical personality that spite of the disturbing quality of her mate-that ‘Abschied’ and ‘Mütterlein’ feature in made Howard Hansen fail him at the East-rial – one of the most appealing: her cry from the film. But La Cicatrice Intérieure won’t be man Conservatory for composing music too the depths of human separateness is at once haunting and curiously close, remote, and

intimate.”

NICO Parts of Desertshore were recorded in New Desertshore York, but by the early 70s Nico is getting ready once again to make Paris her main

base. She and Philippe Garrel probably

A1 ‘Janitor Of Lunacy’ (NICO) spent at least some time together in the USA A2 ‘The Falconer’ (NICO) during 1969 and 1970, with Nico introduc-A3 ‘My Only Child’ (NICO) ing her new partner to Andy Warhol, who A4 ‘Le Petit Chevalier’ (NICO) compliments Garrel’s 1969 film Le Lit De La B1 ‘Abschied’ (NICO) Vierge. They also probably filmed some of B2 ‘Afraid’ (NICO) the desert scenes of La Cicatrice Intérieure in B3 ‘Mütterlein’ (NICO) the States. Nico will spend little of the next B4 ‘All That Is My Own’ (NICO) few years in the USA, however, possibly in order to avoid reprisals after an incident in

US release: December 1970 (Reprise RS 6424) which she grinds a glass into a woman’s eye

UK release: January 1971 (Reprise RSLP 6424) in a New York bar (see May 1971). There will

be no more Nico albums for Reprise; she

296

WHITE LIGHT/WHITE HEAT n DECEMBER 1970

will release another album in 1974, but will Lake’ is a six-and-a-half-minute excerpt from Live At Max’s Kansas City. spend much of the next few years making a 39-minute performance taped in 1968 and Following on from the brief news report in art films with Garrel and descending into later issued on CD as ‘Invasion Of Thun-the December 1970 issue of Creem, Kaye goes heroin addiction. derbolt Pagoda (St Marks Epiphany).’ (The on to make perhaps the only other reference A couple of years later, Nico’s bitter disap-B-side, ‘Spontaneous Sound,’ performed on in a national magazine to Lou Reed’s depar-pointment at Desertshore’s lack of success might 150 instruments by Christopher Tree, has no ture from The Velvet Underground. “Due to be what leads her to lash out against its co-VU connection.) a near-textbook case of management hassles, producers in a letter to Danny Fields dated Given their extensive multimedia activities, Lou Reed left the group toward the end of April 18 1973. “Joe Boyd as well as John Cale the MacLises are natural choices to edit this the Max’s engagement, and although there is are frauds,” she writes. “I do not feel they are ninth edition of Aspen, billed as “the psych-a possibility of reconciliation at some future serious.” But although rumors will later cir-edelic issue.” According to Hetty, Angus takes date, the present situation doesn’t look prom-culate suggesting that Nico intends to work charge of the actual editing, while she designs ising,” he writes. “In the meantime, the Velvets with Mike Oldfield, and join the French art-the box-like, spray-painted jacket. Unsurpris-have added ex-Lost bass player Walter Powers rock group Magma, her next album (1974’s ingly, a few other Velvet Underground asso-to their number and are currently rehearsing The End) will end up being produced by … ciates are among the other contributors. for a tour. Reed, however, has always been John Cale. There are color photos by Ira Cohen; text the focal point of the group, the one who and calligraphic designs by Marian Zazeela wrote their songs and provided their magic,

ALSO … in a piece entitled ‘The Soul Of The Word’; and it is doubtful whether they can overcome In the closest thing to an official announce-a brief essay by La Monte Young on ‘Dream his loss.” ment of Lou Reed’s departure from the Music,’ accompanied by a circular music Velvets, the following item runs in the Rock score by Terry Riley entitled ‘Keyboard Study And Roll News section of Creem: “The Velvet #2’; and poetry by Gerard Malanga. Most Underground’s Lou Reed has split, due to interesting of all to VU fans are six poems being fucked over by management, to become by John Cale: ‘Sebastian,’ ‘Safety,’ ‘Boys,’ a solo act. Lou will probably record his tunes ‘Stolen,’ ‘Lightning,’ and ‘The Fish.’ (As of as a solo artist. Despite implications on the this writing, all of them can be read online back of the new Velvets album Loaded, the at ubu.com/aspen.) primary impetus behind that, as with all the During the late 60s and early 70s, the other Velvet Underground albums, is Lou MacLises live and work in a few different Reed.” places, including New York City (where Hetty works at the East Village Other and in a bou-

AND … tique run by Stella Douglas, the wife of record The uncertainty about the songwriting rights producer Alan Douglas), Massachusetts, and on Loaded continues when Virpi Music lays British Columbia; Angus will go on to spend claim this month to ‘Cool It Down,’ ‘I Found much of the 70s in India and Nepal. A Reason,’ ‘Lonesome Cowboy Bill,’ and ‘Oh!

Sweet Nuthin’’; Lou Reed, Doug Yule, and Thursday 24 Sterling Morrison are listed as co-composers Lenny Kaye’s lengthy review of Loaded of all four songs. Reed however will soon be appears in today’s issue of Rolling Stone. As recognized as the sole composer of all the well as heaping praise upon the album (as songs issued on Loaded. detailed above), Kaye also offers a couple of interesting newsy revelations. “Brigid

Wednesday 16 Polk, a New York artist whose mediums are Loaded might not make the national charts, the Polaroid camera and the Sony cassette but it does make at least hit Number 21 on machine, has a series of tapes from those the Top 40 LP listings published today by the [Max’s] performances, and I would say with-St Louis radio station KADI-FM – another of out exaggeration that the music contained the many small signs that The Velvet Under-on them is some of the finest rock’n’roll that ground’s audience is bigger and more wide-has been played in many a year,” he writes. spread than will often be acknowledged. “On a small stage, surrounded by a mass of dancing bodies (and when was the last

, Late December time you saw that), the Velvets fulfilled all of The only music by Angus MacLise to be their early promise, taking even those classics issued during his lifetime appears this which they had put aside for so long (such as month on an eight-inch flexidisc included ‘Heroin’ and ‘Sunday Morning’) and turn-with the Winter 1970/Spring 1971 issue of ing them out in newer, somehow brighter Aspen – the multimedia magazine that issued clothes. It was home-coming, in more ways John Cale’s ‘Loop’ in a similar fashion four than one, and there are few who were there years earlier. Performed and improvised by that will soon forget it.” It’s possible that this Loren Standlee (billed on the flexidisc as passing reference reminds Atlantic Records Elsen Standlee), Raja Samyana, Ziska Baum, about the tapes, and leads indirectly to the and Angus and Hetty MacLise, ‘The Joyous release of some of that material in 1972 as

297

ALSO IN 1970 n WHITE LIGHT/WHITE HEAT

Also in “We had a disagreement in the studio at the very end,” Riley recalls. “I wanted to actually have ‘Church Of Anthrax’ be a little

1970 … more transparent, because a lot of my solo organ-work kind of gets buried in this huge M RECORDING J ohN c aLe & T eRRy R iLey guitar-drone that John added later during the details unknown [CBS Studios NY?] mixing. So we had a dispute in the mixing

At some point in 1970, on unspecified room, and John McClure sided with John

dates and at an unspecified location, four of Cale. He liked the idea of having this be real

the five tracks that will eventually make up dense. And I’ve grown to like it too, but at the

John Cale & Terry Riley’s Church Of Anthrax time I didn’t like it!” he laughs. “Definitely LP are completed: the title track plus ‘The I’ve grown to think that John actually took a

Hall Of Mirrors In The Palace At Versailles,’ very good approach in the end. It’s just when

‘Ides Of March,’ and ‘The Protégé.’ The you’re in the heat of battle, and you have an

album is undoubtedly ready for release by idea about how you want to do something, it’s

the end of the year. It could barely be any hard to give up your idea.” less similar to Vintage Violence; indeed the two albums are emblematic of the extremes ALSO ... and unpredictability that make John Cale so Around the time of the Desertshore sessions, fascinating. John Cale is invited to contribute to another Church Of Anthrax is by far the least com- album Joe Boyd is producing at Sound Tech-mercial of the two, but is perhaps closer to niques. Bryter Layter is the second album by what listeners might expect of Cale, given young, brooding folk-rock singer-songwriter his frequent forays into the avant-garde. It’s Nick Drake; Cale’s contributions to two of

a mostly instrumental and largely improvised its songs are by far the most memorable and

work, with Cale co-writing most of the mate- renowned of his sporadic appearances as a

rial, co-producing the sessions, and playing second track, ‘The Hall Of Mirrors In The guest musician on albums of the late 60s and organ, bass, guitar, piano, harpsichord, key-Palace At Versailles,’ takes up the rest of side early 70s. He plays both viola and harpsichord boards, and viola. He also writes a piece of one, and doesn’t make any reference to rock on ‘Fly,’ a delicate ballad, and celeste, piano, prose, titled ‘Caricature,’ which serves as the at all. It begins with some hushed, trance-like and organ on the somewhat more buoyant liner notes. Riley contributes organ, piano, piano figures, which are then joined by Riley’s (yet still bittersweet) ‘Northern Sky.’ There’s and saxophone. fluttering soprano sax as the song carves out a a classical undercurrent to Drake’s melodies In the hope perhaps of lending the niche somewhere between classical, jazz, and and arrangements that fits well with Cale’s album some form of rock-crossover appeal, ambient music. own sensibilities. His playing does much to two drummers are brought in to play on it: Side two begins with a break into relative heighten the enigmatic beauty of these two Bobby Colomby, from Blood Sweat & Tears, normalcy with ‘The Soul Of Patrick Lee,’ songs. and Bobby Gregg, who played on numerous before rhythmic riffing returns to the fore on In his autobiography White Bicycles, Boyd 60s sessions, including some of Bob Dylan’s the 11-minute ‘Ides Of March,’ which despite recalls Cale deciding to play on the two songs first electric recordings. It’s possible that its length is the record’s least interesting track. on impulse. “After a [Desertshore] session one Colomby and Gregg’s playing is overdubbed The piano-led ‘The Protégé’ sounds almost day, he put his feet up on the mixing desk, onto tracks recorded in 1969; Cale had hoped like a rollicking roots-rock backing track waved his arm imperially at John Wood, and to get old VU colleagues Sterling Morrison missing its lead vocal. The burst of shrieking said, ‘Let’s hear what else you guys are work-and Angus MacLise to play on the record, feedback at the end sounds like (but isn’t) an ing on,’” Boyd writes. “We played him a few too, but neither is in New York when the ses-accidental mastering defect, or a mischievous things, and eventually got to Nick. Cale was sions take place. (Cale has resumed his friend-attempt by the composers to shock listeners amazed. ‘Who the fuck is this guy? I have to ship with the MacLises, who are back in New into remembering that these guys really are meet him, where is he? I mean, where is he York, inviting them over for dinners to the wild, crazy avant-gardists at heart. right now!’ I rang Nick and told him that John home he shares with Betsey Johnson, and Church Of Anthrax is a reasonably successful Cale would be over in half an hour. Nick said, even helping Hetty MacLise with babysitting attempt at bringing some of Cale and Riley’s ‘Oh, uh, OK.’ I wrote out Nick’s address, duties. Meanwhile, Riley recalls doing some avant-garde ideas to a wider audience, but is John grabbed it and ran down the stairs. The other sessions with Cale and MacLise prior to not destined to be a highlight in either man’s next morning I had a call from Cale. ‘We’re Church Of Anthrax.) discography. Riley is initially unhappy with the going to need a pickup for the viola, an amp, Church Of Anthrax is certainly not the kind mix, which he thinks underplays his contri-a Fender bass and bass amp, a celeste, and a of unfiltered avant-garde music that Riley or butions. “Terry felt he was being obscured,” Hammond B-3 organ. This afternoon.’ I had Cale have previously made on their own, but Cale tells Trouser Press in 1983. “He wasn’t scheduled a mix on another project that day it does embody many of the experimental being obscured, it was just that we’d put on but Cale had decided it was time to record and minimalist ideas they have been refin-so many organ tracks. To pick out a particular ‘Northern Sky’ and ‘Fly.’” ing since the 60s including drones, repetitive instrument was very difficult, so you couldn’t Bryter Layter will later be heralded as one rhythms, and circular melodies. The opening bring him out anymore without bringing up of the finest albums of 70s, but neither it title track builds several layers of repetitious the other instruments and making it imbal-nor either of the other two LPs Drake makes riffs on various instruments into a percolating, anced. He felt we were out to gang up on him, before his death in 1974 cause more than a almost jazz-rock groove; the similarly lengthy which wasn’t true.” ripple of sales or commercial interest. Bry-298 A MacLise family portrait: Angus, Hetty, and child.

WHITE LIGHT/WHITE HEAT n ALSO IN 1970

ter Layter won’t even be released in the USA C FILMING Coming Attractions AND FINALLY … until 1976, in fact, but Drake will eventu-John Cale plays music by Chopin on the In the aftermath of the Soviet invasion of ally be redeemed by a massive resurgence soundtrack of the seldom-screened 77-minute Prague, the free expression embodied by of interest in his work – more spectacular, film Coming Attractions, which is co-directed heavily VU-influenced Czech group The in fact, than the one enjoyed by The Velvet by Tony and Beverly Conrad. Betsey Johnson Plastic People Of The Universe appears to be Underground, who sell way more records served as the film’s costume designer, and too much for the Czech government, which and pick up far more reviews during their one of the actresses is Tally Brown, the caba-revokes the band’s professional license in lifetime than does Drake. By the early 21st ret singer once briefly considered by Andy early 1970. This forces the Plastics into a form century, Drake will come to be recognized as Warhol as a potential member of The Velvet of truly underground music-making that the one of the finest and most enduring artists Underground. Velvets, for all their frustrations, have never of his era. had to endure. For a while, the only way the John Cale also plays viola on two tracks on M RECORDING aNguS MacLiSe details group can perform is by providing the sound-an obscure self-titled LP by Chelsea, which unknown. track to lectures by their art-historian friend is released around the end of 1970. He’s A couple of MacLise recordings from Ivan Jirous, who shows slides of Andy Warhol brought in as the album is produced by Lewis this year are included on the 2000 compi-while the Plastic People ‘demonstrate’ Velvet Merenstein, who co-produced Cale’s Vintage lation Brain Damage In Oklahoma City. The Underground songs. Really and truly, these Violence; the strings are arranged by Larry Fal-nine-minute ‘Epiphany’ is a duet between are PPU concerts, not lectures: the slide shows lon, who also worked on Nico’s Chelsea Girl. MacLise’s drums and his wife’s organ, the last ten minutes, but the music goes on for a The rumble and whine of Cale’s viola is eas-result of which is very different to The Cloud couple of hours. The group is so eager to play ily detectable on the Creedence Clearwater Doctrine’s ‘Organ & Drum.’ The mood here VU songs that they invite Canadian English Revival-influenced ‘Long River,’ where it’s the is darker and more aggressive, particularly in teacher Paul Wilson to sing with them during only unusual element of an otherwise generic terms of Angus’s varied, rolling percussion. the early 70s, partly because he can translate blues-rocking rave-up. It’s a more soothing The two-and-a-half-minute ‘Loft Collage’ is a lyrics by the Velvets (and their old nemesis presence on the goodtime hoedown ‘Good lo-fi blend of trivial conversation and various Frank Zappa) into Czech. Company.’ The otherwise unmemorable dissonant musical sounds, including a flute The Plastic People Of The Universe con-Chelsea LP is collectable for another reason: (or perhaps a recorder), distorted singing, tinue surreptitiously to perform and record, drummer Peter Cris will later rise to fame (as and a booming drum. Of all the items sub-with their music eventually incorporating Peter Criss) in Kiss. sequently unearthed from MacLise retro-more original material. Four members of the John Cale and his viola also appear on spectives, this is among the most marginal group will be arrested after an underground another Lewis Merenstein-produced LP from and unpleasant. It’s perhaps not as a direct festival in 1976 and sentenced to jail. But like 1970, the self-titled album by the Ohio-based result of this recording, then, that MacLise The Velvet Underground their legacy won’t trio Glass Harp. The group’s sound vacillates receives a grant this year from the Cassandra disappear so easily, mushrooming instead to between run-of-the-mill hard-rock and moody, Foundation in Chicago in recognition of his the point where it resurfaces with a vengeance folk-prog-rock – all held together by the inven- “contributions to the field of American Music years later. tive, glowing guitar-sustain of Phil Keaggy, who Composition.” (Incidentally, of the numerous will later become a star in the Christian music MacLise recordings later issued on CD, the six world. Cale is not credited on the jacket, so it’s tracks included on 2003’s Astral Collapse are hard to tell which of the ten tracks he appears not covered in this book as no dates are given on, but ‘Can You See Me?,’ ‘Changes (In The for the recording of any of them.) Heart Of My Own True Love,’ ‘Black Horse,’

‘Southbound,’ and ‘Garden’ all have string C FILMING Cleopatra arrangements (by Larry Fallon), to which At some point during the late 60s and early 70s, Cale’s viola might well contribute. Nico shoots some scenes for Michel Auder’s Merenstein confirms that he was responsi-film Cleopatra, which goes on release this year. ble for getting Cale involved with the Chelsea The film is rarely screened, partly because and Glass Harp albums. “They were happy only one work-print survives. The whole thing to have him,” he says. “He was a name. He is improvised, shot in upstate New York and came in and commanded respect, and I was Rome, and features a number of other Factory attempting to give him as much exposure as alumni, including Auder’s girlfriend (and later possible. Also, in each case, he added some-wife) Viva, Ondine, and Taylor Mead. thing new. John was always a value coming into the studio; he was always fresh. John is a

marvelously creative person, marvelously giving of ideas, and for me, he was easy to work with. He was strongly opinionated about certain things, but he would try things. So when you’d bring him into the Glass Harp album,

it was trying to freshen up what they were

doing, and have John do something also. Or

the Chelsea album, or certainly Tax Free [on

whose 1971 LP Cale also plays]. I think Tax

Free probably appreciated him the most.”

299

Without Lou Reed, new line-ups of The Velvet Underground

perform, record, issue an album on a major label, and even tour

Europe, with Doug Yule the only constant member. Although

Sterling Morrison and Maureen Tucker are still around for

some of this time, the band can’t hope to match their former

glories, and eventually peter out almost unnoticed in mid 1973.

1971-73 Reed carries on the Velvets’ legacy, by using leftovers originally

recorded and performed live by The Velvet Underground on

his first two solo albums, while continuing to sing and play VU

classics on stage. The emerging glam-rock star David Bowie

cites the Velvets as a key inspiration, while Live At Max’s Kansas

City is the first of numerous releases of previously unavailable

Velvet Underground material. And in January 1972, Reed, John

Cale, and Nico are reunited briefly but memorably for a concert

in Paris.

1971 n WHITE LIGHT/WHITE HEAT

1971 having to accept, just four-and-a-half months Almost two-and-a-half years after leaving The after their stint at Max’s Kansas City with Lou Velvet Underground, John Cale finally plays Reed. his first post-VU concert at this esteemed A brief article in a local newspaper adds London venue. Although the previous day’s

From the beginning of 1971 to to the indignity, noting with understatement Record Mirror mentioned that Cale would be that “there have been a couple of changes backed by guitarist Jerry Donahue, bassist Pat the point when the group finally in the four-member group over the years” Donaldson, and drummer Gerry Conway of dissolved in mid 1973, The before inaccurately reporting that the Vel-the recently disbanded folk-rock group Foth-vets “have two albums to their credit, one on eringay, in the event Cale is helped out by Velvet Underground’s music Verve, which is a year or so old, and another The Incredible String Band’s Mike Heron (on wasn’t all that similar to – or just released on Atlantic titled Loaded . Under whose 1971 solo debut Cale plays). Also on

nearly as good as – what came promotion-minded Atlantic, they expect to the bill, appropriately enough, is Nico, whom release a single for the hit market soon.” (No Cale helps out by playing viola and piano on before. For that reason, this such promotional push will be forthcoming, some of her songs. However, much of the chapter will not cover the group’s of course.) Had Lou Reed still been around, audience is likely here to see the headliners, he would no doubt have been galled to Pink Floyd. ( Record Mirror also reports that performances, recordings, and read that the group “has always laid down a Cale and Nico are to play some concerts in other noteworthy activities in the heavy sound, and like Jefferson Airplane, for Paris, but there’s no record of these taking

same depth as the rest of this instance, has amassed a following even though place.) it has never produced a hit single.” (This too book, nor will it document the is inaccurate, since the Airplane released two Monday January 18 band-members’ solo activities in smash-hit 45s in 1967, ‘Somebody To Love’ A letter from journalist Geoffrey Cannon to and ‘White Rabbit.’) Danny Fields seems to confirm that recordings such detail. Instead, it will note Steve Nelson is in the audience for one from the Velvets’ stint at Max’s Kansas City are only the major events that took of these shows, and finds watching the band starting to make the rounds. “I’m delighted

place during this period, con- without Reed “even stranger than seeing them with the Brigid Polk tapes,” he writes. without Moe. Here she is in this peculiar place centrating largely on those that that knew nothing from The Velvet Under-Friday January 22 relate directly to – and helped ground, and probably couldn’t have cared Lou Reed might have quit the Velvets, but the less. They were kind of uncomfortable, really. acclaim for Loaded continues to gather steam propagate – the group’s legacy. Moe was knocking back Sombreros [coffee-as Fusion copyeditor Tim Jurgens selects it flavored brandies] because she was just having as one of the eight favorite albums of 1970.

a hard time dealing with this, and Moe wasn’t “The Velvets never managed to capture on a drinker.” tape the astounding grace and energy of Saturday January 2 Nelson’s wife Jan is also in attendance. their live act but this album, in spite of a Elton John is the guest contributor to Mel- “At that time, we were calling them The misguided production, comes close enough ody Maker’s Blind Date column, for which a Velveteens because a lot of the edge was off times for us to say it’s one for the books,” musician is asked each week to identify and the music, and they were playing the softer he writes. “A really moving performance by comment on a series of songs. He follows things,” she adds. “We both recall sitting at the most important group (now sadly dis-the American music scene diligently, and the bar with Steve Sesnick and Moe, Moe banded) to come out of the East Coast, with immediately guesses the identity of The Vel-knocking down lots of Sombreros, trying to Lou Reed once again proving himself to be vet Underground when he’s played ‘Rock & calm herself. It’s post-Lou, but they were still one of rock’s truly great singer-songwriters. Roll,’ even though Loaded has not yet been singing his songs. It was very, very strange. It Loaded is far and away the best hard-rock issued in the UK. “Great album,” he says. was clearly not something that was going to album of the year.”

“The best I heard in the States. I’ve never continue on very long. And of course, that was been a Velvet Underground freak, so it was sort of a desperate venue for them to wind Friday January 29–Saturday something of a surprise to me. It’s just a sim-up at, this rather seedy ski resort in North January 30 ple, relaxed album. They’re a strange band, Conway, New Hampshire.” Electric Circus, New York, NY too … they made this album and apparently The Velvets are scheduled to play a couple At some point during this two-night stint at the disappeared.” of nights at their old New York haunt, the Electric Circus, The Velvet Underground are Dom (now operating as the Electric Circus) paid a surprise visit by an up-and-coming star, , Mid January later this month, but will be back for another although the ensuing ghoulish case of mis-Alpine, North Conway, NH stint at the Alpine in February. They do at taken identity makes it hard to know whether The Velvets haven’t disappeared completely, least get free passes for the ski lifts. “I was to laugh or cry. “I remember this English kid however. Around the middle of this month kind of aghast that he had them playing ski coming backstage, and I was holding forth as the line-up of Doug Yule, Sterling Morrison, lodges,” recalls Martha Morrison, “but it was if I was somebody, feeling very self-important Maureen Tucker, and Walter Powers plays a really fun, and of course it was beautiful. We as the leader of this band,” Doug Yule tells weeklong engagement at the Alpine ski bar all learned to ski.” Record Collector in September 2001. “He came in North Conway. The Velvets have played in in, and obviously assumed I was Lou Reed, numerous odd settings over the years, but Sunday January 17 and so I had to explain that Lou wasn’t there. it’s doubtful any one of them is particularly John Cale and Nico, Roundhouse, It was only a few years ago that I heard the amused at the sort of bookings they’re now London, UK story back from someone else, and realized 302 , An arrow denotes an estimated date.

WHITE LIGHT/WHITE HEAT n 1971

that the English kid was David Bowie. In 1971, Tuesday February 2 Nico also makes a couple of appearances on I’d never heard of him!” With just her voice and harmonium, Nico BBC television this month. She sings ‘Janitor Bowie himself is in the middle of his first records a four-song BBC session for John Peel. Of Lunacy’ on one show, and ‘Ari’s Song,’ ‘My US promotional tour. As big a VU fan as he Two of the songs she plays are from The Marble Only Child,’ and the unreleased ‘König’ on is, he’s understandably unaware that Reed has Index (‘No One Is There’ and ‘Frozen Warn-another. But apart from these appearances, left the band, since Loaded has not even been ings’); one is from her recent Desertshore (‘Jani-and the January show at the Roundhouse released in the UK. He’ll get his chance to tor Of Lunacy’); the fourth, ‘Secret Side,’ will with John Cale, Nico keeps an extremely low meet the real Lou Reed in New York, however, end up on her next album, 1974’s The End. profile throughout 1971, neither releasing before the year is out. All four of these recordings will eventually be recordings nor touring to any meaningful released on October 30 1988 as part of The extent. The January 30 issue of Disc & Music Undated February Peel Sessions. Echo reports that she’s set to continue working Alpine, North Conway, NH

The Velvet Underground return to the Alpine

for more concerts at the beginning of the

month, and probably for a few subsequent

engagements, too. “We played the Alpine in

North Conway for weeks, many weeks,” Doug

Yule recalls in the February 2000 issue of Mojo.

“We played there so long that I learned how

to ski. There was no record company foot—

ing the bills and Sesnick was having trouble

booking the group. So he got whatever he

could.” The Alpine is just one of several ski

bars the group play during their waning days.

“We played at one place where I met my first

wife,” Yule adds. “We played on a stage that

was as big as a dining-room table, in the corner. It was jammed with people attempting to dance and attempting to drink themselves

into oblivion; it was, in fact, one of the more

popular ski bars.”

ALSO …

Praise continues to pour in for Loaded. In

Circus, Danny Goldberg calls it “an LP which

neither imitates nor forgets the past … and

conveys the wonderful feeling that the Stones

have in the past exclusively reserved: unfore—

seeable growth, immediate excitement, and

memorable new material … If nothing else,

the album is concrete evidence of what the

Velvet fans have always maintained: the

group’s early decadence and its continuing

hassles do not change the fact that they are

among the most complex, inventive, and

musical musicians in the world. They express

the scathing, often nightmarish reality of the

physical world, yet sing of inner love with a

sensitivity that beckons angels. And in their

most recent stage they combined their lyricism with their most centered rock-music to date, maintaining their position in the

dwindling handful of groups who perform

rock as the divine momentary celebration it

can be.”

(The article appears to have been written

several months in advance of its publication,

however, as Goldberg also notes that “at this

writing there were rumors that the group had

broken up and that Reed was in seclusion writing new songs.”)

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with Cale, “if he wants to work with me,” but but never before connected on. Perhaps the release were delayed when Columbia realized their in-studio reunion won’t actually come most impressive musical facet of this album is that Vintage Violence had more commercial for a few years yet. the distinctive fusion of their two previously potential (relatively speaking).

defined styles. The earlier Velvets approach Predictably, Church Of Anthrax doesn’t move

Friday February 5 concentrated on low-register repetition and many units, or garner many reviews. Robert Fusion magazine has been a steadfast cham-response, but the material on Loaded blends Christgau includes the album in his Village pion of The Velvet Underground for a couple low-register overtones with an upper-register Voice Consumer Guide, but is unmoved, giv-of years now. Today it runs a piece on Loaded outlook which results in a simple rock’n’roll ing it a ‘C’ grade and calling it “an album of pitched somewhere between a standard which is at once both gut-level and spiritually keyboard doodles posing as improvisations.” review of the album and a lengthy apprecia-attractive. Thematically, this new album must Longtime VU champion Richard Williams is tion of the band. Ben Edmonds likes the LP, be seen as the logical extension of the lyri-uncommonly reserved and matter-of-fact in but is the first critic to note what’s amiss with cal and musical demeanor they introduced Melody Maker, concluding that, like the Vel-the credits, rightfully criticizing the order in with their third album. The hard edge which vets and Soft Machine, the album “exploits which the personnel are listed (Doug Yule they reintroduce here is a natural progres-the rock idiom while staying at a certain dis-first, Lou Reed third) and the crediting of sion from the softly sedate disposition of tance from it … There’s a lot of substance some of the songwriting to Yule and Sterling that album – the combination of poetry and in this record, concepts being advanced and Morrison. He’s also skeptical about The Velvet motion. explored. Velvet freaks should buy it for Underground’s continued operation without “The Velvets, true to form, remain content ‘Patrick Lee’; they’ll get seduced by the rest Reed. “It would appear as though Doug is to set situations and then let the audience in no time.” being promoted as his creative successor,” he play itself into them. They never pointed an The album resonates far more strongly writes. “This must be seen, at best, as a rather accusing finger or drew your conclusions with Fusion’s Tim Jurgens, who hails it as “a clumsy move. For, as with the others, Doug’s for you. The new situations, still being of a mighty collaboration so full of levels, con-contribution became distinctively Velvet only reflective nature, concern themselves with a tradictions, rooms, spaces, times, etc that when filtered through the framework of Lou’s world where shadows outweigh sunshine: the ordinary points of criticism have eluded me conception. (The songs, after all, were always difference, however, is in perspective. While ever since I decided to review this album. Lou’s.) And neither Sterling nor Maureen is much of their earlier work employed larger-As with any really fine musical work upon cut in the Roger McGuinn mold, so where than-life distortion for effect, their new mate-first introduction, one simply wants to listen does this leave us? With an album that looks rial is treated with compassion and genuine and listen and listen … Church Of Anthrax is suspiciously like the Velvets’ last.” concern. Many contended that the negativ-indeed a complex work, but not a confus— Edmonds has good things to say about ity of their early period was strictly dead-end, ing or in any way inaccessible one; it invites Loaded itself, however. “The band as captured but their present attitude leaves the door of you in, though don’t bother guessing whose here is at their peak tightness,” he writes. “It is salvation at least slightly ajar. Solutions must house it is.” obviously their most studio-oriented album to remain ours to find, for the Velvets deal in In years to come, Church Of Anthrax won’t date and, despite some minor problems still immediate reality and nothing more.” be regarded as one of Riley or Cale’s best unresolved, a contrast in its sharp clarity with works. Rock audiences will probably always the shoddy production accorded their second Wednesday February 10 consider A Rainbow In Curved Air to be Riley’s album. In some instances, Lou’s conception With John Cale moving to Los Angeles to most important record, while Cale fans are still outdistances the band’s execution, but work for Warner Bros after the commercial likely to choose the VU LPs on which he plays the gap was decidedly closing at the time this failure of his solo debut, Vintage Violence, now and quite a number of his solo recordings recording was made.” is hardly the best time for Columbia to release ahead of this collaboration. On its own terms, Edmonds also offers the unusual opinion his collaboration with Terry Riley. Even leav-however, the album is a qualified artistic suc-that Loaded “may frequently suggest mutated ing aside Cale’s fading relationship with the cess, giving each man some useful experience Creedence [Clearwater Revival]-like country label, a largely instrumental album that’s in shaping music for a different audience. overtones,” before hailing the record’s acces-not quite experimental and not quite rock is (Confusingly, three separate release dates are sibility. “Some of the songs are extremely never going to be an easy sell. The sessions for given for Church Of Anthrax in CBS paperwork deserving of singles consideration, something it began in the early spring of 1969, suggest- – December 28 1970, January 20 1971, and the Velvets have always had the potential for ing perhaps that both its completion and its February 10 1971 – but the last of these seems the most likely.)

JOHN CALE & TERRY RILEY Thursday February 18

Church of Anthrax Rolling Stone caught up with John Cale and Nico at their January concert at the Roundhouse, and today runs a combined review/

A1 ‘Church Of Anthrax’ (CALE/RILEY) article about the pair. Cale tells quite a few A2 ‘The Hall Of Mirrors In The Palace At Versailles’ (CALE/RILEY) stories from his Velvet Underground days, B1 ‘The Soul Of Patrick Lee’ (CALE) and Nico is her usual art-damaged space B2 ‘Ides Of March’ (CALE/RILEY) cadet. A few days later, Lisa Robinson makes B3 ‘The Protégé’ (CALE/RILEY) a passing reference in her Pop Wire column to the fact that both Cale and Lou Reed were

US release: February 10 1971 (Columbia CS 30131) apparently in attendance at a party thrown

UK release: May 1971 (CBS S64259) for an Australian ballet company at Max’s

Kansas City.

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Undated March of New York City, Reed goes on to addresses Hugh Nolan writes. “Loaded isn’t a patch on

Lou Reed has kept out of sight since leaving some poems to a segment of his audience that The Velvet Underground & Nico – but nor were The Velvet Underground, but at some point will become crucial to his early solo career, their second and third albums. Nevertheless since then he must have come in to Danny reading “a series of gay poems he had writ-it’s a fuckin’ gasser of a record … one of the Fields’s Atlantic Records office to speak to ten just for the occasion. Pro-gay rather than rare ones which get more refined the more Geoffrey Cannon for an article that appears anti-gay is the way he explained it. ‘Anti-gay you hear it. At least it never for one moment in the March 1971 issue of the British maga-is too easy,’ he declared. This brought a warm pretends to be anything other than what it zine ZigZag. Frustratingly, Cannon has chosen response from Danny Fields, because of their is: good, basic, electric rock’n’roll with some to paraphrase the questions and answers into modest militant sensibility. These poems new concepts.” prose instead of quoting them, but there are turned out to be about things like looking The album is given a more ambivalent still a few interesting tales and observations. at the shoulders of the man you are danc-assessment a week later by Steve Peacock in Reed clarifies that he’s never been a heroin ing with, noticing pretty young boys at the Sounds. “The Velvet Underground have always addict; speaks at some length about Ray Dav-library, etc. A lot more sentimental than any of been masters of the art of bad taste, perfect ies, “a writer he felt some affinity with”; briefly his material with the Velvets (not even a single in their ability to sing just off the note, to play discusses the still-unreleased song ‘Stephanie reference to black leather!), but after all these just out of phase and to play music that almost Says,’ which the Velvets recorded in Febru-were just poems. And poems are expected to be – but not quite – parodies itself,” he writes. ary 1968; reveals that his decision to quit the that way. Anyway, the poets and gay partisans “On Loaded they have used a kind of sweet, group was influenced by the death of Brian in attendance enjoyed them enough to make sickly blend of rock’n’roll as their medium. Jones; and laments the fact that he’s only Lou feel good.” Listening to Loaded is a bit like looking at The received three or four letters from Europe Also on the bill at St Mark’s is Jim Carroll, Everly Brothers through a distorting mirror – about his music. Reed also plays tapes of the VU fan who can heard in the audience the form is recognizable, but the details are some of his new songs to Cannon. They’re on Live At Max’s Kansas City. Carroll is well twisted and unreal, sometimes grotesquely not named or described in the article, but on his way to becoming a major poet him-distorted, sometimes just slightly shifted in the fact that they’re played at all confirms self, and will also begin a parallel career as perspective … The Velvet Underground are that Reed is already working toward a pos-a new-wave musician and recording artist in not really comparable with their contempo-sible solo career. the late 70s. raries,” he concludes. “They are on their own,

a horrifying, unpleasant splash of day-glo in

Wednesday March 10 Saturday March 13 the current American Nightmare. The ques-

Lou Reed, St Mark’s Church In The Nearly six months after its US release, Loaded tion of whether or not you like their music Bowery, New York, NY is finally issued in the UK, sparking the most doesn’t apply: it just is.” Lou Reed makes his first public appearance ecstatic British review of the group to date. since leaving The Velvet Underground when “This is just possibly the most important pop Undated April he gives a reading tonight at St Mark’s Church record issued in years,” writes Michael Watts It takes six months for Atlantic Records to In The Bowery in the East Village. The poems in Melody Maker. “It is for me the most sty-draw a single from Loaded, the album that’s he recites include VU lyrics and some new listically exciting piece of rock music since supposed to be so full of potential hits. The works about his girlfriend and future wife, The Who’s Tommy … The vocals are wobbly label’s decision to go with ‘Who Loves The Bettye Kronstadt. Reed has also recently and often out of tune, the melodies are slight Sun’ rather than the more obviously commer-published some prose-poetry in Fusion, one and bitty, and the lyrics, at first hearing, have cial ‘Sweet Jane’ or ‘Rock & Roll’ is perhaps of the magazines most supportive of him and an air of dire juvenilia about them. And yet, influenced by Lou Reed’s departure, since the Velvets. this album is in essence a brilliant expression both the A-side and its B-side (‘Oh! Sweet

“Lou’s reading of ‘Heroin,’ punctuated by of the unreality and artificiality, the sense of Nuthin’’) are sung by Doug Yule, who has sub-emphatic pauses and grins, resulted in tre-fantasy in which pop exists in the conscious-sequently become the group’s lead singer. mendous applause,” writes Prince Pudding ness.” ‘Who Loves The Sun’ is at least one of pop-(aka Richard Meltzer) in the third issue of A few days earlier, an import copy of Loaded piest Loaded songs, but it’s also one of the What Goes On. “Even Allen Ginsberg – long is reviewed by IT (formerly the International more lightweight cuts on the album. But in an enemy of any substance more dangerous Times), the leading British underground news-the end it probably doesn’t matter: like the than LSD – cheered loudly and for some paper of the day. “The Velvet Underground Velvets’ Verve/MGM 45s, the single is so rare time. Lou seemed almost embarrassed by is still a major living force in rock music,” as to make one suspect it’s barely distributed the ecstatic response – he had not expected

anything like it. He went on from there to

read the lyrics from many of his other well- THE VELVET UNDERGROUND THE VELVET UNDERGROUND

Ray,’ ‘Lady Godiva’s Operation,’ and ‘Black ‘Who Loves The Sun’ known songs, including oldies like ‘Sister ‘Who Loves The Sun’ Angel’s Death Song’ – all to similar acclaim.

Claimed he’d never sing again ’cause god- A ‘Who Loves The Sun’ (REED) A ‘Who Loves The Sun’ (REED) dammit he was a POET now! Said if he ever B ‘Oh! Sweet Nuthin’’ (REED) B ‘Sweet Jane’ (REED) sold out by doing anything as silly as returning to rhythm & blues the ghost of Delmore US release: April 1971 (Cotillion UK release: April 1971 (Atlantic Schwartz (whose dying words were ‘don’t sell 44107) Polydor 2091-088) out’) would haunt him for sure.”

Having received confirmation that he

hasn’t been forgotten by the fine denizens

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at all. And surely few if any AM radio stations colorful description of the music, some fas-album,” adding that it is better than The are going to play ‘Oh! Sweet Nuthin’,’ which cinating quotes from an interview given by Beatles’ Revolver and that it “beats the last at seven minutes and 23 seconds is even Reed from the study of his father’s office ear-four Dylan albums all to hell and gone for longer than The Beatles’ ‘Hey Jude.’ lier this spring. Reed’s comments here are far my mind.” He goes on to describe Loaded In Britain, Atlantic gets it halfway right at more extensive and reflective than any he’s as “one of the most lazily listenable albums least by replacing ‘Oh! Sweet Nuthin’’ with previously given to a journalist, although it’s since [Van Morrison’s] Moondance” and ‘Sweet Jane,’ although ‘Who Loves The Sun’ certainly possible that he’s never been given “simultaneously a high-sighted art-statement is still the A-side. The single won’t fare any so much space to speak his mind. It’s possible and the best affirmation yet that … they are better in the UK than in the USA. Peter Jones too that he feels more at liberty to discuss The really still just a rock’n’roll band from Long of Record Mirror calls it “another outstanding Velvet Underground frankly now that he’s no Island.” Bangs cites ‘Sweet Jane,’ ‘Rock & single which deserves to make it,” but clearly longer in the band. Roll,’ ‘Head Held High,’ and ‘Train Round hasn’t been keeping up with the times, noting “I know that those first two albums and that The Bend’ as “Instant Rock’n’Roll Classics,” that, “as ever, a very pleasant sound [is] built image hurt us a lot,” he admits. “Those songs and is “confident we’ll still be listening to it around Nico’s deep-rooted voice.” that everybody typed us with were reflections in ten years, right along with [Bob Dylan’s]

of certain scenes around us, and some of it Highway 61 Revisited and Moondance.” (Bangs

ALSO … manifested where we were at the time. But also briefly mentions the recent activities of A basic two-page appreciation of The Vel-later we changed and our music changed but the Reedless Velvet Underground. “The last vet Underground appears in The Rock Scene, nobody else could seem to shake their pre-I heard,” he notes, “the group … was purport-a new book by Richard Robinson (a deejay conceived notions. Like at the time I wrote edly playing at some ski-lodge in Vermont.”) on New York’s most progressive FM station, ‘Heroin’ and ‘Sister Ray,’ I felt like a very WNEW) and Andy Zwerling. Robinson also rather negative, strung-out violent, aggres- ALSO … writes for the newspaper column Pop Wire sive person. I meant those songs to sort of According to an article by Richard Meltzer Service, hosts a syndicated radio show, Rock exorcise the darkness, or the self-destructive in the July 12 issue of Screw magazine, Nico Stars, and will soon play a major role as both element in me, and hoped that other people is set to play the Gaslight in New York this producer and scene-maker in launching Lou would take them the same way. But when I month, with Lou Reed apparently booked to Reed’s solo career. began to see how people were responding to accompany her on guitar. A surviving sheet them it was disturbing. Because like people giving bare details of the engagement lists

Saturday April 17 would come up and say, ‘I shot up to “Her-shows from May 12–17. Shortly before the gig Andrew Lycett gives The Velvet Underground oin,”’ things like that. For a while, I was even is to take place, however, Nico has to leave a half-page appraisal in Melody Maker, with Lou thinking that some of my songs might have the country to avoid further repercussions Reed’s departure noted but not particularly contributed formatively to the conscious-from an incident in a New York bar where grieved and Sterling Morrison doing the talk-ness of all these addictions and things going she slams a glass into the face of a woman ing. “We were simply doing drug songs in an down with the kids today. But I don’t think identified in Screw only as a “supergroupie” era when there were none around,” he says. that anymore; it’s really too awful a thing to named Emmaretta, whose wound requires 19 “We do love songs of every description, and consider. stitches. (She’s probably Emmaretta Marks, ‘Venus’ is just a different kind of love song. I “But I do know that that was only one aspect who was recently in the original Broadway think it is a brilliant synopsis of Sacher-Mas- of our music, and we’ve gone through lots of cast of Hair, and sang backing vocals on a och’s book. It is a seductive song, musically changes since then, and I wish more people Jimi Hendrix song recorded in mid 1970, great, one of my favorites about a subject that would recognize that fact,” Reed continues. ‘In From The Storm.’) Sitting with the pair hadn’t really been dealt with before. ‘Here “All of a sudden we started looking out when at the bar before the incident, according to She Comes’ on the second album is like that we went on stage and seeing audiences full Meltzer, are renowned feminist writer Ger-too.” Morrison also claims that ‘Heroin’ “was of stoned-out, violent people asking for those maine Greer, actress Pat Hartley (who stars not even licensed by BMI, so we couldn’t get songs. We didn’t want to appear to be supportin a few Warhol films), and the young poet any royalties,” before describing Bob Dylan ing that, which is why we won’t play most of Patti Smith. as “verbose and ultimately boring. Look at those songs anymore.” his stupid protest songs; I can’t even bear to Reed is less specific when asked about what AND … think of them they’re so dumb. His technique he’s been doing since leaving the group. “I As the snow melts away in the ski country that’s of firing images and making weird juxtaposi-can see why some of those rumors, like the apparently become a significant source of tions just to befuddle one doesn’t do anything one about me supposedly freaking out, might Velvet Underground gigs, The Velvet Underto me at all.” have gotten started, because I’ve been in kind ground take on some more conventional gigs of semi-hiding here,” he says. “But they’re in the Midwestern cities of St Louis, Cleve-

Wednesday April 28 directly the opposite from the truth. In fact, land, and Detroit.

The Agora, Columbus, OH I’m probably one of the most anti-drug peo-The Lou Reedless Velvet Underground ple around … I don’t mean that I wanna tell Undated June trudge on, appearing tonight with The Blues anybody else what to do, though, you know, Lou Reed’s first major post-Velvet Under-Project, another band whose greatest line-up because I think people resent that and it’s ground interview appears in the New York is no more. none of my business anyway. I’m anti-drug monthly Metropolitan Review. The four-page in the sense that I think drugs are bad for piece is perhaps the longest Q&A session he’s

Undated May Lou Reed.” ever given about the Velvets. It also indicates Arch Velvet Underground fan Lester Bangs Elsewhere in the article, Bangs offers a that he is already starting to see how histori-delivers a massive essay in praise of the band typically detailed critique of Loaded. He calls cally important the group’s work is, and will in Creem. It features, in addition to Bangs’s it “arguably the finest Velvet Underground be in the future. Asked by interviewer Ver-

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non Gibbs about ‘Sister Ray,’ Reed reiterates ‘further adventures of,’ sort of a Tom Sawyer after their last show in Houston, even bring-his view of the band’s albums as an ongoing Of The City. Say, that would make a good ing his suitcase along. But before the plane story of sorts. “That was as far as you could go album title.” departs, to the surprise of his band-mates, he in one direction,” he says. “That far short of Reed goes on to reveal that he’s been “talk-announces that he’s quitting the band and croaking. Now if you keep on that way, that’s ing to some people about a play” – possibly staying behind in Texas. He’ll end up living it. You might as well just die. You gotta then a Broadway adaptation of Nelson Algren’s there for most of the rest of his life, teaching pick yourself up and go in the other direction, A Walk On The Wild Side, for which he has literature at the University Of Texas (where or you shoot through it and come out on the been asked to provide a score. “It may be in he eventually gains a PhD in Medieval Litera-other side. I think you either do that or you the offing,” he says. “I’d like to see another ture in 1986) before working in Houston as a die. That’s why the third album has ‘Begin-group do all the songs so I could hear a dif-tugboat captain. ning To See The Light,’ ‘I’m Set Free,’ all ferent point of view. I’m sick of the sound of “That time was very pleasant,” Morrison these songs talking about getting away from my own voice. No one has ever done any of later tells the New Musical Express of the year it and what it means. And then after you get the songs.” Asked what he’s doing for a living he carried on playing with the Velvets after away from it what happens? You got the mur-now, he says, “I’m a bookkeeper,” confirming Reed’s exit. “We were working on new songs, der mystery, which means you’re out in the that he’s still working for his father when the and we sounded very good. But when I looked clear but it’s not so simple. It’s still not simple interview takes place. at myself I was seeing a professional musician, anymore, you’re faced with more problems. which I never really set out to be. There wasn’t

Two people talking at the same time and you ALSO … the old excitement, the feeling of crusading.” don’t know what’s going on. And this isn’t More barely noticed Velvet Underground His final gigs might at least be among the best with drugs, this is with real people, and you’ve concerts take place this month in Glouces-he plays during his final year with the group, got to start all over again. Now that you’re on ter, Massachusetts, Philadelphia, and Detroit. with 250–300 fans filling the Liberty Hall on a different level. But you’re still starting again For a few shows, Larry Estridge has to fill in August 20, according to a report in a local with a new bunch of problems and then you for Walter Powers, who’s broken his jaw after newspaper. go to the fourth album … falling down some stairs. “Maureen even had a “Things changed greatly over a two-year

“It has always been a source of disappoint-regular drum kit and was really rockin’,” notes period, and that was one thing Sterling ment to me that people did not pick up on Rob Norris, who attends the Gloucester show, moaned about,” Doug Yule tells the NME in the fact that these things were continuing,” in his Kicks article. “The only problem was the October 1971. “He had to fill a different need Reed adds, even more ambitiously. “Put them bass player, who was definitely NOT Walter … he got upset about that, but it didn’t have together and you’ve got the 60s. If somebody Powers; this guy just did not cut it.” much to do with him leaving, though he said wants to know what happened in the 60s, why it wasn’t fun any more.” did the 70s have Altamont, what was it all Saturday July 10 “He said the band wasn’t fun anymore” about? Put those things on and you’ve got that The only documented VU show this month is how Martha Morrison puts it, more than strata of New York and what was going on; it is at an outdoor venue in Ohio, with at least 35 years later. “I guess he had been looking might not have been going on nationally, but a couple of other ‘name’ acts – Paul Butter-ahead. He had told me he thought Austin now it is. I feel that they are even more con-field and the Michigan hard-rock group The would be a good place to go back to school. temporary now than they were then because Up – on the bill. It happened very suddenly. He called and said then we were the only ones who were doing it, he had been contacted by the English depart—

but now people listen to it now and they can Friday July 16 ment at UT Austin, where he had applied, and see what’s going on right this minute.” A letter from Nico to Danny Fields seems to was going to go to graduate school there. That

Those listeners who assume that Reed is confirm that she’s been hustled out of the was in August; I went down in November. Moe a heavy drug-user will likely be stunned by United States following the recent incident in was furious with him.” his point-blank condemnation of substance a New York bar. “Can you give me some infor-Morrison’s departure severs the last link to abuse. “I don’t think drugs were very helpful mation about the girl, Emmaretta, please?” the Velvets as they existed back in mid-1965, to me,” he says. “I don’t think they did me any she asks. “Will I be able to return soon?” Years struggling to forge a new sound in the Ludlow good. I think it’s possible that I write better later, in the November 1987 issue of Creem, Street loft on the Lower East Side. Morrison off drugs than I do on them. You don’t have Nico will claim that she “couldn’t get back to served the band well through its many muta-to take drugs to write. So I don’t. I personally America for seven years because I hit a girl’s tions, reliably pumping out first-rate guitar-think drugs are shit.” eye.” In actual fact she’ll be back perform-work that meshed well with whoever else was

Asked what he plans to do now that he’s ing in the USA somewhat sooner than that, in the group at any given time. Now however not in The Velvet Underground, Reed is as so it seems unlikely that the repercussions of the time has come for him to build a life out-vague as can be: “I’m gonna think a lot.” the attack keep her out of the country for side the music business. Pressed more specifically as to whether so long.

there’s no chance at all of him returning to Undated September the Velvets or working again with Nico and Friday August 20– Lou Reed and David Bowie meet for the first John Cale, he’s a little more positive. “Oh I Saturday August 21 time at a party held at New York’s Ginger Man wouldn’t say that,” he says. “I would get a kick Liberty Hall, Houston, TX restaurant to celebrate Bowie’s new deal with out of working with John and Nico, but not While The Velvet Underground are perform-RCA Records. Reed will soon be working for the whole group, only certain segments. Or ing in Texas, Sterling Morrison – who recently the same label, with Bowie instrumental in else maybe I’ll do something by myself. But completed his undergraduate degree at City launching his solo career in 1972. Asked why I don’t know yet. I’m just gonna see what’s College Of New York – is offered a teaching he doesn’t remain with Atlantic as a solo artist gonna happen. I’ve got a lot of stuff writ-post at the University Of Texas in Austin. He in an unpublished interview with ZigZag, Reed ten. I like to think of it as a continuation, a drives to the airport with the rest of the group says, “I thought that I could realize best what

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I wanted to do through my involvement with Wednesday October 6 and a tour in Europe. I didn’t want to go; there people at RCA like Richard [Robinson]. Also Monday October 11 was me and these three guys. Signs were put I thought there could be a difficulty with me MRECORDING JohN caLe details unknown. up saying ‘The Velvet Underground’ and that and [the Velvets] being on the same label. So I Producer Tietleman. pissed me off. I went for two reasons: I always thought I would just remove myself totally.” Shortly before the termination of his CBS wanted to go to Europe so that was a dream contract, John Cale records four unreleased come true, and I really felt ‘what a rip-off to ALSO … tracks at unspecified locations on these dates. have [the name] in the papers … it’s four peo— In place of Sterling Morrison, Doug Yule The songs in question are ‘Picardy’ (possi-ple they never saw before!’ That was lousy too brings in another Boston buddy, keyboardist bly a version of the traditional song of that because whoever had bought tickets, bought and vocalist Willie Alexander. Like Walter Pow-name), ‘Brahms Lullaby,’ and two of Cale’s tickets with The Velvet Underground name ers, Alexander played in Yule’s pre-VU band own compositions, ‘Dixieland And Dixie’ and and there wouldn’t have been one Velvet even The Glass Menagerie; both men also played ‘Biggest, Loudest, Hairiest Group.’ The last there.” together in the mid-60s group The Lost. “I of these is of most interest, as Cale will sing it In the February 2000 issue of Mojo, she didn’t want to join a ghost band,” Alexander a few months later – as ‘The Biggest, Loudest, adds, “We were always very well received. But claims in Lou Reed & The Velvet Underground Hairiest Group Of All’ – on January 29 at a I think people were disappointed that Lou by Diana Clapton, “but they promised they’d concert in Paris that temporarily reunites him wasn’t still in the band.” And in an interview change the name. I could record an album of with Lou Reed and Nico. This studio version with What Goes On, she notes, “I liked the my own stuff and see Europe and America.” will never be released, however. (The Tietle-music the four of us – Willie, Doug, Walter, By now, The Velvet Underground are as man listed as the producer of these sessions and I – played. And I liked our renditions of much a Boston band as they are a New York is possibly Russ Titelman, most famous for his Velvet Underground songs. But it wasn’t the one, and are even less recognizable as the subsequent work with Randy Newman.) Velvets. I guess I thought I was cheating the group co-founded in 1965 by Lou Reed and people.” John Cale. Even so, they’re still able to get gigs Friday October 8 with name acts. This month they play in Ohio Birmingham University, Birmingham, UK ALSO … with Savoy Brown, Cactus, and Atomic Rooster, At last, The Velvet Underground finally make Plans might already be afoot for the release and in the Canadian cities of Vancouver and it over to Europe. Tonight’s show is the first of material from the live tapes made by Brigid Edmonton with Quicksilver Messenger Service of a six-week run of concerts in Britain and Berlin of The Velvet Underground on August and Captain Beefheart. the Netherlands, many of them at universities. 23 1970. In the October 8 issue of Time Out, (Doug Yule will later mention playing with Geoffrey Cannon reports that “the Max’s ses-

Saturday September 18 the post-Reed Velvets in France, but there’s sions will be released by Atlantic either this Although only a year has passed since Lou no other evidence of the group performing year or early next year as a double album.” If Reed left The Velvet Underground, critics are there.) there really are plans to make a double LP already starting to clamor for wider retrospec-The tour has obviously been arranged some out of these somewhat substandard tapes, tive recognition of the band. In a Melody Maker months in advance, as advertisements started they’re wisely scrapped in favor of a single disc review of MGM’s reissues of the first and third appearing in the major UK music weeklies by the time the LP appears in May 1972. (A VU albums in the UK, Richard Williams writes, in June. But the line-up of Maureen Tucker double-CD edition will however be released “The first of these albums, recorded in 1966, (traveling with her infant daughter), Doug when the album is given the expanded-reissue is one of the most important and influential Yule, Walter Powers, and Willie Alexander treatment in 2004.) rock records ever made. The second, made two must surely be a letdown to any fans familiar years later, is the most organic and interesting with the group’s records. And it can’t feel like Monday October 11 extended work in rock … Please, please, buy a good omen when the band miss their show C FILMING AVRO Studio, Hilversum, Neth-both these albums. They’re too beautiful, too at Amsterdam’s Concertgebouw on October erlands. damn important, to remain the property of a 10, where a full hall is waiting for them, after A rare television appearance by The Velvet handful of converts.” their penny-pinching management has them Underground is shot today, but unfortunately take a 14-hour bus ride instead of flying. doesn’t appear to have survived.

Saturday September 25 But as Doug Yule recalls, “Every time we At the Aylesbury Friars Club, David Bowie intro-went to England after Lou left – in various Thursday October 14 duces ‘Queen Bitch’ as a song “about a friend forms, and some of them not even remotely Before their show at the London School Of of mine in America called Lou Reed, who’s resembling The Velvet Underground, but sold Printing, the new-look Velvets are interviewed a singer with a band out there in New York as The Velvet Underground – people didn’t for an article set to appear in the November 5 called The Velvet Underground who aren’t care. Never in all those performances did issue of the British magazine Frendz (formerly that well known.” A few lusty cheers can then anyone come up and say, ‘You’re not really Friends). Bizarrely, it’s reported that Lou Reed be heard on a live tape of the show, confirming The Velvet Underground.’ No one in a review “is now in California finishing an album for that there are at least a few people in attend-said that, except one that called me the last Lou Adler’s Ode label,” but there’s no other ance who’ve heard of the VU, and prompting remaining poop-drivel of the Velvet Under-evidence of such a project. More mundanely, Bowie to retrace his steps. “Sorry,” he says, “a ground. That’s kind of like my claim to fame. the group complain about Steve Sesnick, who very well known band over here called The I think I’m the only musician that was called hasn’t been seen since he’s packed them off Velvet Underground. They don’t know about the remaining poop-drivel of anything!” he to tour Holland and Belgium in a van near them in Beckenham [the South London sub-laughs. the tour’s outset. Willie Alexander reveals that urb where Bowie lives], I’ll tell you!” Fittingly, In Hymn To Her: Women Musicians Talk by he expects the new line-up to record a studio Bowie goes on to finish his set with an encore Karen O’Brien, Maureen Tucker explains that album when the tour winds down; in reality, of ‘I’m Waiting For The Man.’ “when Sterling left we had already booked they won’t get such an opportunity.

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Saturday October 16 Three decades later, Richard Williams haps the first time in print – that “rumor from If anyone is entitled to write about The Velvet recalls: “Interviewing the post-Lou band was a good source now has it that he is embarking Underground in the UK, it’s Richard Williams, a dismal experience, made bearable only by upon a solo career, with a tape of 12 numbers the first British critic to give the band major Maureen Tucker’s resolution. She seemed circulating in a restricted circle.” coverage. He’s left decidedly unimpressed, determined to maintain something of the however, by a recent performance by the band spirit of the original band. But it was, of Undated November at London’s Speakeasy Club. “What we saw course, an exercise in futility.” David Bowie’s Hunky Dory is released this that night was a travesty, a masquerade,” he month in the USA (with its UK release to shudders in Melody Maker. “They began with Saturday October 23 follow on December 17). In the handwrit-two pastiches of early Velvets songs, ‘I’m Wait-Just a week after trashing the current touring ten tracklisting on the back, next to ‘Queen ing For The Man’ and ‘White Light/White version of The Velvet Underground, Richard Bitch,’ Bowie has written “Some V.U., White Heat.’ Alexander looked terribly nervous, Williams is back campaigning for the rediscov-Light returned with thanks.” His love for The Powers kicked his feet around under the ery of their back catalog, reviewing reissues of Velvet Underground might seem rather obvi-organ’s keyboard, and Yule produced fair imi- White Light/White Heat and Nico’s Chelsea Girl ous in later years, but at the time it probably tations of Reed’s phrasing, both on guitar and for Melody Maker. “It’s the simplest and most goes unnoticed by all but very few hip insid-voice. His vocal fills on the latter song repro-accessible of all her three albums,” he writes ers, since both Bowie and the Velvets are still duced Reed’s recorded work exactly, which about Chelsea Girl. “Cale’s arrangements are a very much cult acts as 1971 comes to a close. gave some indication of the lowly aims of this delight, mixing cold flute and string quartet band … ‘Rock & Roll,’ one of Reed’s finest with echoes of the Velvets ’66 approach (lis- ALSO … songs, was sped up and reduced to triviality. ten to ‘It Was A Pleasure Then’). A beautiful The November/December issue of the Ger-

“As they went into one of their own num-album, very nostalgic for those who admired man magazine Sounds runs a short story on the bers – called, unbelievably, ‘Down On The what went down in the Village and the Factory Doug Yule-led line-up of the Velvets’ current Farm’ – I got up to go, unable to stand it any that year. White Light/White Heat is, of course, tour of Europe. Maureen Tucker confirms that more. I was moving out when I looked at the rather more substantial, being perhaps the while her three band-mates want to change the bassist’s face and noticed the beads of nervous greatest electric-rock album ever made.” Lest name, she and Steve Sesnick are in favor of sweat beneath his eyes. They looked like tears. anyone doubt his love of the band, Williams carrying on as The Velvet Underground, sim-They should have been.” ends his review with an all-caps instruction: ply because they’ll get more gigs that way. Yule In an interview with Williams published “BUY THESE RECORDS.” complains (as he already has to Melody Maker) in the same issue, Yule claims that Reed’s that Atlantic won’t let the group into the stu— departure “didn’t matter that much … people ALSO … dio to record a follow-up to Loaded. He’s also ask what happened to him. Last night at the In a letter to Danny Fields, Nico confirms gotten wind of the plan to release an album Speakeasy, someone thought I was Lou, but that John Cale has written to inform her that culled from Brigid Berlin’s Max’s Kansas City I didn’t care. I let him go away thinking that. Warner Bros does not want to record another tapes, which he too (like Geoffrey Cannon in We play what we have and what people know, album with her. She says that she doesn’t want Time Out) thinks might be a double-LP set. which is basically the old songs, but we’d just to be on Apple – there’s no other indication, as soon forget ’em … except for a few favorite in any case, of The Beatles’ troubled company Friday November 5 golden oldies, like, uh … ‘Heroin.’ But you wanting to sign her – so would like Fields to School Of African And Oriental Studies, can hear a movement in the old songs; if you get her a contract with Atlantic. She then London, UK ever heard the old band, then you know that reveals her fear that “going from one [label] Tonight’s show is taped by an audience mem-the way we’re playing ‘I’m Waiting For The to the other, everybody will get suspicious of ber, and 65-minutes of it will later be issued as Man’ is much more contemporary. It has a me.” She also mentions some upcoming con-disc one of the Japanese boxed set Final VU modern rock guitar-solo and funky piano, certs in France and Belgium, adding, some- 1971–1973. It’s an odd listen, and one that for instance. We’ve got a load of new mate-what pessimistically, “I expect nothing from combines old VU classics (‘I’m Waiting For rial from Willie and Wally and me, about six the audience, not even sympathy. But maybe The Man,’ ‘Rock & Roll,’ ‘White Light/White albums worth. Most of it’s trash. But we never they’ll understand that it is beautiful.” Heat’) with new songs composed by Willie get time to rehearse, because we’re too busy Alexander and Doug Yule. The new Velvets do playing. So we play what we have.” Saturday October 30 an adequate job of interpreting Reed’s songs, Yule sounds as though he is taking even A New Musical Express article about the VU with Yule’s slight vocal resemblance to Reed greater pains to distance himself from the Reed line-up currently touring the UK seems to coming in handy. But with their former leader era when he adds, “Personally, I feel very little find the band at their lowest ebb yet. “To put missing, they sound rather like a competent relationship with the old group. I’ve got much it simply, they were diabolical,” Tony Stewart VU covers band, and one that uses electric more out of the past six months than I did out writes of their October 9 show at Kingston keyboards far more prominently than the of two years with Lou, because you had to do Polytechnic. “Never have I seen such an unto-original article, even on songs such as ‘Some everything his way. That’s not a complaint, but gether or depressed band, but maybe it was Kinda Love.’ That particular song segues we’re a lot freer now. If people want to hear because Moe (the drummer) was ill – very ill.” oddly into a cover of Bobby ‘Blue’ Bland’s the old stuff, they’re not going to like us, and Asked by Stewart about Reed’s departure from ‘Turn On Your Love Light,’ while ‘Sister Ray’ I dismiss them. I’m much more interested in the band, Doug Yule admits, “It was quite a morphs into Alexander’s ‘Never Going Back what I’m doing. Everybody except Moe and change and so difficult to adjust. For six to Georgia.’ The show even kicks off with a Steve wants to change the name, but there are months we did rather poorly, then mediocre, brief, half-serious cover of The Dixie Cups’ drawbacks – we wouldn’t get booked so much, then good, but now we’ve become poor again girl-group classic ‘Chapel Of Love’ – some-for instance. So I guess we’ll have to carry on … Sometimes I wonder whether it’s worth the thing that would have been absolutely unim-putting up with the old stigmata.” effort.” As for Reed, Stewart reveals – for per-aginable with Lou Reed in the band.

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Even more problematic is the new mate-some of the flabbiest impersonations of style Monday November 29 rial. Yule’s ‘Dopey Joe’ is neither Velvets-like and sensitivity in nearly a decade, right on An almost comically understated press release nor particularly interesting; even worse, its smug ear.” today officially announces that Lou Reed has sadly, are Alexander’s ‘Back On The Farm’ Incidentally, Nico isn’t entirely pleased with signed to RCA Records, while also disclosing (which he originally recorded and released how she seems to have come across to Bangs. that he’s set to record for the label’s staff-pro-in 1968 with his band The Bagatelle), ‘Spare A couple of months later, she tells Danny ducer Richard Robinson in the UK. “Reed’s Change,’ ‘Pretty Tree Climber,’ and ‘Never Fields by letter that Bangs “has a completely long association with everybody has made him Going Back To Georgia.’ Not only do these distorted sense of interpretation and if he can-a much-discussed and near-legendary person,” songs lack even a tenuous connection to the not hear what I am saying, it really worries me the press release states, perhaps with a deliber-pre-1971 VU sound, they’re barely serviceable for my pronunciation.” ate poker-face. “His work as singer-songwriter even as early-70s bar-band rock, and are taken with The Velvet Underground, while not down a further peg or two by Alexander’s Friday November 19 catapulting him to screaming stardom, has gruff singing. At least Maureen Tucker gets Concertgebouw, Amsterdam, made his person known to many of the more to take the lead vocal for the encore, ‘After Netherlands progressive-minded folks.” Hours.’ It should also be noted that the audi-The Velvets missed their first Dutch date at ence appears to give the group an enthusiastic the Concertgebouw on October 10, but make Undated December reception, but perhaps largely because they’re up for it tonight. The concert is broadcast on Sterling Morrison marries his longtime girl-unaware that the man who wrote and sang the Dutch radio station VPRO, with about 20 friend Martha. The Velvet Underground’s best songs isn’t minutes of it later appearing on the Final VU even there. 1971–1973 boxed set. The set also includes Friday December 3

an audience tape of the full show. The setlist CBS renewed John Cale’s contract as a record-

Friday November 12 is similar to the one played on November 5, ing artist for one year on April 1, but today Today’s Fusion magazine runs an extraor-although it does include a few more Reed-era decides to terminate it. dinary four-and-a-half-page piece by Lester songs, among them ‘What Goes On,’ ‘Cool Bangs entitled ‘Nico: A Kind Of Frozen It Down,’ and ‘Oh! Sweet Nuthin’,’ as well Tuesday December 28 Purity.’ Devoted entirely to her solo work, as a song entitled ‘Hold On,’ the composer Lou Reed arrives in London with Bettye it’s almost certainly the longest appreciation of which is listed as “unknown.” The fidelity Kronstadt, rock journalist and RCA staff of her post-VU material to see print before of the audience tape threatens to cross the producer Richard Robinson, and Robinson’s 1972. “Nico is one of the true enigmas of border from mediocre to frightful, but the rock-journalist wife Lisa in preparation for our time,” Bangs writes. “Austere, elusive, quality of the four tracks rescued from the the recording of his debut album. In recent a tall ghostly woman with an aura of utter AM broadcast is fairly good. months, with the encouragement of Danny loneliness and distance so stark and total it’s It’s also at this show that the Velvets are Fields and the Robinsons, Reed has emerged positively medieval, as if she belonged to this presented with an Edison Award (the Dutch from his Long Island hibernation and begun century only in having verbalized her sense equivalent of a Grammy) for Loaded in the to ready himself for his re-entry into the of estrangement from it. A Lost Girl of rock, ‘best rock album’ category – even though music business. He hasn’t performed live this to be sure, except that she doesn’t live out only one of the musicians who played on the year, but has been participating in the Rob-her pains in the flashy manner that captures record, Doug Yule, is present for tonight’s insons’ rock-songwriting gatherings, which the public imagination. Rather, she speaks concert. have been dubbed the Collective Conscience through her art from a position uncompro-group. mising and continuously sharpens a lens Sunday November 21 It might be at one of these meet-ups that focused on her dark separation until it all Concertzaal De Jong, Groningen, Reed is taped running through some of his but glows in its very impermeability, with a Netherlands songs on acoustic guitar, as he can clearly kind of frozen purity … The last date of The Velvet Underground’s be heard addressing Richard Robinson at “Nico is one of the most interesting of fall 1971 tour is also the last documented per-several points, sometimes showing a hum-musical phenomena, and probably the most formance by the Doug Yule/Maureen Tucker/ ble insecurity by asking whether the taping original female singer (except maybe Savage Willie Alexander/Walter Powers line-up. (The is going okay. Despite the low fidelity and Rose’s Annisette, who’s arching up fast) of our December 18 issue of the New Musical Express distorted sound of the tape, Reed’s vocals are time, and has been part of some of the most mentions a four-week tour planned for April clearly audible and quite accomplished. The challenging music ever put on wax. Whether 1972, but it won’t actually go ahead.) Alexan-recording proves that he is already planning her most radical explorations will be elabo-der will go on to a long-running solo career to use a bunch of VU leftovers as he launches rated on is as moot a point as where John Cale that, despite the release of numerous albums, his solo career, as the songs include versions will go after Vintage Violence.” brings him little recognition beyond his Bos-of ‘I Love You,’ ‘Ride Into The Sun,’ ‘She’s Bangs ends his article with what might be ton base or his cult following in France. Pow-My Best Friend,’ the highly impressive ‘Wild the first plea from a prominent rock critic for ers meanwhile will make comparatively few Child,’ and the even stronger ‘Lisa Says.’ The The Velvet Underground to reunite. “If [Nico subsequent appearances on record, but he lyrics to this last song have changed again, and Cale] were to ask me what they should does play on some of Alexander’s efforts. As with Lisa now calling herself a Californian do, I’d tell them the same thing I’m gonna for Maureen Tucker, she’ll soon be back to fool. The tape also includes an energetic be smartass enough to say now: they should working temporary jobs as a keypunch-oper- reprise of the Velvets’ ‘What Goes On,’ get back together with Lou Reed and build ator in Long Island. Nearly a decade will pass which here weaves intriguingly in and out a band around the strong musical mixture before she returns to the music business, and of another VU reject, ‘Follow The Leader.’ the three of them could bring, and turn the almost another decade after that before she It’s clear however that Reed is still writing rock’n’roll world, currently floundering in tours Europe again. new material. He gets some amateurish help

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from the other singers in the room for ‘Walk ogy published by Outerbridge & Dienstfrey Mitch Ryder was there and he did [‘Rock & On The Wild Side,’ an instant standout that in 1971, No One Waved Goodbye: A Casualty Roll’]. We were like, ‘Wow, look, we were strangely won’t feature on his Robinson-pro- Report On Rock And Roll. As one of several someone people want to emulate!’” duced solo debut. (The lyrics here are totally contributors asked to muse on the deaths different, and lack the studio version’s refer-of Brian Epstein, Jimi Hendrix, Brian Jones,

ences to various Warhol/Factory characters, and Janis Joplin, Reed offers his elegant yet 1972 but the chorus is almost the same.) Also pre-energetic thoughts on the significance of viewed here are ‘The Kids,’ which will later each of the four, as well as on the pressures form an integral part of Reed’s Berlin LP; a that led to their premature demises. Several snatch of ‘Berlin’ itself; and the humorous of the other contributors have played their ‘Hangin’ Around,’ which like ‘Walk On The part in Reed’s own career, including original Undated January Wild Side’ will eventually end up on 1972’s VU manager Al Aronowitz, publicist Danny Reed spends much of January working on his Transformer. Fields, and rock critics Lillian Roxon and solo debut with producer Richard Robinson Some very rudimentary solo-electric Richard Meltzer. Editor Robert Somma is at Morgan Studios in London, England, with rehearsals recorded at the Robinsons’ apart-also well acquainted with The Velvet Underfive sessions taking place between January 5 ment in 1971 will also later appear on boot-ground’s work, having written about the and 19. John Cale is also in London, doing legs. As with the acoustic recordings, they band on numerous occasions for Fusion and some recording with the Royal Philharmonic mix old VU chestnuts with newer material. other publications. Orchestra, and invites Reed and Nico to The informal and often instrumental nature Reed’s essay, entitled ‘Fallen Knights And perform with him at the Bataclan nightclub of these recordings – many of which are only Fallen Ladies,’ is apparently more successful in Paris at the end of the month. It will be fragments of songs, frequently broken up than the one he’s asked to write for the new the first of several improbable reunions by conversation with the other people in magazine founded by Andy Warhol and John between the two VU co-founders, but the the room – suggests that they’re more like Wilcock, Interview, around the same time. only one to feature Nico, and the closest really warm-ups than demos of any sort. But they Editor and VU fan Glenn O’Brien finds to a rekindling of the spirit of The Velvet do nonetheless include a couple more songs Reed’s prospective contribution too inco-Underground. destined for Transformer (‘Wagon Wheel’ herent, and in the end rejects it after Reed and ‘New York Telephone Conversation’) himself admits that it isn’t very good. Saturday January 1 and one that will show up on Berlin (‘The A report in today’s Melody Maker indicates Bed’). ALSO … that Nico is due to arrive in London at the A third, very lo-fi tape of acoustic demos John Cale moves to Los Angeles this year end of this month to record her next album, includes versions of holdovers from Reed’s to become a staff producer for Warner Bros with John Cale producing. “It’s understood Velvet Underground days bound for Lou Records. Nothing he produces is released in that the Royal Philharmonic Orchestra are Reed (‘Ride Into The Sun,’ ‘I Can’t Stand It,’ 1971, however, and in fact exactly what he’s wanted to play on it,” the newspaper reports. ‘Walk And Talk It,’ ‘Lisa Says’); Transformer doing at Warners seems unclear, although But while Nico claims that the album is to be (‘Goodnight Ladies’ and ‘I’m So Free’); in his autography he mentions listening to issued on a new CBS label, no such record Berlin (part of what will become ‘Oh, Jim,’ tapes, talking to artists, and attending meet-will ever appear. With Cale, Nico, and Reed but with almost unrecognizable lyrics); and ings. He also finds time to record what little converging on London around the same Coney Island Baby (‘She’s My Best Friend’). music is heard on the soundtrack to Paul time, however, the stage is set for a mini Vel-There are also versions of ‘Going Down’ Morrissey’s Women In Revolt, which is released vet Underground reunion of sorts at the end (Lou Reed) and ‘Kill Your Sons’ (Sally Can’t toward the end of this year. of the month. Dance); a reprise of the VU-era out-take ‘I’m Sticking With You’; and even a song that AND … Tuesday January 11 and won’t ever be released officially, the tender, In recent years, tapes have been made of Tuesday January 18 yearning ‘Falling In Love.’ This last tape is David Bowie’s studio and radio performances Having already recorded ‘I’m Waiting For almost certainly the one referred to in the of ‘I’m Waiting For The Man,’ and of a live The Man’ both as a studio out-take and as October 30 1971 edition of the New Musical version of The Yardbirds playing a snatch part of a radio session, David Bowie lays down Express as “circulating in a restricted circle.” of the same tune. But the first famous artist two more versions of the song this month for It demonstrates that, whenever he’s ready to cover a VU song on an official release is the BBC. These versions are a little cooler to make another record, Reed clearly has Mitch Ryder, who sings ‘Rock & Roll’ on the and more suave than Bowie’s previous radio enough material. In fact, he probably has 1971 Paramount album Detroit by the group recording of the song. He’s still backed by more than enough material for two albums. of the same name. The LP eventually peaks lead-guitarist Mick Ronson, but his old back— at Number 176 on Billboard, while ‘Rock & ing band, The Hype, has been replaced by Also in 1971 … Roll’ itself makes the Detroit singles chart. The Spiders From Mars. Bowie is still a year At some point this year, Lou Reed is asked In a March 1972 Rolling Stone story, Reed or so away, however, from becoming a big star to write the score for a Broadway adaptation says that Ryder’s cover is “the way it was sup-in the UK. of Nelson Algren’s classic novel about street-posed to sound”; even before that, he’s appar-level decadence, A Walk On The Wild Side. ently told Ryder he’s “very thrilled about me Thursday January 13 The project never comes to fruition, but the doing the song,” as Ryder himself discloses In a letter to Danny Fields, Nico writes that theme song he writes for it will soon become in the Georgia Straight. As Doug Yule later she, Lou Reed, and John Cale will be giving his most popular composition of all time. recalls in an interview with Mojo magazine, a concert in London next week, arranged by Widening his parameters somewhat, “I remember doing a festival on an island in Geoffrey Cannon, the rock journalist who’s Reed also contributes an essay to an anthol-New York that we took a helicopter into, and recently written enthusiastic pieces about

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the Velvets in the UK press. Neither this nor made, the low-fidelity recording quality, and “He doesn’t kid around at all … just straight the other London show mentioned in Melody the many stops and starts, this is a truly fasci-ahead, out of the bottle.” Maker actually takes place, suggesting that nating relic. Nico and Reed seem to be getting When they finally get going, ‘Pale Blue Eyes’ Cannon is having trouble lining up a concert. on pretty well considering their tempestuous sounds quite pretty, with Cale’s viola adding (It’s possible that he simply switches the loca-past, joking away as they iron out some of the an element not present in any of the surviv-tion to Paris, where Reed, Cale, and Nico are kinks in the songs. At one point Nico frets ing pre-1971 Velvet Underground versions of due to perform on January 29.) that she won’t be able to do the Chelsea Girl the tune. The same goes for ‘Candy Says,’ on Nico also writes that she’s recently played material. “I know you can do it,” comes Reed’s which the pair manage to get through most “lots” of concerts with the eccentric, Daevid reassuring reply. of the song before moving on to what is, for Allen-led art-rock band Gong. She claims that Reed himself picks the tunes in an engag-Cale at least, more familiar territory on ‘The CBS is interested in having her record a new ing, folksy manner on acoustic guitar that’s Black Angel’s Death Song’ and ‘Heroin.’ Both album, and that Warner Bros is also “getting reminiscent of the demos he recorded in of these songs can be heard in more complete interested again,” but in fact she won’t end mid-1965 with John Cale and Sterling Mor-and far higher-quality versions on Le Bataclan up working with either company. rison. He breaks briefly into a cruel yet fairly ’72; these rehearsal versions are more gour— good impersonation of Bob Dylan’s nasal met fare than staple food. While neither ‘Pale , Late January singing during one of several attempts at Blue Eyes’ nor ‘Candy Says’ will make it onto M RECORDING/REHEARSAL Lou Reed aNd ‘I’ll Keep It With Mine,’ the Dylan song the concert setlist, these rehearsal versions Nico details unknown. that once meant (and perhaps still means) prove that Cale has something new to bring In around 1990, an hour-long tape of Nico so much to Nico. He also remarks on how to both. and Lou Reed rehearsing together will leak hard it is to play the song on guitar in a folk into circulation. Nico handles most of the style – “[folksinger and former Nico side- Saturday January 29 vocals on the recordings, with Reed accom-man] Jack Elliott could really do it better,” Le Bataclan, Paris, France panying her on guitar, but it’s unclear when, he says – and tosses off a one-minute run Reunions by major rock acts are often a major where, and why the tape is made. The year of through Chuck Berry’s ‘Little Queenie.’ The letdown, as The Velvet Underground will find origin is variously estimated as 1968, 1970, or tape also includes a short, bouncy, Reed-sung out in 1993. Remarkably, however, this one-off 1972; New York’s Chelsea Hotel is often listed song of uncertain origin that’s often titled concert by Lou Reed, John Cale, and Nico is as the location, but it seems fairly likely that ‘Somebody’ on bootlegs. musically excellent and not simply a recrea-the recordings are made during rehearsals for For all the effort Reed and Nico put into tion of past glories, with the trio presenting the concert Reed and Nico are set to play with the Chelsea Girl songs – ‘Little Sister,’ ‘These old and new material in an acoustic format John Cale in Paris on January 29. Days,’ and ‘I’ll Keep It With Mine’ – none will never explored by the Velvets on stage.

If this is the case, it seems surprising that end up being performed at the Bataclan on Despite the absence of Sterling Morrison none of Nico’s self-penned songs are included January 29. But the three Velvet Underground and Maureen Tucker – and Doug Yule, who’s on the tape – which is made up of Velvet Under- songs they rehearse – ‘All Tomorrow’s Par-still part of the current VU line-up – tonight’s ground & Nico and Chelsea Girl material – parties,’ ‘Femme Fatale,’ and ‘I’ll Be Your Mirror’ concert is the closest thing there will ever be ticularly given how intent she has been on – will be among the highlights of the show. to a true Velvet Underground reunion, at reinventing herself since leaving The Velvet least in terms of sticking to the adventurous, Underground. But the fact that Richard Rob- MRECORDING/REHEARSAL Lou Reed aNd uncompromising spirit in which the band was inson – with whom Reed has recently been JohN caLe details unknown. first conceived. The unplugged instrumenta-recording – can be heard identifying himself Reed and Cale do some rehearsing of their tion and intimate venue give the material a while making a telephone call on the tape own at around the same time, about 20 hissy sparse cast that’s unlike anything the trio have indicates that the recordings are probably but listenable minutes of which will later recorded before, either as the Velvets or as made this month. (Another possibility is that appear on bootlegs. A pair of brief attempts solo artists, and yet it’s effectively warm and the tape comes from mid 1971, when Reed at ‘Pale Blue Eyes’ and ‘Candy Says’ running haunting in a sense not found in any of their may have been planning to play with Nico at to around two minutes each will also turn up previous work. Fortunately, much of the con-the Gaslight, although these concerts never on the 2003 live album Le Bataclan ’72. Nico cert – attended, according to Melody Maker, by took place.) is clearly present for at least some of the 20 “about 1,000 people, with twice that number It certainly sounds as though Nico hasn’t recorded minutes, as she can be heard talk-locked out” – is preserved for posterity on sung these songs for a while. She searches for ing at the beginning, but she doesn’t sing or both tape and film. the right key and even forgets a line during play on the tape. A lot of tonight’s performance features ‘All Tomorrow’s Parties,’ and claims not to Perhaps mindful of past blow-ups, Reed and only the duo of Lou Reed and John Cale, remember the words to ‘These Days’ before Cale sound as though they’re going out of with Reed on acoustic guitar and Cale on wondering if there’s a record player around their way to be polite with each other. Reed piano and viola. ‘I’m Waiting For The Man’ on which she can hear it. She also mentions seems intent on offering Cale room to con-is presented almost as a good-natured, bar-that “[Paul] Morrissey gave me a lecture … tribute to ‘Pale Blue Eyes,’ making it clear room ramble, with Reed addressing some of the other day, on how I shouldn’t despise that “there’s also a solo in the middle if you the lines to “mama” and “Jim.” Reed’s ‘Berlin’ these songs that I liked very much one time.” want.” The rest of the conversation captured is played as a brilliantly stark, cabaret-like bal-She then fills in some of the words with non-on the tape isn’t of much interest, however, lad, with particularly sensitive piano by Cale. sense ‘la-la’ syllables, confirming that the tune except for when Reed divulges that Jerry Lee “That’s like a Barbra Streisand kind of thing,” isn’t fresh in her mind – in fact, Reed seems Lewis autographed an album for him with Reed remarks in a conversation later issued to know the Chelsea Girl material better than the inscription “Dear Lou, keep on rockin’.” on CD as Lou Reed: The 1972 Interview. “A real Nico. “Oh, I was thrilled. You should see what he nightclub torch thing. Like, if you were Frank Regardless of exactly when the tape was drinks!” Reed adds, whistling for emphasis. Sinatra you’d loosen your tie and light a ciga-

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rette. And when I was in Paris that’s how I For many years, the only available docu-is a shepherd or a prince. He has no identity performed it. I didn’t play at all, I had John ment of this concert came in the form of poor until I appear. I am a queen on a journey. A play the piano and I sat on a stool with my legs quality bootlegs – until the release in 2003 of a queen finds a kingdom wherever she goes. crossed. And during the instrumental break 14-song CD on the Pilot label, Le Bataclan ’72. There are more songs than dialogue in the I lit a cigarette and puffed it and I said ‘it The recording quality is clear, and as an added film, which I think is a good idea.” was paradise.’ It was just heaven. It was really bonus the disc also includes lo-fi rehearsal La Cicatrice Intérieure manages somehow to bliss. That was doing that kind of Billie Holi-versions of Reed and Cale playing ‘Pale Blue be even less commercial than Nico’s albums. day trip.” Eyes’ (with Cale on viola) and ‘Candy Says.’ “You need a bloody big spliff to enjoy this,”

Elsewhere, ‘The Black Angel’s Death Song’ In Walk On The Wild Side: Lou Reed: The Stories London’s weekly Time Out magazine reports. finally benefits from a clear live recording, Behind The Songs, Reed expresses surprise that “A miserable couple who you would not while the version of ‘Wild Child’ might just the CD has been released. “We need to get an wish to meet at a party are joined by a naked be the best ever recorded performance of injunction out quick against that,” he says. weirdo with a bow and arrow and a desire to this underrated Reed tune. The opening lines “They have no right to put that out without set everything on fire. That’s about it, frankly, of ‘Heroin’ are met with hearty applause. It the say-so of all the parties involved.” (Accord-unless I fell asleep, which is quite likely.” must be a pleasant shock for Reed to play ing to the liner notes, however, the CD has Nico also stars in another Garrel film the song with Cale’s viola accompaniment for been licensed exclusively from Reed’s own released this year, the 20-minute silent short the first time in more than three years. Cale company, Sister Ray Enterprises.) L’Athanor, but does little in the way of music, then takes the spotlight for a few numbers, No video footage of the show has ever besides recording a live session on March 11 reeling off an excellent version of perhaps become commercially available, despite the for Dutch radio and appearing on the French the most Velvets-like song from Vintage Vio- broadcast of five songs – ‘Berlin,’ ‘I’m Waiting television show Pop 2, where she is interviewed lence, ‘Ghost Story.’ ‘The Biggest, Loudest, For The Man,’ ‘Heroin,’ ‘Ghost Story,’ and in French and sings ‘Janitor Of Lunacy’ and Hairiest Group Of All,’ by contrast, is a real ‘Femme Fatale,’ shot effectively with moody, ‘You Forget To Answer.’ She won’t release a oddity: a somewhat unconvincing goodtime shadowy lighting – on June 10 1972 on the new solo album until 1974, and even then its stomp that may or may not have been written French television show Pop 2. The smiles Reed existence owes much to the cult of The Velvet in retrospective tribute to The Velvet Under-and Cale flash each other during Cale’s ‘Ghost Underground: The End is released on Island ground, but which will never find a place on Story’ seem to indicate that any hatchets have Records, to whom Nico is signed by Richard any of Cale’s studio albums. The next song been buried for the time being. Curiously, Williams, the most vocal VU supporter in the is another Cale rarity never issued as part of however, Cale is barely seen during ‘Femme British rock press of the late 60s and early his standard discography, the downbeat bal-Fatale,’ which Nico sings in the strange peas-70s. lad ‘Empty Bottles,’ which Jennifer Warners ant/earth-mother clothes she has recently will shortly record on her Cale-produced LP started to wear. Undated April Jennifer. The Pop 2 broadcast can currently be More than a year and a half after his last show ‘Femme Fatale’ moves closer to a true viewed at the Paley Center For Media with The Velvet Underground at Max’s Kansas reunion with Reed and Cale singing backing (formerly the Museum Of Television And City, Lou Reed returns to the stage for two harmonies behind Nico’s lead vocal, acous-Radio) in New York and Los Angeles. The shows at the University Of Buffalo in New York tic guitar serving as the sole accompaniment. show also includes footage of Matching Mole, State – his live debut as a solo artist. The shows Nico’s voice and harmonium dominate ‘No and interviews with the group’s drummer and are arranged by a student at the university, One Is There’ (to which Cale adds subtle, vocalist, former Soft Machine man Robert Billy Altman, who will go on to write glow-sympathetic viola), ‘Frozen Warnings,’ and Wyatt; copies have also circulated unofficially. ingly about The Velvet Underground in the ‘Janitor Of Lunacy.’ Then it’s back to an It’s also been reported that Richard Robinson first edition of The Rolling Stone Record Guide acoustic-guitar backing for her renditions of videotaped Reed and Cale rehearsing for the at the end of the 70s. ‘I’ll Be Your Mirror’ and ‘All Tomorrow’s Par-event as well, but no such footage has ever ties.’ The applause that greets the beginning surfaced. , Late April of the last of these songs indicates that quite One of Boston’s most devoted Velvet Undera few members of the audience are familiar Undated February ground fans of the late 60s, Jonathan Rich-with it. Reed is no doubt heartened to find CFILM La Cicatrice Intérieure man, is now the leader of his own band, The that The Velvet Underground are known to Philippe Garrel’s hour-long color film La Cica- Modern Lovers. It’s probably during late at least some degree in France, particularly trice Intérieure, which he started shooting in April that they cut some Warner Bros demos after lamenting only a year ago (in ZigZag) around 1970, is finally released this month. at Whitney Recording Studio in Glendale, that he’d only received three or four letters Shot in Egypt, Iceland, Italy, and the USA, the California, with none other than John Cale from Europe about his music. film stars Nico, who also wrote the dialogue. producing. The assignment makes sense, Reed is so pleased with the concert that, It’s an abstract, plot-free work containing given both Richman’s love of the Velvets and perhaps impulsively, he asks Cale and Nico numerous panoramic scenes of Nico wander-the rough similarity of the early Modern Lov-to join up with him again. Some bridges can’t ing bleak landscapes and moaning improvised ers’ sound to the VU in some respects. On be rebuilt, however. They decline, and while phrases, but it does include three songs from these recordings, Richman’s lyrics and vocal Melody Maker reports that a similar concert her Desertshore album (‘Janitor Of Lunacy,’ ‘My delivery have a feel of a more juvenile, fey Lou is planned for London a week later, it won’t Only Child,’ and ‘All That Is My Own’) and Reed, while his band has a lean, elemental, actually go ahead. Reed will collaborate again one she’s not yet released, ‘König.’ riff-driven sound clearly influenced by the with Cale on stage and on record on several “It concerns the fragility of life,” Nico Velvets’ more straightforward rock recordings occasions, but not with Nico; he won’t have explains in The Life & Lies Of An Icon. “The but with a more prominent, buzzing organ. much contact with her on any level, in fact, film treats the story of a young lunatic who “When I first heard the tape of them I before her death in 1988. starts to kill all his sheep. It is not clear if he didn’t know it was Jonathan Richman, the

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same one who used to come around and Similarly, Fusion’s Gary Kenton considers Billboard (an improvement, nonetheless, on write poetry and show it to Lou and The Vel-the album to be “good … great, even,” but the non-charting Loaded). Reed will carry on vet Underground,” Cale tells Melody Maker in finds it hard not to compare the songs to the drawing on Velvet Underground leftovers for March 1973. “Then it dawned on me that it VU prototypes. “He has been singing a lot his second solo album, but will make a much was this guy. Louis [Reed] is really incensed of these songs for quite a while, going back more effective go of it next time around, about it. I think he’s flattered but has diffi-to the Velvets days, and I’ve seen him just finally achieving commercial success for the culty handling flattery like Jonathan – not that plain sing a lot of ’em better,” Kenton writes. first time. there was just uncontrolled flattery. Jonathan’s “The musicians on this session are simply intelligent.” not as sympathetic towards Lou’s great lyrics Tuesday May 16 and

Unfortunately, The Modern Lovers won’t as the Velvets were … The best example of Tuesday May 23 release an album until 1976, by which time what I’m talking about is the opening cut, With the release of his landmark LP The Rise the line-up that made these recordings has ‘I Can’t Stand It.’ Here’s a song that woulda And Fall Of Ziggy Stardust And The Spiders From long since broken up. The Modern Lovers does been great on any Velvets record, and they Mars looming, David Bowie records a couple nonetheless feature a half-dozen tracks from make it sound like they’re havin’ a tough time of versions of The Velvet Underground’s these sessions – ‘Astral Plane,’ ‘Road Runner,’ just mustering up enough energy to keep the ‘White Light/White Heat’ for the BBC. For ‘Pablo Picasso,’ ‘Someone I Care About,’ ‘She fast pace. Plus Lou’s vocals on the choruses the May 16 performance, he even changes Cracked,’ and ‘Old World’ – almost all of are all but obliterated by a couple of sweeties one of the lines to “White light make me feel which will subsequently be thought of among who seem to have learned their trade from like Lou Reed.” The song will remain in Bow-Richman’s finest early work. ‘Roadrunner’ in the Leon Russell School For Aspiring Female ie’s live repertoire for decades; a recording particular will prove highly influential on the Background Vocalists.” of it from his July 3 1973 concert in London first generation of punk rockers, while by the Kenton’s review ends with the kind of back-is included on the soundtrack album Ziggy time The Modern Lovers is released, John Cale handed compliment that Reed will have to get Stardust: The Motion Picture. will have included a cover of ‘Pablo Picasso’ used to for the next few years. “The more I on his 1975 LP Helen Of Troy. Like The Vel-suppress my desire to hear these songs done vet Underground, The Modern Lovers won’t by The Velvet Underground,” he writes, “it Tuesday May 30 find much commercial success or mainstream becomes one of the best albums of this not-After at least six months of rumors, Atlantic recognition during their lifetime, but will ulti-so-new-anymore year.” Any hope Reed might Records today issues some of Brigid Berlin’s mately be venerated as forefathers of punk have of escaping the VU shadow is dampened tapes of The Velvet Underground perform-and new-wave. further when both Creem’s Lester Bangs and ing at Max’s Kansas City on August 23 1970.

Another recording from these sessions, Crawdaddy’s Andy McKaie opt to write com-While some will later question whether the ‘Modern World,’ is eventually included on a bined reviews of Lou Reed and the Velvets’ Live material really does come from Lou Reed’s CD reissue of The Modern Lovers, but three At Max’s Kansas City – which, coincidentally last night with the band, that’s certainly how others – ‘Such Loneliness,’ ‘Dance With Me,’ or not, is issued around the same time. (Inci-it’s billed in the liner notes. And although and ‘Girlfriend,’ which features Cale on Mel-dentally, McKaie will later become the vice in retrospect it might seem that Atlantic is lotron – remain unreleased. There’s also an president of catalog development and A&R trying to capitalize on the launch of Reed’s unissued version of ‘Pablo Picasso’ featuring for the Special Markets division at Universal solo career – and the release this month of a viola part by Cale that’s not present on the Music, the company that eventually ends up his solo debut – Live At Max’s Kansas City has album mix. administering The Velvet Underground’s 60s probably been in the works for some time.

recordings.) Plus there’s the fact that Reed isn’t yet much Undated May Lou Reed also ends up being a commer-of a star to be capitalized upon (as he will Lou Reed’s self-titled debut is released cial flop, peaking at a lowly Number 189 on be by the time 1969 Velvet Underground Live this month in the USA on RCA, with a UK

release to follow in July. All but two of the songs included on it (‘Berlin’ and ‘Going THE VELVET UNDERGROUND

Down’) have previously been performed Live At Max’s Kansas City and/or recorded by Reed with The Velvet Underground. It will take some time for these recordings to subsequently become available A1 ‘I’m Waiting For The Man’ (REED) on official releases and bootlegs, but when A2 ‘Sweet Jane’ (REED) they do, most fans will end up favoring the VU A3 ‘Lonesome Cowboy Bill’ (REED) versions of ‘Lisa Says,’ ‘Ocean,’ ‘I Can’t Stand A4 ‘Beginning To See The Light’ (REED) It,’ ‘Walk And Talk It,’ ‘I Love You,’ ‘Love B1 ‘I’ll Be Your Mirror’ (REED) Makes You Feel,’ ‘Ride Into The Sun,’ and B2 ‘Pale Blue Eyes’ (REED) ‘Wild Child’ over Reed’s more sedate (and B3 ‘Sunday Morning’ (REED/CALE) roughly sung) solo versions, which drain the B4 ‘New Age’ (REED) songs of much of their vitality. As Greg Shaw B5 ‘Femme Fatale’ (REED) notes in his Phonograph Record magazine review B6 ‘After Hours’ (REED) of Lou Reed, “Basically, what we have here is an album of Velvet Underground songs without US release: May 30 1972 (Cotillion SD 9500) The Velvet Underground. Or, if you want to UK release: August 1972 (Atlantic K 30022) look at it that way, a new Lou Reed album with an inferior backing group.”

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is released in 1974, with Reed’s name promi-record a follow-up to Loaded. Perhaps the situ-issued. The record fails to chart – not that nent on the jacket). ation changed after Morrison left the group; that’s unusual for a VU album – but the label

Even by the standards of other live, 70s rock if not, this definitely seems to contradict his does take out at least one radio ad for it, as albums, the sound quality on Live At Max’s is subsequent account. Furthermore, Danny later included as an unlisted bonus track poor enough that Atlantic A&R coordinator Fields will later claim, in UpTight: The Velvet on the 2004 two-disc reissue of the album. Mark Meyerson issues a disclaimer of sorts in Underground Story, that Atlantic bought the “Explosive and powerful, welcome The Vel-the liner notes. “In some ways, this record may tape for $10,000, and that he split the fee vet Underground!” the narrator begins in his be looked at as the first legitimate bootleg with Brigid Berlin (who in turn is unhappy strange mid-Atlantic accent. “Live, at Max’s album,” he writes. “The sound of the record at having to give him so a large share of the Kansas City! A group first dropped on the is surprisingly good, and, of course, is mono. cash). musical scene under the auspices of Andy The low price of this album reflects the low It’s possible that the tape has been in cir-Warhol in the late 60s. Now, in 1972, this recording costs, and is not a reflection on The culation among those in the know for quite album reflects a primitive but totally faithful Velvet Underground’s performance – far from some time already. In a letter to Greg Shaw, exposé of the group in their proper context! it. Given the fact that the Velvets have gone the editor of the pioneering rock fanzine The Velvet Underground Live at Max’s Kansas City through personnel changes in the last couple Bomp!, dated January 24 1971, Lenny Kaye is dynamite!” of years,” he continues, with revealing under-writes, “If you like the Velvets, too, I’ll try Someone else who might not be making as statement, “this album stands as the exciting to get their … ah … basement tape out to much money from the album as he hoped is valuable record of a special group at a special you also.” (In Suzy Shaw and Mick Farren’s the Velvets’ manager. As Billy Yule recalls in moment in time and space.” Bomp! Saving The World One Record At A Time, his Modern Drummer interview, “Sesnick real—

Sterling Morrison will later offer his own Kaye confirms that “The Velvets ‘Basement ized that I hadn’t been paid for playing at characteristically blunt view of the record Tapes’ probably refers to the Max’s Kansas Max’s. He called the ACLU with the [a plan during his 1986 interview with Ignacio Julia. City performances later released by Atlan-to sue] a big record company. They were “We signed a two-record deal with Atlantic. tic.”) And as previously noted, journalist enthusiastic about the idea, and a few days Comes time to make the second album, so Geoffrey Cannon had heard the Max’s tapes later nothing more was said about the project we tell Ahmet we don’t like what happened by January 1971, and made reference to a because Steve had already been paid by that with Loaded and we’re not gonna record a plan to release them in his October 8 1971 big record company, but he hadn’t bothered second album,” he says, although in fairness Time Out article. to pass any pay on to me.” to Atlantic, promoting an album by a band Even so, Live At Max’s Kansas City brings Meanwhile, rock critics – now The Velvet whose leader and chief singer-songwriter has the Velvets’ stint at Atlantic to a strange and Underground’s most vociferous champions – just left might not have been easy. “We were somewhat shabby end. But for all its sonic are largely kind in their reviews of the album, just not gonna do it. So Ahmet comes back shortcomings, it’s probably a more interest-and forgiving of the record’s mediocre fidel-a week or two later and he says he’s bought ing record than anything a Reedless Velvet ity. In the August 3 issue of Rolling Stone, Tony this tape – from Brigid Polk [aka Berlin], Underground might have come up with in Glover of the cult folk-blues group Koerner, for $2,000 – of one of our performances at the studio. And while it’s not nearly as good Ray & Glover writes that “the sound is remark-Max’s. as the tapes subsequently unearthed for 1969 ably good (comparable to your better Rub-

“I said, ‘Hell no, it’s something done on a Velvet Underground Live, it is the only avail-ber Dubber productions)” – Rubber Dubber cassette recorder!’ He claimed he was going to able document of how the Velvets sounded at being one of the prominent bootleg labels release that tape as our second album unless Max’s during the summer of 1970. For histori-of the time – “and the ambience is full-blown we got all our asses in the studio and made cal purposes alone, its release is justified: it Max’s.” Glover does have some criticisms to one. I never thought he would do, so we said does contain some decent, likeable perform-make, however, noting that “despite good that if he was crazy enough to release a cas-ances, as well as the first official appearance choice of material and strong vocal work by sette tape as an album he should go ahead. on vinyl of the ‘full’ Sweet Jane,’ complete Reed and the band,” the album is still “a bit And he released it! That record should only with the bridge about heavenly wine and of a letdown. Velvets fans will have to have it be understood as an attempt by Ahmet Erte-roses. of course, but it’s doubtful that this album will gun to punish us. Atlantic did not release it Lou Reed subsequently gives the album a score any retrospective sighs the way Buffalo because it was good, they released it because somewhat surprising nod of approval when Springfield’s Greatest Hits (or-whatever-the-they wanted to screw us for not wanting to interviewed by Lenny Kaye for the New Musical hell-it-was-called) did. go back to the studio. That constituted the Express in January 1976. “I’ve always arranged “The Velvets occupied a special place in the second album and we avoided breach of it so bootlegs could come out,” he says. “The history of music and the psyches of many, so contract, which was the club that Ahmet was Max’s live set, now that’s another album I this album is a welcome artifact of that time. holding over our heads. But that’s never an really love. If you want to know what Max’s It ain’t great, but it is good, and even though album I’ve taken pride in – if I want to hear was really like – and now you can’t – but there, I probably won’t listen to it very much, I’ll rotten-sounding tapes there’s enough of those for real … because Brigid was just sitting there be glad it’s there for the times when I want around.” with her little Sony recorder. It’s in mono, you to. And in these days of instant throwaway

Morrison’s account isn’t entirely consistent can’t hear us, but you can hear just enough. records, that’s saying something good.” Inter-with the recollections of other members of We’re out of tune, per usual … but it’s Sun-estingly, Glover also suggests that some of the the Velvets and their associates. In an interday night, and all the regulars are there, and songs actually originate from dates prior to view conducted during the group’s fall 1971 Jim Carroll’s trying to get tuinols, and they’re the final Max’s show on August 23, and notes tour of Europe, a few months after Morri-talking about the war … we were the house that the album has been “arranged (by Lou son’s departure from the group, Doug Yule band. There it is.” Reed and Geoff Haslam) into a fast and slow was already complaining about Atlantic not Live At Max’s Kansas City certainly isn’t a side” – even though Reed is not given a pro-allowing the Velvets back into the studio to big moneymaker for Atlantic when it’s first duction credit on the LP.

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Over in the UK, Richard Williams offers a especially ‘Pale Blue Eyes,’ comes off surpris- Friday September 8 preview of the record a few weeks ahead of ingly well.” (The LP will subsequently find its All The Young Dudes by Mott The Hoople is its British release in Melody Maker and finds way to Number 37 in Fusion’s list of the best released today. The album was produced it much to his liking. “Naturally, the sound albums of 1972.) by David Bowie, and opens with a version quality is quite lo-fi, which is fine because Even so, it’s a little unfortunate that Live At of ‘Sweet Jane.’ Bowie cajoled Reed himself it gives the album a documentary quality Max’s Kansas City appears a couple of years to come down to the studio to help arrange which sophisticated recording equipment before the immeasurably superior 1969 Vel- the song and lay down a guide vocal that will would have missed,” he writes. “Everything vet Underground Live. At least a few of those subsequently appear on bootlegs. The Mott comes through, though, and it’s a perfect who pick up Max’s first might wrongly assume The Hoople version of the song is spirited mirror of what those crazy nights must’ve that this is how the group usually – or always and faithful to the original, and with All The been like, right down to the ‘spontaneous – sounded live, and as a consequence might Young Dudes reaching Number 21 in the UK repartee’ between audience and performer not only skip 1969 Velvet Underground Live but and Number 89 in the USA, it’s also the first … What this album does is reveal The Velvet also be less eager to check out the rest of the truly popular cover of a Velvet Underground Underground as a great bar-band, probably group’s impressive catalog. song. at their best playing for half-wrecked dancers. There’s little doubt however that this It’s also around now that another Brit-As they’re now irredeemably parted, it’s going bootleg-quality LP – even if it is a contract-ish group heavily influenced by The Velvet to be an essential document.” filler – does eventually pay back Atlantic’s Underground, Roxy Music, achieve their Another diehard VU fan, Robert Christgau, minimal investment. Not only will it stay in first UK hit with their debut single, ‘Virginia offers a more negative appraisal in his Village print for a long time, it will even be reissued Plain.’ “Bryan Ferry, Andy Mackay, and Brian Voice Consumer Guide, where he awards the in 2004 in an expanded two-disc edition, a Eno all studied visual art at different colleges,” album a ‘B-.’ “If this is all that remains of the testament to its durability as a warts-and-all notes Richard Williams. “Each of them inde-legendary 1970 engagement, I’ll take my document of how the Velvets sounded on pendently decided that music was the best memories,” he writes. “The (mono) sound Lou Reed’s final night (or perhaps nights) vehicle for their ideas, and each was inspired isn’t bad for a record mastered from a Brigid with the group. by the VU – when they met, they discovered Polk cassette, but that’s not to say it isn’t bad, it was one of the things they’d had in com— and though I’m not one to cavil about out-of- Undated July mon. When I did the first interview with Ferry, tune guitars, this time I notice.” After a two-year gap, John Cale resumes his before they had management or a record Lester Bangs is more forgiving. “If you ever solo recording career with the release of The deal, the influences he mentioned included cared at all about The Velvet Underground, Academy In Peril on his new label, Reprise. Charlie Parker, Sophie Tucker, and the VU.” you should have this record,” he urges the readers of Creem. “Despite the poorness of the Saturday July 8 Undated November reproduction (and it’s really no worse than David Bowie invites Reed to sing a few songs Lou Reed’s Transformer is released this month most bootlegs) the excitement comes through with him and The Spiders From Mars at their in the USA and the UK. It combines remakes on such Velvet classics as ‘I’m Waiting For The Save The Whale benefit concert at the Royal of Velvet Underground leftovers (‘Andy’s Man,’ ‘Beginning To See The Light,’ and Festival Hall. In his first ever appearance Chest,’ ‘Satellite Of Love,’ ‘Goodnight ‘Sweet Jane.’ The vocal harmonics are rather before a British audience, Reed performs Ladies’) with newer material with a slightly ragged, but Lou always comes through with ‘White Light/White Heat,’ ‘I’m Waiting For camp, coy flavor, and more explicit nods to the rock’n’rock just when you need it and the The Man,’ and ‘Sweet Jane.’ bisexuality and transvestitism than anything instrumental work, especially on the first side, In an act that will later be interpreted from his VU days. is crashingly, rousingly good.” either as one of generosity toward an idol or Likewise, Gary Kenton of Fusion acknowl-as an attempt to gain credibility by association, November–December edges that “the sound on this record is piss Bowie has also offered to produce the next Much confusion surrounds the final year and poor,” but quickly adds that “it really doesn’t Lou Reed album. The pair spend July and a half or so of the Lou Reedless Velvets. Doug matter. It would be nice to have a more sen-August working on Reed’s Transformer LP in Yule appears to have stayed behind after the sitively recorded statement of this great live London, with co-production credits eventually conclusion of the group’s fall 1971 tour to band, but, like most of the best rock music, being split between Bowie and his guitarist, record the album eventually issued as Squeeze the truth and energy come right through to Mick Ronson. by The Velvet Underground, albeit without capture any listener willing to make half an anyone else who has ever toured with Yule as effort … There is an incredible range of mate- Wednesday August 30 the Velvets or a firm recording contract. rial represented, none of it new, spanning the In an interview published in the Dutch maga-It seems fairly likely that the Yule/Willie band’s entire career. Sort of like the Stones zine Muziekkrant, Lou Reed intimates that his Alexander/Walter Powers/Maureen Tucker doing ‘Tell Me’ and ‘Tumbling Dice’ in the imminent transformation into a glitter-rock line-up of the group broke up in late 1971, same set … ‘New Age’ and ‘Beginning To See icon might be rooted in his dissatisfaction given Tucker’s subsequent accounts of every-The Light,’ two of [Reed’s] more relatively with the relative plainness of his final shows one getting fed up with Yule. At some point recent compositions included, stand as tes-with The Velvet Underground. “The last show after that, the group are dropped by Atlantic, timony to his ability to make straightforward with The Velvet Underground was in August leaving Steve Sesnick to pick up a deal – per-contact with his audience and to engage 1970, and I didn’t like it any more,” he tells haps out of desperation – with Polydor. them in his stories and emotions. As do the Pim Oets. “We were standing there in jeans The Squeeze sessions take place either at the remainder of the songs here, to one extent or and tight T-shirts and boots and I thought we end of 1971 or during the summer or autumn another, depending on how much of a racket looked like everybody else. Then I decided of 1972. Regardless of the dates, they’re virtu-is being made in the background by the cou-that if I would ever start all over I’d make a ally a one-man show: Yule aside, the only other ples on the dance floor. Even the slow stuff, real show of it.” musician on the album is Deep Purple drum-317

1972 n WHITE LIGHT/WHITE HEAT

mer Ian Paice, who has no recollection of the

sessions, and later tells Mojo, “I don’t think it actually sounds like me.” Yule sings and writes

all of the songs, apparently using lyrics given

to him by Sesnick at some points. “I agree that

Squeeze was the work of a very immature songwriter,” he concedes in his September 2001

interview with Record Collector. “But what could I do? Sesnick was right there beside me the

whole time, offering me the chance to make

a record, and telling me I was going to be

somebody … So I had no doubts. I wanted to

be somebody too!”

It’s possible that the songs are recorded

while the Velvets are without a deal, leaving

Sesnick to shop around for a deal afterward.

Sesnick also rejects Yule’s suggestion of using

Maureen Tucker on drums (claiming she’d be

too expensive), and ignores his suggestions

about the mix. All in all, it would be more

appropriate to call Squeeze a Doug Yule solo album, but Sesnick and Polydor have other

ideas.

One thing’s for sure: yet another line-up

of The Velvet Underground begins a brief up, we rehearsed for a couple days, and then right now that’s got the original drummer UK tour at the Malvern Winter Gardens on went off.” and has Doug Yule and two other people.” November 18. The tour is set to run until at It might then have made sense for Sesnick He’s probably just unaware that Maureen least December 9, and according to a Melody to call on Billy Yule, but according to Norris, Tucker has thrown in the towel, however, as Maker item was arranged by Clifford Davis, the “He didn’t want Billy in the band, ’cause he a December 9 Melody Maker story confirms manager of Fleetwood Mac. didn’t want Doug and Billy comparing notes. that the musicians on the tour are Yule, Nor— Doug Yule is now the only member of Which is unfortunate, ’cause it would have ris, Kay, and drummer Mark Nauseef, a Deep the band to have appeared on the Velvets’ been all the better.” As for the general weird-Purple fan who has never even heard of the records, and since he’s about to move to Den-ness of the situation, Norris adds, “It wasn’t Velvets but ends up being recruited through ver to work as a concrete molder when Ses-even like I joined. It was like the band was an ad placed by the group’s touring agency, nick tells him about the tour, it seems quite assembled by Sesnick in the house in Ridge-ATI. likely that The Velvet Underground really wood. He was just an incredible schmoozer, This quartet does indeed tour the UK as had broken up at some point in the previous and totally extroverted. He could talk to any-The Velvet Underground, after a rough start year. Sesnick recruits bassist/backing-vocalist body, but he was very dishonest too. He was a that sees them left in London without a hotel George Kay and guitarist/backing-vocalist real snake, basically. He was one of those kind or any rental equipment. Melody Maker even Rob Norris – the same Rob Norris who saw of drunks that you would never know he was runs advertisements for a November 2 con-the Velvets’ first ever show with Maureen drunk, ’cause he was such a smooth talker. cert by Lou Reed and a November 26 Velvet Tucker at Summit High School in New Jersey And he would talk to anybody at great length. Underground show in the same box, which back in 1965 – from Billy Yule’s band, The You would feel like you were the center of must surely please Reed no end. The same Ridgewood Rockets. (In his Modern Drum- the universe. I just saw it happen over and publication also runs a brief but generally mer interview, Yule claims that Sesnick once over.” positive review of the group’s December 2 sent the Rockets out to play as The Velvet “[Sesnick’s] basic tactic was to divide people show at St Albans’s City Hall, with Reed’s Underground to fulfill a 1972 booking in by telling them something and saying, ‘Watch absence only mentioned in passing. But with Bryn Mawr, Pennsylvania.) out for that person, ’cause he’s after your job, just one member with any link whatsoever According to Norris, Sesnick first claimed or he doesn’t like you,’ or something,” adds to any of the band’s past incarnations, these that he’d be playing with Doug Yule, Maureen Doug Yule. “[It] was basically, ‘compartmen-Velvets are starting to become a parody of the Tucker, and Sterling Morrison. Tucker did at talize and control.’ He did it with the Velvets, original group. least come out to the Ridgewood, New Jersey, and he did it with the Rockets too. When the “It was supposed to be a much bigger tour, house where Sesnick and Norris have been Rockets discovered that, they were all sitting like 30 dates, but the whole thing kind of living for a couple of rehearsals, but Morrison around the table, and somebody told some-imploded,” Rob Norris later tells Mojo maga-never showed up, leading Tucker to bow out. one else – ‘Oh, it’s not what he told me.’ Once zine. “From what I understand, Lou Reed “Sesnick may have just been pulling the wool [there was] that hole in the dyke, it just all was not real happy about this thing ’cos he over our eyes, and maybe even Maureen’s,” tumbled out, and that group was broken up was over there, and we were kind of follow-Norris recalls when asked whether Morrison within days.” ing his footsteps. He was doing a Transformer was ever seriously considering rejoining the Adding to the confusion is an interview tour, and I think what he thought we were group. “I guess when she got it that Sterling Lou Reed gives on WLIR-FM on December doing was pretty much a bunch of bullshit. wasn’t gonna be part of it, she just immedi-26 1972, in which he says, “There’s a version Which I think was kind of accurate from his ately extricated herself from it. Doug showed of The Velvet Underground that’s in London perspective.”

318 Rob Norris, guitarist/backing vocalist for The Velvet Underground during the group’s 1972 UK tour.

WHITE LIGHT/WHITE HEAT n 1973

Wednesday December 6 allel poems in the winter 1972 issue of the

St David’s University, Lampeter, Wales Paris Review, one of the most prestigious liter-A reasonable-quality audience tape of The ary magazines in the English language.

Velvet Underground’s show at this Welsh

college will later be used as the third disc Tuesday December 26 of the Final VU: 1971–1973 boxed set, offer- Lou Reed has been playing solo concerts since ing some idea of what the Yule/Norris/Kay/ April, but the performance he gives today for Nauseef line-up sounded like in concert. radio broadcast at the Ultrasonic Recording Lasting a little over an hour, the recording Studio in Hempstead, New York, is the first of includes more Lou Reed-era classics than which a good-quality recording survives. Reed were played on the fall 1971 European tour. is backed by his touring band of the time, The It features ‘White Light/White Heat,’ ‘Some Tots, who rock harder, it must be said, than Kinda Love,’ ‘Sweet Jane,’ ‘Run Run Run,’ album getting “lost” – which, if true, might the Velvets do on Live At Max’s Kansas City. ‘What Goes On,’ ‘Sister Ray,’ ‘Train Round account at least in part for the delay between The show will eventually be issued on CD The Bend,’ ‘Rock & Roll,’ two versions of recording and release. by Pilot as American Poet in 2000, but is worthy ‘I’m Waiting For The Man,’ and four songs Looking back on his lone tour as a Velvet, of mention here for several reasons beyond from the upcoming Squeeze LP. For what it’s Rob Norris recalls, “I really had fun in that its genuine musical excellence. Firstly, it’s the worth, now that Willie Alexander and his key-band, aside from how bogus it was. It was a earliest audio document of how Reed will, as a boards are out of the band, they’re a much wonderful band, we really had a good time.” solo artist, expose The Velvet Underground’s more lean, straightforward, guitar-oriented He’s not too excited by the new material in songs to a much wider audience than the rock’n’roll outfit, but still sound no more the set, however. “I’m not a big fan of Squeeze,” Velvets themselves enjoyed. About half of his than a creditably zesty Velvet Underground he says. “I like that song ‘Friends’ an awful lot, set is drawn from VU material, including the covers band. but most of it I just kind of cringe.” set-opening ‘White Light/White Heat,’ ‘I’m Doug Yule is now the band’s only lead vocal- Waiting For The Man,’ ‘Sweet Jane,’ ‘Heroin,’

ist, and confirms in his intro to ‘Little Jack’ , Late December and ‘Rock & Roll’; a couple of others, ‘Walk It that Squeeze is due out in February or March. The lyrics to ‘The Murder Mystery’ by The Talk It’ and ‘Satellite Of Love,’ also originate He also makes a mysterious reference to the Velvet Underground are published as two par-from the VU era. Reed will do this to even more drastic effect – but with less musical brilliance – when he includes a few Velvets songs

on his first official live LP in 1974.

There’s also a telling moment that speaks

volumes about just how Reed might be feeling

about the circumstances under which he left

The Velvet Underground, and about the current line-up touring under that name. During a brief interview, a nonethe-wiser deejay asks

Reed where Doug Yule is these days. “Dead, I

hope,” is Reed’s reply. The audience gasps in

shock, and the deejay scampers to add, “You

worked together on the Loaded album.” “We worked on the Loaded album,” Reed clarifies, pointedly leaving out the word together.

1973

Saturday January 13

According to Billboard, “The Velvet Underground, headed by Doug Yule, will be going on the road again in the USA. The group’s

upcoming tour is being booked by ATI.”

Monday January 22

A year after his concert with John Cale and

Nico in Paris, and despite the fact that a group

calling themselves The Velvet Underground

are still playing somewhere, Lou Reed is

already refusing to consider a possible VU

reunion. “It’s a nice idea, but you couldn’t

From left: George Kay (partially obscured), Rob Norris, and Doug Yule during the 1972 UK tour. 319

1973 n WHITE LIGHT/WHITE HEAT

recreate what went on then,” he tells Melody us apart, we’re poles apart’ – Kent’s eyes flick-Tonk Women’-esque guitar/brass blend at the Maker. “It’s dead.” Yet according to Peter Dog-ered, ‘You bastards, it’s great but it’s not The end of ‘Dopey Joe.’ gett’s Growing Up In Public, Reed and Cale do Velvet Underground!’ So we confessed.” The final insult is the jacket image, a car-in fact meet in early 1973 to “discuss a possible England’s Glory won’t ever make an offi-toon of a hand gripping the Empire State reunion of the original Velvet Underground. cial record during their short lifetime, but Building. It’s not only a low-brow exploitation ‘People don’t know what we can really do,’ these recordings (initially issued in a private of the Velvets’ connections to both New York Reed commented … Now a flourishing solo pressing of 25 copies) will finally be issued and hard drug use (looking as it does like artist [and] confident of his abilities as a in 1987. Frontman Peter Perrett meanwhile fingers around a syringe), but also an obvious writer, Cale was no longer prepared to play will subsequently re-emerge as the leader of attempt at recreating the look of the band’s second fiddle – or second electric viola. The a more original group, The Only Ones, one previous album. In the February 2000 issue of project would depend, he explained … ‘on of the most respected British new-wave bands Mojo, Doug Yule admits that Sesnick “wanted how many of my ideas could be used. If we’re of the late 70s and early 80s. it to look like Loaded, so that people would just playing songs then there’s no point. It make that association.” The people won’t be would have to be on the same basis as before Undated February buying the association or the album, however, with the same realism about performing.’ It’s a pity the final studio album by The which well end up selling much less even than Reed, for his part, was reluctant to relive the Velvet Underground is such a shamefully the Velvets’ previous non-charting LPs. With past: ‘Cale wants me to play the kind of feed-deceptive affair. For although Doug Yule Lou Reed’s Transformer set to break into the back guitar I used to do, and I don’t do that plays, sings, and wrote everything on Squeeze – Top 40 just one month after the release of anymore.’” except drums and some unidentified female Squeeze, the latter album will quickly be forgot— backing-vocals – it’s still credited to the Vel- ten. (If anyone does well out of the album, it’s

, Late January vets. It’s an indication of just how low the not Yule. The only payment he receives for it For £100 (approximately $240), the unsigned, Reedless group’s stock has fallen, however, from Steve Sesnick is six copies of the LP.) London-based band England’s Glory record a that the album is issued only in the UK after “I came to this record with a sneer and batch of demos that betray as extreme a VU/ Steve Sesnick somehow lands a deal with poisoned ink at the ready,” writes Rich-Lou Reed influence as has yet been heard. As Polydor. ard Williams in his Melody Maker review of a testament both to how blatantly imitative What’s worse is that the album is full of Squeeze, one of very few even written about the demos are and to the increased reverence mediocre, early-70s rock with little resem-the album. “In the event, it’s a great deal bet-with which the Velvets are seen by the British blance to anything previously recorded by The ter than I expected (having cringed at their press, EMI A&R man David Sandison is able Velvet Underground. Yule might have made live performance [in late 1971]) – Yule has to get Nick Kent of the New Musical Express to some substantial (and often underrated) absorbed enough of Lou Reed to present a listen to the recordings by passing them off contributions to the band’s third and fourth passable assimilation of certain aspects of the as bona-fide VU out-takes. albums, but as the featured singer-songwriter Velvets’ early music, songs like ‘Little Jack’

“He started off thinking it was great and here he’s unable to sustain anything near the and ‘Mean Old Man’ sound quite decent getting excited, then he started to spot stuff,” level of interest of Reed, Cale, or Nico, let if you don’t examine them terribly closely, Sandison recalls in Nina Antonia’s biography alone match the quality level of the previous while the sound is clear and driving and the of England’s Glory’s frontman, The One And VU LPs. There’s an easygoing but rather dull, musicians are obviously good professionals. Only: Peter Perrett – Homme Fatale. “It wasn’t roots-rock feel to much of the record, with It’s hard to take him seriously, though, when Lou Reed, let’s be honest. Then we got to the some pop and hard-rock accents. There are he starts a song called ‘Dopey Joe’ with the second track on the second side, ‘Peter & The also a few things copped from The Rolling words ‘Standing on the corner …’ I mean, Pets,’ with that line in it, which is the worst Stones – the ‘Sympathy For The Devil’-like he must’ve heard Lou [Reed] singing ‘Sweet joke ever – ‘Two men from Poland keeping backing vocals on ‘Little Jack,’ or the ‘Honky Jane’ a thousand times. If they could only get Sesnick to agree to change their name, it

might be easier to listen to them on their own

THE VELVET UNDERGROUND merits, but only the very naive will bother too

Squeeze much with Squeeze.” Disc’s Ray Fox-Cumming is much tougher on the record. “It’s a disgrace that this album

A1 ‘Little Jack’ (YULE) should have been put out in the name of The A2 ‘Crash’ (YULE) Velvet Underground, for this is not the band A3 ‘Caroline’ (YULE) that played on any of the VU’s previous LPs,”

A4 ‘Mean Old Man’ (YULE) he writes. “Some of [the tracks] bear no A5 ‘Dopey Joe’ (YULE) resemblance to anything the old Velvets ever A6 ‘Wordless’ (YULE) did, and none are better than run of the mill.

B1 ‘She’ll Make You Cry’ (YULE) Often, however, Yule tries to work some of the B2 ‘Friends’ (YULE) old Lou Reed flavor into some of his songs, B3 ‘Send No Letter’ (YULE) and there are traces of Lou Reed in some B4 ‘Jack And Jane’ (YULE) of the vocals, but nothing of the great man’s B5 ‘Louise’ (YULE) genius has rubbed off – they’ve only managed to capture a few mannerisms.

UK release: “The cover design is hype blatant almost February 1973 (Polydor 2383 180 SUPER) beyond belief,” he continues. “The design is

geared to look as much like a ‘son of Loaded’

320

WHITE LIGHT/WHITE HEAT n 1973

as possible, and they’ve even used Andy The Wild Side,’ but now that he’s finally able tightness and enthusiasm. A few of Yule’s Warhol’s banana with ‘Loaded Records’ on it as broken through, his name will never again spoken intros make it clear that Squeeze, “the a logo. Squeeze is a pathetic parody of a great, be unfamiliar to the mainstream rock audi-English album that isn’t released over here,” innovatory band. I feel like throwing up.” ence. is now available, but the sparse audience Squeeze still manages to cause more than a response indicates that not many listeners little confusion among Velvet Underground Wednesday April 18 have ventured into Oliver’s tonight. And while fans unfamiliar with its origins. For the next Envious perhaps of David Bowie’s patronage the set is still nearly half-full of Lou Reed ten years or so, it will be fairly readily available of two of her former colleagues and lovers, tunes, the laidback country-folk-rock track as an import in the USA, and in fact is often Lou Reed and Iggy Pop, Nico drops a hint ‘Let It Shine’ sounds closer to The Grateful easier to find than the three MGM albums. in a letter to Danny Fields. “Maybe you can Dead, of all people, than the vintage VU. (The Some fans – particularly younger ones who tell Iggy I am proud of him,” she writes. “But composer of the song is listed as “unknown” were unaware of the group during their life-how would I know where to find Mr Bowie on Final VU 1971–1973.) time – end up buying the record under the when he comes to Paris?” Nico ends the let-Tonight’s show might have made for a assumption that Lou Reed is singing and play-ter with a plea for Iggy’s current address and somewhat dignified finale, but according to ing on it. Eventually, however, knowledge of David Bowie’s phone number, adding that she Yule, there’s one last charade to follow. “The the album’s Reedlessness and general lack of has “an earache from listening too much to last show was some ski-place in Vermont or quality will become so widespread that record ‘Cygnet Committee’ from [Bowie’s LP] Space someplace,” he later tells Mojo. “We drove stores tend not to stock it, particularly after Oddity.” Her requests are in vain, however, as in, saw ‘The Velvet Underground’ and said, the group’s MGM catalog is finally reissued Bowie won’t ever become involved with Nico’s ‘That’s the last straw.’ Plus, the place turned in the mid 80s. (As a final testament to the career. out to be a real dive. It was one of those places album’s lack of artistic merit, it is never issued [where] you hear (in whining voices) ‘Can on CD.) Sunday May 27 you turn down? Can you play “Louie Louie?”’

“The Squeeze album is an extension of the Oliver’s, Boston, MA We didn’t even play the second night; the guy same situation with Loaded,” says Yule. “It’s one Squeeze only came out a couple of months ago, asked us to leave.” of the reasons I’m just happy that it’s not eas-but by now even Doug Yule has had enough In truth, The Velvet Underground have ily accessible, because I’m not proud of how of his band being billed as The Velvet Under-been dying a slow death ever since Lou Reed easily I was influenced by Sesnick. His whole ground. “There was a cover band in 1973 – me played his last show with the band on August thrust there was, ‘This record company wants and my brother and two other guys, doing 23 1970. Boorish ski-bars are a far cry from the to do a record, I’ll get Doug in the studio and rock’n’roll tunes both Velvet Underground Lower East Side lofts where Reed, John Cale, we’ll crank one out, and I can go home with and non-Velvet Underground, and some and Sterling Morrison first played together in the deposit money.’ Which is essentially what original tunes,” he recalls in the February 1965, or the avant-garde multimedia happen-happened.” 2000 issue of Mojo. “We met somebody who ings in New York City where they performed In a strange footnote, later in the 70s, a started booking us around New England. He their first live shows. British group will name themselves after the was supposed to bill us as featuring me from The last Velvet Underground show – date album before embarking on a lengthy run The Velvet Underground, but he wasn’t sup-and place still unknown – passes by unnoticed of UK chart hits. The name seems to be the posed to say it was The Velvet Underground.” for anyone save the remnants of the group. only influence of note on the group, however, In an interview for this book, he adds, “We It’s doubtful that any member of the 60s line-as Squeeze sound nothing like the Velvets. had to stop, because it wasn’t really close, and ups but Yule is even aware of their demise. But And what does Lou Reed think about Squeeze? it wasn’t relevant at all.” the history of the group is far from over. To “I never heard it,” he tells Creem magazine a “They really weren’t trying to be The Velvet everyone’s shock, over the next several dec-good seven years after the album’s release. Underground,” says Rob Norris, who sees this ades the group will not only become far more particular line-up in Boston. “They were just famous and influential than they ever were Undated March trying to be a band. It was just, the tide was during their lifetime: they’ll become one of John Cale’s third solo album, Paris 1919, is going out. It just wasn’t working.” the most critically lauded rock-bands of all. released on Reprise. Tonight Yule’s Velvets play their penulti— mate concert in the city that has been most

Saturday March 24 supportive of the group over the course of It’s taken a while for Lou Reed’s Transformer to their career. Material from an audience tape build up steam, but today it finally breaks into of tonight’s show will subsequently appear the US Top 40, peaking at Number 29. It’s fol-on the Final VU 1971–1973 boxed set, mix-lowed a week later by the ‘Walk On The Wild ing true VU songs such as ‘I’m Waiting For Side’ single, which does even better, rising to The Man,’ ‘White Light/White Heat,’ ‘Sweet Number 16. Later in the summer, both will Jane,’ and a partial recording of ‘Train Round make similar breakthroughs in the UK, with The Bend’ with some tunes from Squeeze and ‘Walk On The Wild Side’ reaching Number some other numbers. Ten and Transformer climbing to Number 13 By now Yule’s younger brother Billy has and remaining on the charts for 25 weeks. returned on drums alongside bassist George Nearly 15 years after making his first record Kay, who played on the late-1972 UK tour, with The Shades – and eight long years after and a Californian rhythm-guitarist named co-founding The Velvet Underground with Don Silverman. Like all of the later line-ups, John Cale – Lou Reed finally has a hit record. they’re no match for the Reedled Velvet He’ll never have a bigger hit than ‘Walk On Underground, but they do play with reason-

321

Apart from a one-off performance in 1990 and a brief reunion

tour of Europe in 1993, The Velvet Underground don’t play or

record together again after Doug Yule’s final line-up sputters

to a halt in 1973. And yet, in a way, the Velvets seem to receive

more attention than ever with each passing decade and with

the explosive growth of their devoted cult following. Many

1973–2007 punk, new-wave, and alternative-rock bands cite them as influences, and after years of neglect, the Velvets’ core catalog

is restored to availability, bolstered by numerous other releases

from the archives. Critics belatedly recognize the VU as one

of the best and most important bands of all time, culminating

in the group’s induction into the Rock And Roll Hall Of Fame

in 1996. The Velvet Underground’s popularity and influence

continue to expand in the 21st century, attracting more and

more devotees with each new generation.

1973 n WHITE LIGHT/WHITE HEAT

1973 July Four of the five songs have previously been The release of Lou Reed’s third solo album, released by the VU: ‘Sweet Jane,’ ‘Heroin,’ Berlin , sees him return once again to songs he ‘White Light/White Heat,’ and ‘Rock & Roll.’

first performed and recorded with The Velvet These hard-rock treatments don’t come close

This chapter will not attempt to Underground: ‘Sad Song,’ ‘Caroline Says II’ to the originals, but will introduce the songs (a reworking of ‘Stephanie Says’), ‘Oh, Jim’ to a whole new audience when the album document the post-1973 solo (which started life as ‘Oh Gin’), and ‘Men Of reaches the US Top 50 and the UK Top 30. careers of the former members of Good Fortune’ (as rehearsed by the VU in “ Rock’n’Roll Animal is a clarification of my January 1966). In another flashback to the Vel-work … I think,” Reed tells Nick Kent of the The Velvet Underground – doing vet Underground era, the album fares badly New Musical Express in March 1974. “I’ve had so would expand this book to an with critics and audiences in the USA, where my hit single and I want all those kids to know

unpublishable size. Nor will it it barely scrapes into the Top 100, but will what came before that. Because they don’t eventually gain a cult following before being know and I want them to be aware of exactly attempt to note every single VU re-evaluated as a work of substantial merit. In what predated ‘Walk On The Wild Side.’” Two compilation or reissue, as these the UK, the album is a Top Ten hit. years later, in an interview with Lenny Kaye for the same publication, Reed contends that are so numerous, and often far August the success of Rock’n’Roll Animal clears the way from essential. Instead, it will With Lou Reed now a star, the British arm for the release, later in 1974, of 1969 Velvet

focus on the events that helped of Atlantic finally gets it right and issues the Underground Live. Loaded highlights ‘Sweet Jane’ and ‘Rock & Reed’s subsequent Lou Reed Live, drawn expand the group’s public pro-Roll’ as a standalone VU single. It’s all come from recordings at the same venue and issued file, and detail the releases of much too late, however. The single fails to in March 1975, adds another VU ‘cover’ in chart, but is notable as the first record to be the form of ‘I’m Waiting For The Man.’ It previously unissued VU record-credited to The Velvet Underground Featur-also includes performances of a bunch of VU ings that have added so much to ing Lou Reed. From this point onward, Reed’s leftovers that Reed has since put on his solo

our knowledge and appreciation name will often be included in the title or albums (‘Satellite Of Love,’ ‘Oh, Jim,’ and billing of VU packages in an effort to capi-‘Sad Song’). of the group’s musical brilliance. talize on his solo stardom. In a few months February 24 time, in fact, MGM will issue an anthology of various 60s Velvets tracks as Lou Reed & The Maureen Tucker makes her first known Velvet Underground. post-VU studio recording today in Boston June when she duets with Jonathan Richman on a It’s probably around now that John Cale has Also in 1973 … remake of the as-yet-unreleased Velvets out-another go at producing The Modern Lovers The Velvet Underground are honored with take ‘I’m Sticking With You.’ The backing – who have since signed to Warner Bros – in a full-page illustration in Rock Dreams, an band includes a couple of veterans of the post-Los Angeles. Frontman Jonathan Richman acclaimed book that matches Guy Peellaert’s Lou Reed Velvet Underground, bassist Walter has been moving away from his harder, more vivid paintings with pithy text by British rock Powers and keyboardist/backing-vocalist Wil-VU-like early songs, such as ‘Roadrunner’ and critic Nik Cohn. It’s a testament to the Velvets’ lie Alexander; Steve Sesnick is also present for ‘Pablo Picasso,’ and is keen now to concen-growing acceptance among leading rock crit-the recording. The track won’t be released trate on softer, more sentimental, and more ics, particularly given that nearly every other until 1980, when it’s issued on a split single humorous material, such as ‘Hey Mr Insect,’ musician represented in the book is a super-by the Varulven label, limited to 1,000 copies ‘Song Of Remembrance For Old Girlfriends,’ star, and that Peellaert’s paintings will soon and credited to Maureen Tucker & Friends. and ‘Plea For Tenderness.’ No tracks are com-grace LP jackets by The Rolling Stones (It’s (Varulven magazine also reports that Tucker pleted at these sessions; in fact, this incarna- Only Rock’n’Roll) and David Bowie (Diamond is supposed to be appearing with Jonathan tion of The Modern Lovers will have broken Dogs). “Shadow behind the shoulder; black Richman & The Modern Lovers tonight in up before they get to release anything. slouch hat in a dark doorway; stilettos in the Boston, but for some reason she doesn’t go alley; a whimper by the window, and needles on stage.) in the bathroom,” writes Cohn beneath Peellaert’s drawing, which shows the 1966 line-up March in a dimly lit New York street. Lou Reed reportedly formulates a plan this THE VELVET UNDERGROUND month to produce an album of his songs sung ‘Sweet Jane’ by Nico, but the idea quickly dissolves, accord-pays him a brief visit in New York.

A ‘Sweet Jane’ (REED)

1974 ing to Transformer by Victor Bockris, after she B ‘Rock & Roll’ (REED) April

UK release: February solo artist, Mercury Records takes the unusual August 1973 (Atlantic Lou Reed’s Perhaps because of Lou Reed’s success as a K 10339) Rock’n’Roll Animal, recorded live step of releasing a double LP of five-year-old

in New York at Howard Stein’s Academy of live recordings from a band who effectively Music in December 1973, is virtually a solo ended four years ago, when Reed quit, and performance of Velvet Underground material. who never sold many records while they were

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WHITE LIGHT/WHITE HEAT n 1974

still active. The label makes sure listeners

know Reed is on the record by adding the

prominent subtitle With Lou Reed to the jacket,

while also taking caring to make explicit Reed

and the Velvets’ kinkiness by using an illustration of leather-booted legs, undergarments showing on the fleshy buttocks, that takes up

both sides of the outer gatefold. The inner

sleeve contains a blurry photograph of the

Velvets at the Factory in 1966 with John Cale

– Nico has conveniently been removed –

even though these tracks were recorded by

the line-up of Lou Reed, Sterling Morrison,

Maureen Tucker, and Doug Yule.

The record’s packaging might be somewhat

exploitative, but in all other respects this is a

remarkably tasteful release of enormous musical value and historic importance. It contains a whopping 103 minutes of music; sells for

a lower price than your average two-LP set;

and includes sympathetic, insightful liner

notes by singer-songwriter Elliott Murphy.

“Rock’n’roll people tend to live on the edge,”

he writes. “That’s what this album is all about.

Rock’n’roll has always been and still is one of

the few honest things left in this world. That’s

what this album is about … I hope parents will

still get scared when they find their daughter

listening to this music.”

One person who isn’t a fan of the record,

however, is Sterling Morrison, who will later

tell Ignacio Julia: “I didn’t like 1969 Live

because all the tracks are from small clubs.

That gives you a very good idea of what we

sounded like in a small club, but it’s very sub-

umes are turned way down … On the THE VELVET UNDERGROUND 1969 dued, there’s no rough edges because the vol-

Live album at least you get to hear a lot of 1969 Velvet Underground Live songs clearly, but I wish some of the stuff had been recorded at the bigger clubs we played

on that tour. The 1969 Live album at least A1 ‘I’m Waiting For The Man’ (REED) indicates what [Reed] could do – vocally it’s A2 ‘Lisa Says’ (REED) better than anything on Loaded.” A3 ‘What Goes On’ (REED) Morrison’s remarks might be indicative A4 ‘Sweet Jane’ (REED) as much of his perfectionist nature as of the B1 ‘We’re Gonna Have A Real Good Time Together’ (REED) quality of the LP. “He was often not happy with B2 ‘Femme Fatale’ (REED) what he played,” his wife, Martha, observes. B3 ‘New Age’ (REED) “He was very hard on himself. He’d come B4 ‘Rock & Roll’ (REED) back to the table after a set and he’d say, ‘Was B5 ‘Beginning To See The Light’ (REED) that awful?’ He was never completely happy C1 ‘Ocean’ (REED) with his playing – well, once in a while he was. C2 ‘Pale Blue Eyes’ (REED) I think that was just his nature.” C3 ‘Heroin’ (REED) The material on 1969 Velvet Underground D1 ‘Some Kinda Love’ (REED) Live might be magnificent, but the hows and D2 ‘Over You’ (REED) whys of its release are surprisingly murky. “The D3 ‘Sweet Bonnie Brown/It’s Just Too Much’ (REED) story I heard was that Sesnick tried to sell [the D4 ‘White Light/White Heat’ (REED) two-track mixdown tapes] to somebody, and D5 ‘I’ll Be Your Mirror’ (REED) the person he was selling it to recognized that this was something that was not kosher,” Doug US release: April 1974 (Mercury SRM 2-7504) Yule recalls. “They said, ‘Well, leave me the UK release: February 1979 (Mercury 6641 900) tape, and I’ll listen to it.’ So Sesnick did, and when he came back, the guy had already con-

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behind Mercury’s recent signing of The New

York Dolls, so it makes sense for him to want

to get the Velvets on the label as well, even if

it’s only through archive recordings. He also

contributes a brief liner note, in which he

declares: “Putting together this double set

from over eight hours of performance tapes

was as pleasant a task as I’ve yet encountered, and I sincerely believe that 1969 will be remembered (with Loaded) as the very best work done by Reed and the Velvets.”

Liner notes by A&R men aren’t always the

most reliable indicators of an album’s artistic

merit, but in this instance the hype is justified. 1969 Live really does contain some of the Reed and his band-mates’ very best work. And judging by the abundance of other late-1969

recordings of reasonable fidelity that will later

surface, Nelson’s choice of songs and versions

seems remarkably astute, even if some will

later question whether he actually had eight

full hours of source material. Certainly there

are no better versions of any of the specific

songs on the unreleased material from the

October End Of Cole Ave recordings, or from

the tracks released on the 2001 three-CD compilation The Velvet Underground: Bootleg Series Volume 1: The Quine Tapes. Often in fact the 1969 Velvet Underground Live performances are notably superior.

The album has been sequenced intelligently, too, and the three extended spoken

intros used (before ‘I’m Waiting For The

Man,’ ‘Femme Fatale,’ and ‘Some Kinda

Love’) are witty and entertaining. Not quite

so amused, however, are the managers of

the Matrix, who haven’t given permission

for Mercury to issue material recorded at

the club. “Lou Reed sold the copies that he

received from us [as two-track mixdowns] to

Polygram,” says Matrix co-owner Peter Abram.

“So we ended up having to sue ’em to get our

royalties.”

“I do remember [Paul Nelson] telling me

that Mercury bought the tapes from the Velvets’ ex-manager, and that he really had to

push Mercury to get the deal done, because

The Velvet Underground was not a commercially successful band even when they were

tacted someone else, I don’t know who, and the years leading up to the album’s release, still together,” Elliott Murphy notes. “There [told Sesnick], ‘It’s not your tape, you can’t and if the Velvets think they’re going to get a were some extra tracks, mostly duplicates of sell it, go away.’ And then it was released, sold better deal from Mercury than they did from some songs, and Paul and I picked the ones to Mercury or whatever.” MGM in the late 60s, they’re sadly mistaken. to go on the album together. There was talk It will also subsequently be reported that In an interview with What Goes On, Maureen about it being a single album – I think Mer-at least some of the tracks are from acetates Tucker claims to have been offered a paltry cury wanted that – but Paul fought hard to that have been made of the material, most of $200 in return for consenting to the release. make it a double album and he succeeded. which was recorded on four-track equipment She and Sterling Morrison eventually hold He had such incredible status as a rock critic at the Matrix in San Francisco in Novem-out for $1,500 each, “which even then was that the label gave him a lot of freedom … for ber 1969. (A few of the songs are from the stupid,” she says. a while. I was listening to Loaded at this time as band’s show at the End Of Cole Ave club in Mercury’s A&R man for this project is Paul well, and that album was really influencing my Dallas on October 19.) Mercury and MGM Nelson, who by 1974 has become one of the songwriting and guitar playing. There were a have both been absorbed into Polygram in most famous rock-critics in the USA. He was lot of the same songs on the live tapes as on 326 Above (and on subsequent pages): Elliott Murphy’s original handwritten liner notes to 1969 Velvet Underground Live.

WHITE LIGHT/WHITE HEAT n 1974

for the album is that I wrote them when I was

still purely a fan; I hadn’t recorded my first

album [Aquashow] yet, and knew little of the soul-splitting machinations of the music business. My ears were pure in a manner of speaking, and those notes were coming from an excitement and passion for rock’n’roll that

was totally uncorrupted. It’s both a wonderful

and dangerous place to be when you’re 22

years old, for you hear the glory calling and

you see none of the pitfalls, of which there

are many. Regardless, I knew it was the world

I was determined to enter, and those notes

were my calling card to get in the high gates.”

At least one member of the Velvets appreciates what Elliott has to say about the music. “I don’t even know if the band had ever heard

the tapes before Paul,” Murphy says. “But I

know he was in touch with Lou Reed and

eventually sent my liner notes to Lou, because

a few months later Lou called my mother in

New York City to speak to me. I was out and

he had a nice chat with her, because when I

came back to her apartment she said a nice

boy named Lewis Reed had called for me.”

Although 1969 Velvet Underground Live fails

to chart, it is acclaimed almost immediately

both for its historical importance and its

musical value. As Dave Marsh writes in Creem, “It has technical deficiencies (although they aren’t as severe as on Live At Max’s Kansas City). But its music and the beauty of Reed’s singing sustain the argument for the superiority of his earlier work. The material isn’t new but gains from a relaxed, almost languid

treatment.

“On ‘Heroin’ and ‘Pale Blue Eyes,’ Reed is

revealed as an influence nearly the equal of

Dylan on the new East Coast singer/songwriters. On this set, he achieved a complete mas— tery over raunch classics like ‘White Light/

White Heat,’ and in general showed himself

a more fluid melodist, more effective singer

and finer guitarist than he has since become.

1969 Velvet Underground Live is vintage Reed, flaws intact – a profile of a man who put his heart into his music.”

In his Consumer Guide, Robert Christgau

is equally enthusiastic, giving the album an

the Loaded album itself so that was really inter-surprise. Paul made acetate copies for me to ‘A-.’ “It’s nice to have a decent-sounding live esting, to hear the same songs performed live bring home. I’m still not sure why he asked record of the legend, especially one that adds that I knew so well from the album.” me, but maybe it was because of something a few new songs – notably ‘We’re Gonna Have It’s through Nelson that Murphy lands the I said while listening to the tapes with him, A Real Good Time Together’ – and choruses job of writing the liner notes. “Paul’s taste something about that music lasting for 100 to the canon,” he writes. “This is a more was wonderfully eclectic,” he explains. “He years. impressive testimonial to Lou Reed than any told me that Mercury had bought the rights “I knew that Lou Reed was from Long of his solo LPs. And if it’s not as essential as to some live Velvet Underground tapes from Island like me, so I was comparing myself to any of the four studio albums, it does provide around the same period as Loaded and invited him and looking to his music for strength and an overview of the band’s music: deadpan, me to come to the Mercury Studios and listen reflecting on how rock’n’roll was both sav-demotic, jaded, oddly sensationalistic, primi-to them with him. Then he kind of offhand-ing my life and destroying my innocence and tive both harmonically and rhythmically, and edly asked me if I wanted to write the liner forcing me to cut with my suburban roots. all but devoid of flourishes, always hard-edged notes for the album, which came as a big What pleases me most about my liner notes and usually quick, never slow and heavy at

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strain … Dig it submit put your hands down

your pants and play side C. ‘Ocean’ is on and

the head cracks like intellectual egg spewing

liquid gold (jewel juice) and Lou is so elegantly restrained. It nearly drives me crazy.

The cymbal is so light and the way they stroll

into ‘Pale Blue Eyes’ not unlike Tim Hardin’s

‘Misty Roses’ the way it comes on like a Genet

love song.” Smith’s only criticism is that “the

cover eats shit,” but all in all “this double set

is completely worth it … not a bad cut.” (At

the time of writing this review, Smith is still

known largely as a poet, but she’ll soon be

making her own explosive contribution to the

embryonic punk-rock scene with her debut

album Horses, produced by none other than John Cale.)

The album won’t be released until February

1979 in the UK, but a young expatriate American living in Britain reviews it as an import in the April 27 1974 edition of the New Musical Express. “Takes me right back to the teenage years of my virginal innocence; the evening I spent in some dingy hall, eyes fixed on that cat

in the striped T-shirt and wraparound shades,

those songs made my eyes water like I was

chewing on a wad of aluminum foil, me hoping I could score some dope after the show;

me wishin’ I could be like them,” writes Chrissie Hynde, who will of course go on to lead one of the most successful bands of the 80s,

The Pretenders. “Half the fun of hearing the

same VU song at various sessions is that Reed

never sang (or remembered) the same lyrics

twice,” she adds, before noting the changes

to ‘Sweet Jane’ and ‘New Age.’

For an album that’s never intended to be

part of The Velvet Underground’s core discography, 1969 Velvet Underground Live will fare remarkably well with historical-minded critics over the years. By 1979, it’ll be at Number

30 in Rock Critics’ Choice: The Top 200 Albums, in which Lenny Kaye picks it as his all-time second-favorite album. Billy Altman gives the

album five stars in the same year’s Rolling Stone Record Guide, accurately noting that it “captures neatly the often-overlooked ability of the group to rock out gracefully without compromising on music or attitudes. Reed’s heartfelt singing, Sterling Morrison’s sympathetic lead

work, Doug Yule’s innocent, supportive vocals

the same time.” only is 1969 far superior to [Live At Max’s Kan- and fine bass work … and Maureen Tucker’s Future USA Today music editor Ken Barnes sas City], [it] totally eclipses Rock’n’Roll Animal primitive, solid drumming are displayed here adds his stamp of approval in Phonograph as well, virtually rendering it pointless.” to the fullest and make the set a glorious Record magazine, praising the album’s “highly Even more enthusiastic – and far artier document of the music.” A couple of decades exhilarating rock, held together by metro- – is Patti Smith’s hyperventilating review later, the album will find itself at Number 89 nomically steady drumming and brilliant for Creem. “I love this record so much,” she in the Spin Alternative Record Guide’s list of 100 rhythm-guitar, constantly shifting texture, gushes. “It goes beyond risk and hovers over all-time Top Alternative Albums. driving the songs onward and assuring that like an electric moth. There’s no question The 1988 reissue of 1969 Velvet Underground even the longest tracks mesmerize instead of no apologizing there is just a trust a bond Live on CD is a mixed blessing. Instead of catatonize … 1969 is premier rock’n’roll by a with time and god their relentlessly relaxed being packaged as a two-disc set, it’s split into band deserving of its legendary status … not method of getting it on and over the land of two separate releases. These are at least sold

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at budget price, and there’s a previously unre-with Cale to produce. Then, at a lunch with dog label. It mixes both sides of The Primi-leased live track from the same era on each: Cale and Ayers, I came up with the idea of tives’ ‘The Ostrich’/‘Sneaky Pete’ single with a second version of ‘Heroin’ on Vol. 1, and ‘I doing a showcase concert at the Rainbow and unreleased live material from Max’s Kansas Can’t Stand It’ on Vol. 2. However it’s expe-putting out a live album in record time.” City and four tracks from the official Live rienced, 1969 Velvet Underground Live is one Incidentally, in a 2008 interview with Pat At Max’s Kansas City LP. It’s a rather shabby of the greatest live rock albums of all time, Thomas for the Perfect Sound Forever web-collection, and apart from the Primitives and essential to the collection of any Velvet site, Ayers confirms that he was one of the tracks its contents are nowhere near as rare Underground fan. Unfortunately, a full dec-British rock musicians listening to the Velvets or interesting as they could be. It’s a testa-ade will pass before any more VU material is while their records were still exotic items in the ment to just how fanatical the group’s fol-unleashed from the vaults. UK. “They were some of the first things I ever lowing has become, however, that such a

listened to,” he says. “I wasn’t very interested bootleg appears just a few years after Reed’s

May 18 in pop music but when I did start getting into departure from the band. (Many more – and

Asked about the chances of a Velvet Under-it, the very first Velvet Underground album many better – Velvet Underground bootlegs ground reunion by the UK music newspaper was one of the records that used to be played will follow.) Sounds, Lou Reed offers a vague response. “I a lot … they were saying things that I hadn’t may write some songs for Nico again,” he says, heard people saying before.”

“and while I am in England John Cale wants 1975 me to play some guitar on the solo album June 8

he’s doing here, but I just don’t know really. Today’s Melody Maker reports that a reformed John wants me to play the kind of feedback Velvet Underground are to play an eight-date fuzz-guitar I used to do nearly ten years ago, tour this autumn that “could be anywhere on and I don’t do that anymore.” (Reed will end the planet,” with Brian Eno taking the place January 3–6 up doing neither.) of Lou Reed and Nico back in the line-up. Doug Yule plays guitar and bass on some songs

The paper also claims that Jo Lustig (Nico’s as Reed’s 1975 album Coney Island Baby takes

May 25 manager) is in the USA trying to get Sterling shape, including a remake of ‘She’s My Best

Melody Maker includes a two-page history of Morrison and Maureen Tucker to participate, Friend,’ which the two men originally played The Velvet Underground in its Rock Giants adding that it seems likely that the band “will together in The Velvet Underground in 1969. From A–Z series – one of the first times the play three or four British dates together with None of the songs make it onto Coney Island group is granted retrospective status as a another four divided between the United Baby, but four of them will subsequently be major band. States and Europe.” included on a 2006 reissue of the album.

Nothing will ever come of the scheme, and

June 1 Maureen Tucker remembers no such plan February–August

Kevin Ayers, John Cale, Brian Eno, and when asked about it by Creem in November Doug Yule plays guitar in Lou Reed’s band Nico, Rainbow Hall, London, UK 1987. But had Eno really wanted to reunite as they tour North America, Europe, and the Tonight’s concert marks the first appearance the band and install himself as frontman, she Far East. The pair fall out again shortly there-on the same bill by two veterans of the 60s adds, “We might’ve done it!” after, and won’t meet again for more than Velvet Underground since Cale, Reed, and 30 years. Nico performed together in Paris on Janu- August

ary 29 1972. Joining Cale and Nico on stage Released this month, Sally Can’t Dance is the November tonight at London’s Rainbow Hall are Brian first Lou Reed album that doesn’t include any Patti Smith’s John Cale-produced debut, Eno and Kevin Ayers (whose late-60s band songs originally performed by the Velvets. Horses, is released this month. Cale’s first col-Soft Machine once worked with producer Tom Even more surprising, however, is the fact laboration with a band explicitly influenced Wilson). Recordings of this evening’s show that Doug Yule plays bass on one track, ‘Billy.’ by The Velvet Underground (The Modern will later be issued on LP as June 1 1974. The two men must have patched things up, Lovers) failed in its attempt to bring elements

The concert – and indeed Cale and Nico’s as Yule also is also set to play on Reed’s Sally of the VU sound to a larger audience, but recent moves to Island Records – comes about Can’t Dance tour. The LP itself charts higher Horses is much more successful. It reaches as a direct result of the involvement of the than any of Reed’s previous releases, peaking the US Top 50, and will soon be hailed as Velvets’ biggest fan in the British music press, at Number Ten in the USA. perhaps the first popular punk/new-wave LP Richard Williams. “I signed Cale and Nico to of the 70s. Smith’s guitarist is Lenny Kaye,

Island and invited Eno and Phil Manzanera to November who was also one of the first American critics work on [Cale’s album] Fear because I knew it Nico’s fourth album, The End, is released on to give the Velvets major positive coverage in would be musically productive,” he explains. Island. Produced by John Cale, who also plays the national rock press. “I was hoping for something closer to ‘Sister many of the instruments, it features as a cover Smith regularly performs a couple of VU Ray’ than Paris 1919 – much as I admired the of The Doors’ classic ‘The End,’ originally songs live around now that make clear her latter – and to an extent that’s what I got with sung by Nico’s late lover Jim Morrison. It also affection for the group. She often opens her Fear. And I knew it would help to raise Cale’s marks the last time Cale and Nico will work sets with ‘We’re Gonna Have A Real Good profile at Island, where Eno and Manzanera together in the studio until her final album, Time Together,’ and sings an imaginative vari-were respected through their work for the 1985’s Camera Obscura. ation of ‘Pale Blue Eyes’ that segues into the label with Roxy [Music]. Cale told me Nico garage rock classic ‘Louie Louie.’ The best

was available and, via Jo Lustig, who came in Also in 1974 … place to hear those versions is on the heavily as her manager (and had met her on the set The first Velvet Underground bootleg LP, bootlegged tape of her concert at the Roxy in of Ready Steady Go! in 1965), I signed her, too, Evil Mothers/Rare Velvets, appears on the Sky-Los Angeles on January 30 1976, featuring a

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guest appearance by John Cale, who plays bass “We ran about 500 copies,” Turner adds. it wouldn’t be The Beatles up there and then on a set-closing charge through The Who’s “Used the photo on [the Pickwick compila-all these other groups down there, it would ‘My Generation.’ tion LP Beats!!!! The Merseyside Sound] for the be a question of attempting to assess the

Cale often opens shows for Smith around cover – which, it turns, is of another band, relative values of The Beatles and The Vel-this time. Another live recording of ‘My Gen-not Lou and Cale, but it looked like them vet Underground as equals. And this is just eration’ with him on bass, taped on January enough to fool myself. I wound up giving beginning to happen now.” 26 1976, appears as the B-side to her ‘Gloria’ out more comp copies than selling. Which, Richard Williams will later look back on single. Not to be outdone, Lou Reed takes to again, at the time, wasn’t the issue. I was the Velvets’ resurgence during the punk and the stage to sing ‘I’m Waiting For The Man’ sorta messianic about turning folks on to post-punk eras with mixed feelings. “I sup-with Smith at CBGB’s on May 4 1977. And in the tracks. About a couple years later did pose I felt vindicated when it became obvious a little-known act of generosity, Smith buys a the same thing with a pre-13th Floor Eleva-that their influence ultimately rivaled those replacement harmonium for Nico in Paris in tors 45, originally released under the name of The Beatles and The Rolling Stones,” he early 1978 after the instrument the former The Spades. I think I handed out almost all says. “What Cale and Reed brought to the Velvet depends upon to make her living is the copies without selling, as with The Primi-idiom was absolutely transformative and stolen. tives. I’m a sorry-assed bootlegger!” (Several hugely stimulating. In general terms, how—

years later, Turner will perform ‘Cycle Annie’ ever, I was too dispirited by what others made

December in concert with his band, The Angry Samo-of that influence to want to celebrate. You

Another Velvet Underground relic, ‘She’s My ans.) know, I quite enjoy Joy Division and The Best Friend,’ shows up on Lou Reed’s Coney Jesus & Mary Chain, but I never liked the way

Island Baby. July 21 the ‘dark side’ came to exert such a complete

Lou Reed joins John Cale on stage to play and almost monopolistic hold on the teen-

guitar on ‘Waiting For My Sister’ at the age imagination. I may have loved ‘Heroin’

1976 Ocean Club in New York City. “I wouldn’t and ‘Sister Ray,’ but I never wanted them to

want a steady diet of it,” Reed tells Creem. “In define my world.” that type of situation, it’s nice to delve into

something that existed for real and make it October exist again for real. The Velvet Underground Lou Reed’s Rock And Roll Heart LP includes

June existed, and it should stay … it is what it was ‘A Sheltered Life,’ first recorded as a Velvet

The four-song, seven-inch White Heat EP is and it was what it is, and the various com-Underground demo about ten years earlier, the second Velvet Underground bootleg, ponents by themselves can’t be The Velvet and ‘Follow The Leader,’ as performed by but the first to offer studio out-takes: ‘Foggy Underground. Nostalgia is a very good rea-the VU on stage at least once and included Notion,’ ‘Inside Your Heart,’ ‘I’m Sticking son not to do it more than once or twice.” on The Velvet Underground: Bootleg Series Volume With You,’ and ‘Ferryboat Bill,’ all of which 1: The Quine Tapes. are taken from acetates. Years later, Paul Wil- September 20 liams will go so far as to include this bootleg The Velvet Underground are having a big Also in 1976 … release of ‘Foggy Notion’ in his 1993 book influence on a major trend in rock music for Doug Yule joins American Flyer, a soft-rock Rock And Roll: The 100 Best Singles. the first time with the birth of punk on both band whose other members include Steve

Another four-song, seven-inch bootleg sides of the Atlantic. At the 100 Club Punk Katz (formerly of The Blues Project and appears a few months later. Primitive: Pre-Vel- Festival in London, an embryonic version Blood Sweat & Tears), Eric Kaz (formerly vets combines both sides of The Primitives’ of Siouxsie Sioux & The Banshees perform of The Blues Magoos), and Craig Fuller mid-60s single with two other Reed-sung what guitarist Marco Pirroni describes in (a founding member of The Pure Prairie Pickwick-era songs, ‘Cycle Annie’ by The Jon Savage’s England’s Dreaming as “a Velvet League, and composer of their hit ‘Amie’). Beachnuts and ‘You’re Driving Me Insane’ Underground thing for what seemed like Released in late 1976, the group’s self-titled, by The Roughnecks. “At the time, it wasn’t hours,” with a pre-Sex Pistols Sid Vicious on George Martin-produced debut makes the a matter of making money or even recov-drums. US Top 100, but the follow-up, 1977’s Spirit ering my investment (which wasn’t all that Before hooking up with The Banshees, Of A Woman, won’t fare so well, and the band much),” says Gregg Turner, the rock critic Sioux recorded a cover of ‘What Goes On’ split shortly thereafter. Yule then decides to and musician behind the EP. “I had pur-with Billy Idol on guitar to bring to auditions leave the music business to become a cabi-chased an original copy of the Primitives 45 with bands advertising for singers in the Brit-netmaker. He won’t record again for two on Pickwick City (which I still have today) ish music press. At an early Sex Pistols gig, decades. for about $100. I also had the Soundsville! Melody Maker’s Allan Jones goes so far as to sampler with ‘Cycle Annie’ etc. Literally peg guitarist Steve Jones as “another surro-

putting two and two together seemed to gate punk suffering from a surfeit of Sterling 1977 be a no-brainer. I know this sounds trite, Morrison,” although, as it transpires, Jones but I really wanted everyone to hear these doesn’t actually know who Morrison is. tracks. I can’t remember how much the “When they actually came out, very very price tag was for each EP, but I’m pretty few people were interested in them, whatever sure it was minimal. There was no second they claim now,” Brian Eno tells Mary Har- Undated pressing. And I gave a copy to John Cale ron in a 1977 interview for Punk magazine. What Goes On, the first Velvet Underground in person, who was a very nice fellow. We “I knew [for certain] that they were going to fanzine, publishes its debut issue this year, talked about how funny unintentionally Lou become one of the most interesting groups, an eight-page production that sells for one Reed was/is. y’know, and that there would be a time when dollar. What Goes On and its fan-club-like

330

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affiliate, The Velvet Underground Appre- camper. Very strange.” Strange indeed, consid- 1979

ciation Society, will prove vital in spreading ering that none of the inter-VU feuding that’s the VU gospel and building the band’s cult been reported over the years seems to involve following over the next two decades. Editor Cale and Morrison to any serious degree. Any Phil Milstein and his friend and successor, January sore points must quickly be smoothed over, as M.C. Kostek, also conduct groundbreak- Rock Critics’ Choice: The Top 200 Albums, which the pair are subsequently interviewed together ing research into the group, particularly in features the first widely distributed poll of writ-on Austin radio. terms of their lengthy interviews with Mau-ers’ all-time favorite rock LPs, is published this reen Tucker and Sterling Morrison, which month. Given that they’re still no more than June 21 give both members their first opportunities a cult group, the Velvets fare astonishingly Original Velvet Underground drummer to talk about the band in depth. Although well. The Velvet Underground & Nico appears at Angus MacLise dies in Shanta Bawan Hospital they are published only sporadically, the five Number 14, with 1969 Velvet Underground Live in Kathmandu, Nepal, where he’s been living issues of What Goes On generate a goldmine at 30, White Light/White Heat at 125, and The since 1974. Subsequent reports attribute his of information, with the size of the publica-Velvet Underground at 191. Even the tacky, death to either hypoglycemia or malnutrition. tion swelling to 80 pages by the time the final self-titled Golden Archives Series compila-Throughout his life, MacLise continued to issue appears in September 1996. tion LP sneaks in at Number 127, with Nico’s engage in multimedia activities, with some of Chelsea Girl charting at 149. Among the voters his 70s recordings surfacing on posthumous Also in 1977 … are several longtime supporters of the group, compilation CDs. He is survived by his wife Rock 100, a collection of articles about the including Geoffrey Cannon, Robert Christgau, Hetty and son Ossian, who has already cho-100 most significant acts of rock’s first two Lenny Kaye, Richard Williams, and Ed Ward, sen to enter a Buddhist monastery. Ossian is decades, features a chapter on the Velvets who notes that “the Velvets express my home believed to be the first Westerner recognized in its Outer Limits section alongside fellow town, New York, better than anybody ever did.” as a tulku, the Tibetan Buddhist designation cult acts Love, The Fugs, MC5, and The Another of the voters is Lisa Robinson, who for an incarnation of an “advanced adept” or Stooges. Co-authored by longtime VU fan lists The Velvet Underground & Nico as her all-High Lama. In 1983, a half-hour documentary Lenny Kaye and early Warhol/Factory assist-time favorite album. “It changed my life,” she is made about the 12-year-old Ossian, entitled ant David Dalton, it’s a significant validation says, “what else?” Ossian: American Boy/Tibetan Monk. of the Velvets’ key role in rock history at a time when such things are just starting to be March 8 November acknowledged. “The Velvet Underground, as Four songs from tonight’s Nico gig at CBGB’s The first edition of the Rolling Stone Record early as 1966, was the first band of the 70s, in New York will shortly be issued on a four-Guide, the most thorough and authoritative twisting violence and catharsis into a haze song, seven-inch EP by What Goes On Records, reference book of its type to date, is published of articulate noise, prophetic and provok-an imprint of The Velvet Underground Appre-this month. The entry for The Velvet Undering,” the authors claim. “Their legacy – David ciation Society. As well as ‘No One Is There,’ ground is written by Billy Altman, who as a Bowie, The New York Dolls, Roxy Music, Lou ‘Janitor Of Lunacy,’ and ‘Abschied,’ the EP student arranged Lou Reed’s very first solo Reed himself – could only attest to the pro-features ‘All Tomorrow’s Parties’ – the first concerts at the University Of Buffalo back in found subterfuge of the original.” solo performance by Nico of a VU song to April 1972. Altman’s critique does much to appear on vinyl. solidify the Velvets’ standing as key figures in Nico will continue to perform two of the rock history, with The Velvet Underground &

1978 three tracks she sang on The Velvet Underground Nico, 1969 Velvet Underground Live, and Loaded

& Nico, ‘All Tomorrow’s Parties’ and ‘Femme all given the highest possible rating. Altman Fatale,’ right up to her death in 1988, as well also praises White Light/White Heat and The as a song she didn’t originally sing, ‘I’m Wait- Velvet Underground as “masterpieces,” but nei-ing For The Man.’ In years to come, so many ther album is given a rating as they are cur-

February live performances from Nico’s final decade rently out of print. (This sorry state of affairs Lou Reed’s Street Hassle includes the last of appear on record that it would take up too won’t be remedied for about five years, dur-the songs known to have been recorded or much space to list them all individually. Suf-ing which time dedicated American teenage performed by The Velvet Underground – fice it to say that almost all of them feature fans of the band – including this writer – will but not released while they were active – to readings of ‘All Tomorrow’s Parties,’ ‘Femme have to resort to seeking out import copies then be re-recorded for one of Reed’s stu-Fatale,’ and ‘I’m Waiting For The Man.’ of these albums.) dio solo albums. His eerie, distortion-riddled “Few groups in the history of popular music version of ‘We’re Gonna Have A Real Good April 19 or May 17 have broken down as many barricades as The Time Together’ (here titled ‘Good Time An unexpected reunion takes place on one Velvet Underground did in its all-too-brief Together’) isn’t so much a remake, however, of these dates when John Cale appears at the existence,” Altman writes. “The Velvets’ fore-as a willfully morbid deconstruction. Armadillo World Headquarters in Austin. “He sight into the directions that electric music was doing ‘Pablo Picasso,’ and said, ‘Sterling was taking (dissonance, feedback, extended November Morrison,’” Gregg Barrios recalls. “Sterling improvisation) and their forays into taboo lyri— Reed’s double LP Take No Prisoners – recorded came up, did this guitar solo there in the mid-cal subject-matter (the decadence of the idle live at the Bottom Line in New York on May dle of the song, and then walked off, and that rich, the horrors and joys of drugs, the reali-17–21 – offers yet more solo versions of was it. Afterwards, Cale was in a rage, saying, ties of life on the street) were so out of step Velvet Underground songs, including ‘I’m ‘How dare you let that drunkard come and with what was going on in the music world Waiting For The Man,’ ‘Sweet Jane,’ and mess up my set, and if you ever do that again, around them in the late 60s and early 70s that ‘Pale Blue Eyes.’ I swear, I’ll sue you …’ He was a very unhappy they never gathered more than a very small 332

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cult following. Yet the Velvets’ influence hov-Pickwick-era tracks with Lou Reed vocals and 1981 ers over all present music seeking to do more the four late-60s out-takes previously issued than merely entertain. Leader Lou Reed’s on the White Heat EP with ‘Noise,’ the Vel-almost cinéma vérité songwriting style rang with vets’ contribution to the 1966 East Village an honesty and compassion that few songwrit- Other LP, and the flexidisc track from Andy April 25 ers ever reach, and the band’s uncompromis- Warhol’s Index. The album also includes some In the UK, the New Musical Express runs a ing, committed playing is arguably the source excellent, informative liner-notes, and will four-page feature, ‘The Lost History Of The of most punk/new-wave music.” probably do as much as any official release Velvet Underground,’ based around the sec— In another indication of how rock criticism to promote The Velvet Underground in the ond major post-VU interview with Sterling is finally coming of age, the closing months early 80s – particularly considering half the Morrison (who is now using his real name, of 1979 also see the publication of Stranded: group’s studio LPs are out of print. Holmes Morrison, for work purposes). “The Rock And Roll For A Desert Island, a collection of Velvet Underground were the first avant-garde essays edited by Greil Marcus and written by rock band, and the greatest,” Mary Harron

some of the leading critics of the time, each of writes. A week later, the same writer and pub- 1980

whom has been tasked with selecting one LP lication present another feature based around over all others. Twelve pages are given over to an interview with Maureen Tucker. Harron Ellen Willis’s thoughts about MGM’s Golden will go on to direct the 1996 film I Shot Andy Archives Series compilation Velvet Underground Warhol, based on the life of Valerie Solanas, – a slapdash album, certainly, but also the one July who attempted to kill Warhol in June 1968. that provides a springboard for Willis’s rather Not much has been heard from Sterling Mor-No Velvet Underground songs appear on academic treatise on the significance of The rison since he left The Velvet Underground, the soundtrack, however, because Lou Reed Velvet Underground. but this month sees the publication of his first refuses to allow any of his music to be used major post-VU interview in New York Rocker, in the film.

Also in 1979 … as well as the first major post-VU interview The Etc. LP is by far the best-distributed and with Maureen Tucker, as conducted by Byron most thoughtfully packaged Velvet Under-Coley. (The Morrison interview was originally July ground bootleg to date. It combines the four published in Sluggo.) Drama In Exile, the only solo studio album by Nico to appear between 1974 and 1985, is

released this month. It’s generally felt to be

her least impressive studio LP, but is notable

for the inclusion of a version of ‘I’m Waiting For The Man,’ which Nico has finally recorded, 15 years after being told emphatically that she can’t sing it with The Velvet Underground.

Also in 1981 …

About ten years after leaving The Velvet

Underground, Maureen Tucker finally puts

out her solo debut, Playin’ Possum. She is now married with five children, and recorded the album in her Arizona living room, playing and

singing everything herself, including a version

of ‘Heroin.’ She’ll continue to interpret VU

songs on her sporadic solo releases over the

next two decades, including ‘Pale Blue Eyes,’

‘Guess I’m Falling In Love,’ ‘Hey Mr. Rain,’

‘I’m Waiting For The Man,’ ‘I’m Sticking With

You,’ and ‘After Hours.’

1982

Undated

Two more Velvet Underground bootlegs

featuring some of the group’s most interesting unreleased material appear this year.

And So On is an obvious successor to 1979’s Etc., and combines some of the Velvets’ most 333

1982 n WHITE LIGHT/WHITE HEAT

noteworthy live recordings, studio out-takes, 1983 1984 and demos with rarities such as John Cale’s ‘Loop’ flexidisc and the radio ad for the

group’s third LP. The informative, passion-

ate liner-notes by What Goes On editor Phil Undated January Milstein help give the album so professional Doug Yule is now living in New Hampshire. Lou Reed’s double album Live In Italy, an appearance that it even gets stocked by a He’s been out of the music business for about recorded in September 1983, is released this few above-ground record stores. Also released five years – and out of The Velvet Under-month in Europe. About half of the songs this year is the unauthorized, three-LP boxed ground for even longer – when he unexpect-were originally recorded by The Velvet Under-set Everything You’ve Heard About … The Velvet edly receives a telephone call from Sterling ground, among them ‘Sweet Jane,’ ‘I’m Wait-Underground, which compiles much of the Morrison, who wants him to be part of a law-ing For The Man,’ ‘White Light/White Heat,’ material already circulating on bootleg, add-suit seeking performance royalties for the rest ‘Some Kinda Love,’ ‘Sister Ray,’ ‘Heroin,’ and ing in some previously unavailable rarities of the band from Lou Reed. As a result of ‘Rock & Roll.’ and a bonus seven-inch featuring both sides the suit, a Velvet Underground partnership is of Nico’s 1965 Immediate single. formed to represent the band as a whole. September

Much of what features on And So On and John Cale rarely revisits Velvet Underground Everything You’ve Heard About … The Velvet Also in 1983 … songs on his solo albums, but an exception Underground will eventually be released offi-Published this year, UpTight: The Velvet Under- comes when he includes a version of ‘I’m cially, with much better sound quality. But as ground Story by Victor Bockris and Gerard Waiting For The Man’ on John Cale Comes a testament to the hunger of VU fans and rock Malanga is the first major book devoted to Alive, recorded earlier this year at London’s critics for more VU material, Sandy Robertson the Velvets’ career. A heavily illustrated oral-Lyceum on February 26. goes to the extraordinary lengths of review-history built around first and second-hand ing each bootleg in some depth in the UK interviews with the band and many of their

music publication Sounds, complimenting And closest associates, it is an invaluable source of 1985 So On as “a model of what an archive album recollections and perspectives on the Velvets’ should be.” amazing history.

February

By the mid 80s, the esteem in which The Velvet Underground are held and the clamor for their MGM LPs to be put back into print

have become impossible to ignore. The

group’s first three albums are to be reissued

this year by Polygram, which acquired MGM

back in 1972. While plans are being put into

motion for that project, Lou Reed confirms to

executive producer Bill Levenson that tapes

of a ‘great lost Velvet Underground album’

really do exist, setting off a hunt for unreleased material in the vaults.

“With [Lou’s] information, I went back to

the tape library and started working off the

microfiche files,” Levenson tells Byron Coley

in the April 12 issue of LA Weekly. “There were 30 or 40 Velvet Underground tapes, about 300

tracks in all. Now, that number includes copies, compilations, songs listed under working titles, whatever … everything in the microfiche is listed by number and cross-referenced, so as I started scanning the numbers they fell

into four or five recognizable patterns. There

was one number, though, that didn’t make

any sense. According to the information in

the file, it had to have been received sometime after the new filing system was set up in 1982. I didn’t know if it was a typo or what,

but I followed it through and it led to another

area in the library, and that’s where we found

the tapes we used for VU. Because they were received sometime after ’82, no one knows where they came from.”

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It’s partly as a result of a happy accident,

then, that the tracks for the February 1985

out-takes compilation VU are found. But if not

for Levenson’s persistence, they might have

remained locked up forever. Reed wanted to

abandon the project after hearing the rough

mixes, but Levenson continued to clean up

the tapes to the point where even Reed liked

them. Levenson then selected the ten songs

that comprise VU, which is being released

this month around the same time as reissues

of the first three proper VU albums. Each of

the tracks was mixed in June 1984, with the

exception of ‘Ocean,’ for which an original

June 1969 mix is used.

“Bill’s feeling was that, since everyone was

bootlegging a good deal of the band’s material

and listening to horrible-sounding versions

of their songs, there would be a market for

them if they were mixed and packaged properly,” says Michael Barbiero, who mixed and engineered VU. “From the look of the tapes,

I could see that they had suffered for their

years in storage. They’d not been stored on

reels, but rather on hubs [the center of a reel,

without the flanges] to save money. The result

was that the tapes were not flat, but arched,

with a hump in the middle. What’s more, they

had been stored ‘tails out,’ which was industry

standard in those days, and there was no way

I was going to put them on flanges and spin

them to heads out on a tape machine, trusting

them not to break – or, worse, have the oxide least include what most people would agree LP sent out to radio stations include several fly off all over the room. Dom Cuminale [the are the best of the 1969 out-takes – notably different mixes, with ‘Ocean’ replaced com-head technician at Mediasound, where the ‘Lisa Says,’ ‘Ocean,’ and ‘I Can’t Stand It.’ pletely with ‘Ferryboat Bill.’ That aside, the mixing and engineering took place] devised And while much of the material has previously most notable difference can be found at the an ingenious crank and spent the better part been available on bootleg, the sound quality end of ‘She’s My Best Friend,’ which is 20 of an entire day winding the tapes to ‘heads here is far superior. seconds longer than the album version. Bar-out’ himself. Incidentally, pre-release cassettes of the biero isn’t sure how these difference arose, “As old as the eight-track tapes were, I realized that optimally we would only have to play them once, when we transferred them to eight

tracks of a brand new sixteen-track tape. When THE VELVET UNDERGROUND

the time came to do the transfer, everything VU

went off without a hitch until the final song.

For some reason, about eight to ten bars into

the song, the tape started to skew up along the A1 ‘I Can’t Stand It’ (REED) tape head. We stopped and tried it again with A2 ‘Stephanie Says’ (REED) no luck. Then I figured, why not flip the tape A3 ‘She’s My Best Friend’ (REED) upside down and see if it transfers backwards. A4 ‘Lisa Says’ (REED) Eureka! Perfect transfer!” A5 ‘Ocean’ (REED) As Levenson himself makes clear in his B1 ‘Foggy Notion’ (REED/MORRISON/TUCKER/YULE/HY WEISS) liner notes on the back jacket, VU is “not B2 ‘Inside Your Heart’ (REED) the oft-mentioned ‘Great Lost Velvet Under- B3 ‘One Of These Days’ (REED) ground Album.’” If such a thing really existed, B4 ‘Andy’s Chest’ (REED) it would be drawn exclusively from the tracks B5 ‘I’m Sticking With You’ (REED) the group cut for MGM between May and October 1969, with Doug Yule. VU contains US release: February 1985 (Verve Polygram 823 721-1 Y-1) eight of these songs, but it also includes two, UK release: 1985 (POLD 5167) ‘Stephanie Says’ and ‘Temptation Inside Your Chart high: US Number 85, UK Number 47 Heart,’ recorded in February 1968, when John Cale was still in the group. The LP does at

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dent on the US album charts at Number 197.

VU fares much better, peaking at Number 85, in the process becoming the only Velvet Underground album ever to reach the US

Top 100, while also sneaking into the UK

Top 50.

If VU is a somewhat misleading introduction to the group for those who might make it their first Velvet Underground purchase,

it will no doubt lead many of these listeners

to discover the deeper and more significant

delights of the group’s back catalog. Perhaps

inadvertently, it also illustrates how much of

the material on Lou Reed’s early albums was

first recorded by the Velvets, as more than

half of the songs have since been reworked for

his solo releases. Melody Maker’s Allan Jones suggests “that all of these original blueprints outstrip their later incarnation, mostly by

immeasurable distances” – a sentiment with

which many fans would agree.

So too does Sterling Morrison. “Lou’s covers of this material are inferior to the VU versions,” he tells Creem in 1987. “It’s especially true in the case of ‘Sad Song’ [a Reed composition that Morrison claims was recorded for MGM in 1969, but lost]. I don’t know if Lou

subscribes to any of this; he may think that his

versions are in every way vastly superior. But

even something like ‘Andy’s Chest’ on Transformer becomes sort of self-conscious. I’m not wild about that lyric anyway, but I do like the guitar sound on the VU recording.”

For all Morrison’s grousing about Rolling

Stone, the magazine leads the charge of unex—

but adds that “often a fade would be chased son’s goat. “That writer, who’s from Rolling pectedly positive, and even fawning reviews in mastering, so you could fit a number of Stone, is a moron,” he grumbles to the LA of VU. Carried away by enthusiasm, perhaps, tunes on one side of a record. We were limited Weekly. “In fact, I completely opposed anyone the magazine gives the record five stars out in those days as to how much time you could from that magazine having anything to say of five. “Had it been completed and released, have per side. If you wanted the record to on this album. They have a whole magazine, the Lost Album might have seriously altered sound good and not skip, one usually kept which never really paid much attention to us the Velvets’ fortunes for the better,” writes to about fifteen minutes per side.” As for why when we were playing, to talk about this. Why David Fricke, who will later pen the liner the original mix of ‘Ocean’ is used, he says, should I let them write their nonsense on my notes to the Peel Slowly And See boxed set and “I think Bill wanted that on the record, and record?” Morrison’s a little guarded about his the expanded reissue of Loaded. “Although we didn’t have the master.” enthusiasm for the compilation as a whole, Loaded included some of Reed’s biggest hits Maureen Tucker offers some qualified too, telling Mix magazine, “I’m surprised that in ‘Sweet Jane’ and ‘Rock & Roll,’ it was just praise for the results in the November 1987 the material on VU is so tame. It wasn’t radical too late: Reed quit shortly before its release. issue of Creem. “The first time I listened to VU, then and it isn’t radical now.” But VU captures the band at the height of I thought, ‘Oh how nice. You can hear the The music on VU is generally fine and its powers, refining the edginess of the early drums,’” she says. “I was pretty much listening occasionally outstanding, but clearly not records with a polished, accessible sound that with that in mind the first time or two that I up to the level of the four studio LPs the doesn’t compromise its spirit of adventure. played it. But then when I sorta got used to Velvets released while Lou Reed was in the For the first time on record, the Velvets sound that idea and listened again, I suddenly real-band. Nonetheless – and probably because like a real band, not a concept in overdrive … ized, ‘Shit, this is a little too tidy!’ It’s a little it’s the first album of fresh VU material to the Great Lost Velvet Underground Album is too clean for my tastes, but I still think they be released after the group’s elevation to no longer lost. It is simply great.” did a real good job with it.” She also admits, ‘icon’ status – it becomes the Velvets’ highest-In his Consumer Guide, Robert Christgau “I don’t particularly like the one Doug sings charting album. It’s no doubt helped by the gives VU an ‘A’ grade and offers a similarly – what is it? – ‘She’s My Best Friend’? I think exposure given to it by Polygram’s simultane-glowing assessment. “Each of the Velvets’ they could’ve used something else.” ous reissue of the first three VU albums – and four official studio albums had a distinct The liner notes by Kurt Loder are straight-at a budget price of $5.98, no less. These personality, and so does this unofficial one, forward enough, but end up being the one also sell well by reissue standards, with one, recorded mostly in mid 1969, right after The aspect of VU that really gets Sterling Morri- The Velvet Underground, even making a brief Velvet Underground appeared,” he writes. “It’s 336

WHITE LIGHT/WHITE HEAT n 1986

goofy, relaxed, simultaneously conversational recalls. “So I set up a meeting at the Factory. June 28 and obscure, an effect accentuated by the I met with a Vice-President of Andy Warhol Released today, Camera Obscura is not just the unfinished feel of takes the band never pre-Enterprises named Vincent Fremont. Vince last Nico album to be produced by John Cale pared for public consumption. As a result, couldn’t tell me if they possessed the footage but her last studio album, period. The last especially given Polygram’s state-of-the-art I was looking for, but he was sufficiently inter-years of her life have been scarred by heroin remix, it’s their most listenable record, even ested to grant me access to their archive.” problems, but she’ll carry on gigging errati-if its friendliness is deceptive – the disarm-Edmonds findings won’t measure up to cally for the next three years, giving her final ing straight-ahead rocker ‘Foggy Notion’ has anyone’s hopes, however. “I spent a couple live performance in June 1988. a lyric whose casual sadism beats any of The of days going through their film library,” he Velvet Underground & Nico’s shock-horror per-recalls. “I use the term ‘library’ loosely. It was

versities. If you ever doubt the VU’s rightness, a storeroom full of boxes and film canisters a 1986 just compare the flashy compromises of the couple of floors above the offices. There was solo ‘Lisa Says’ and ‘I Can’t Stand It’ (itself no master list or logbook or inventory of any the making of Lou Reed) to the flat rush of the sort, and there seemed to be no rhyme or rea-Tucker/Morrison-powered versions here. A son to the piles of stuff. I was shocked. The art Basement Tapes for the 80s.” side of the business was so fastidiously man- April 27

Allan Jones of Melody Maker is also pleased. aged, and this was so chaotic. At one point as To coincide with the reissue of several Velvet “VU cuts through most of the moment’s crap I was going through boxes Andy floated in. Underground albums by Polygram, London like a razor with its blade on fire, even though I asked him if he remembered the footage I Weekend Television broadcasts an hour-long most of the tracks included on this retrospec-was searching for. ‘Oh, we shot so much, it’s South Bank Show documentary about the tive compilation will already be familiar to the hard to say,’ he answered, and then floated group. Researched by Mary Harron, the film dedicated Velvets fanatic who will have hunted out again.” includes interviews with Lou Reed, John Cale, down the majority of them over the years on It takes Edmonds a couple of days to “go Sterling Morrison, Maureen Tucker, Nico, Ger-a variety of bootlegs,” he writes. “There is so through everything and isolate the materials ard Malanga, Henry Geldzahler, and Brigid much here that will continue to engross and that looked most promising. When this stuff Berlin, as well as excerpts from rare footage entertain this listener. So much that reminds was screened, I think Vince Fremont was there of the group. Sadly, it won’t ever be issued on me of why this music has a hold of my imagi-much of the time, and Warhol’s right-hand video or DVD; even more shamefully, Doug nation and will probably never be replaced man Fred Hughes was in and out. People Yule’s name is not mentioned once during by anything else.” oohed and aahed at the fabulousness of the the course of the entire program. Asked in

VU might be a little more lightweight than footage, but I was hugely disappointed. In the film whether the current surge of inter-the full-baked Velvets albums, but it is nonethe end they only had what we already knew est in the Velvets might spark a reunion, Lou theless a valuable – perhaps even indispensi-they had; there was not one scrap of anything Reed replies flatly that he’s “not interested in ble – addition to their discography. And as ‘new.’ Without any significant discoveries, the reunions at all,” adding that the only mem-his April 1985 interview with the LA Weekly kind of film I’d envisioned was not possible. ber of the group with whom he’s currently in confirms, Bill Levenson is already thinking After I reported my findings (or lack thereof) touch is Tucker. about putting out a sequel to it containing to Len Epand, who was then running Poly-Also this spring, Catalonian TV3’s Arsenal more out-takes from the archives. gram’s video department, I believe the pos-program broadcasts a half-hour documentary

The release of VU also prompts the first sibility of Warhol producing a clip utilizing on the Velvets in Spain. FeedBack features serious rumors about an actual Velvet Under-his footage for one of the unreleased Velvets an extensive interview with Sterling Morri-ground reunion, even if Lou Reed is quick tracks was bandied about for a minute, but son by Ignacio Julia. A book based around to deny it. Sterling Morrison even admits to obviously nothing came of it.” this lengthy interview, also titled FeedBack, is the LA Weekly that he’d grudgingly go along

with plans for a promotional video for ‘I Can’t

Stand It’ that seems to be in the works. But

no such video will ever appear, and it will THE VELVET UNDERGROUND

take another eight years for the Velvets to Another View reunite.

ALSO … A1 ‘We’re Gonna Have A Real Good Time Together’ (REED)

It’s probably around now that rock critic Ben A2 ‘I’m Gonna Move Right In’ (REED/CALE/MORRISON/TUCKER) Edmonds tries, with Polygram’s blessing, to A3 ‘Hey Mr. Rain (VERSION I)’ (REED/CALE/MORRISON/TUCKER) put together a video compilation of Velvet A4 ‘Ride Into The Sun’ (REED/CALE/MORRISON/TUCKER) Underground footage. He’s already aware of A5 ‘Coney Island Steeplechase’ (REED/CALE/MORRISON/TUCKER) 1966 footage from sources such as Ronald B1 ‘Guess I’m Falling In Love’ (INSTRUMENTAL VERSION) (REED/CALE/MORRISON/TUCKER) Nameth’s Andy Warhol’s Exploding Plastic Inev— B2 ‘Hey Mr. Rain’ (VERSION II) (REED/CALE/MORRISON/TUCKER) itable, Andy Warhol’s The Velvet Underground B3 ‘Ferryboat Bill’ (REED/MORRISON/TUCKER/YULE) & Nico: A Symphony Of Sound, and the vari- B4 ‘Rock & Roll’ (ORIGINAL VERSION) (REED) ous screen-tests, which he judges to be “nice

incidental stuff, but not enough.” US release: July 1986 (Verve Polygram 829 405-1 Y-1)

“Polygram was beginning to issue unre- UK release: 1986 (POLD 5208) leased VU material, and a possible video component was definitely of interest to them,” he

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published in Spain, with The Velvet Underlive, so cleaning up the tracks and getting 1987 ground Appreciation Society making a book-some separation out of them was probably let with an English translation available in the most difficult part of the process. We 1987. found a lot of the tracks were distorted but, in the end, the distortion added color to February 22

July the finished mixes. I know that Lou was not Andy Warhol dies unexpectedly at the age of Buoyed by the unexpected success of VU and directly involved in the production. However, 58 after undergoing routine surgery on his the mid-80s reissues of the Velvets’ MGM/ I did see him a short time after the record gallbladder. Verve LPs, Polygram gives the green light for was finished, and he told me he was pleased a second collection of out-takes to be released with the songs and really liked the mixes.” April 1 around 18 months later. But as welcome as As for why two versions of ‘Hey Mr. Rain’ are Lou Reed and John Cale have been in touch Another View might be for Velvet Underground used, he says, “In many cases, I shared an only sporadically in recent years, but they meet enthusiasts, even they will have to admit that opinion on which tracks we would choose to again today at a service for Andy Warhol at St it’s a bit of a letdown, at least after the rush of work on. Bill [Levenson] and I decided to use Patrick’s Cathedral in New York City, where hearing the cream of the group’s unreleased the songs that we felt sounded finished. But the artist Julian Schnabel suggests that Cale studio tracks on VU. The performances on in the case of ‘Hey Mr. Rain,’ we just loved should write a memorial piece for Warhol. Another View simply aren’t as good. Apart the hypnotic feel of both the versions, so we from the original version of ‘Rock & Roll,’ ended up mixing both.” November ‘We’re Gonna Have A Good Time Together,’ Another View’s sales are unexceptional by Since the 60s, Creem magazine has become and a December 5 1967 recording of ‘Guess comparison to those for VU, and the record much more mainstream, and yet this month I’m Falling In Love,’ none of these songs are fails to chart. The critical response is more the lead feature focuses on The Velvet particularly impressive, even if most are at scattered and muted this time around as well. Underground, with an extensive Lou Reed least interesting. In his Consumer Guide, Robert Christgau interview and separate pieces on John Cale, It also stings a bit that ‘Guess I’m Falling In acknowledges the album’s marginal position Sterling Morrison, Maureen Tucker, Nico, and Love,’ ‘I’m Gonna Move Right In,’ and ‘Ride in the overall VU scheme, but still gives it an Doug Yule. Asked about the possibility of a Into The Sun’ sound unfinished. All are miss- ‘A-.’ “One objective part of me knows that VU reunion, Reed remains adamant. “The ing vocals, even though vocal versions exist these barrel scrapings are for fanatics and Velvet Underground are not reforming,” he of the first two (in the form of live record-archivists,” he admits. “But another objective says. “Don’t give your readers the impression ings) and the third (on a bootlegged studio part of me knows that the barrel scrapings that The Velvet Underground are reforming out-take). The bare-bones packaging suggests of a seminal, protean, conceptually accom-because that will never happen.” that Polygram doesn’t feel that Another View plished band are their own reward. From is a terribly significant release. The label has the raw power of the instrumental ‘Guess

chosen to reprint Kurt Loder’s liner-notes for I’m Falling In Love’ to the dry lyricism of 1988 VU, even though all manner of widely known the instrumental ‘I’m Gonna Move Right rock critics would have been eager to offer In,’ from the tight studio ‘We’re Gonna their thoughts on the Another View tracks. Have A Real Good Time Together’ to the Even Maureen Tucker, the band-member intense early ‘Rock & Roll,’ you don’t have least likely to offer caustic comments to the to know jack-shit about the band to enjoy May press, subsequently informs IM & RW that, the music – on the contrary, you have to put John Cale plays his work-in-progress memo-while she finds the sound quality excellent, aside your preconceptions. Because nobody rial piece to Lou Reed for some feedback. the mix is “terrible.” experimented more successfully than these The idea quickly takes hold to collaborate on “There really wasn’t a lot of usable mate-folks.” the work, and the pair soon find that they’ve rial to choose from,” says J.C. Convertino, the In Melody Maker, Simon Reynolds offers written more than a dozen songs together. It’s album’s engineer. “Many of the tracks we had more qualified praise. “Often with unreleased the first time they’ve collaborated so closely were over-modulated, some had vocals, some material, you can see why,” he writes. “But in almost 20 years. instrumentals only, [for which] full vocal ver-this is a justified release, highlighting the sions, if they ever existed, couldn’t be found. strangeness of the Velvets’ collision of R&B July 18 I believe ‘Guess I’m Falling In Love’ fell into and the avant-garde and folk and psychedelia A few months shy of her 50th birthday, Nico that category. The tapes themselves were in and rock’n’roll and God knows what else … dies of a cerebral hemorrhage after suffer-pretty good condition. A lot of the original A worthwhile record, at this price.” ing a heart attack while riding a bicycle in tracks were cut at Record Plant, and those Another View might not be an album to rec-hot weather in Ibiza, Spain. She was found tracks sounded pretty good. That’s where ommend to the more casual Velvet Under-unconscious on the roadside by a cab driver most of the complete versions came from as ground fan, but it’s still of considerable value on July 17; the first three hospitals he took her well. in terms of filling in the gaps of the group’s to refused to admit her. She’ll subsequently “The most difficult part of the mixing studio career. If it’s a mop-up exercise, it’s be cremated in Berlin, with her ashes buried [was] to bring cohesiveness to the tracks, to much better than most other releases of its in the Grunewald Forest Cemetery, in the help make them sound more like finished type. There’s yet more in the vaults, too, but same grave as her mother. Shortly after the songs other than demos or jams,” he con-aside from the oddities that will later drib-20th anniversary of her death, John Cale will tinues. “Keep in mind that these tracks were ble out on obscure non-US compilations, curate Life Along The Borderline – A Nico Tribute cut in the 60s and the approach to recording no more of this material will be released for at London’s Royal Festival Hall on October and mixing had changed dramatically by the almost a decade. 11 2008. time we got them. Everything was recorded

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1989 Life In Exile After Abdication, released on the become instrumental in restoring democ-independent 50 Skidillion Watts label. racy to the Czech Republic. The nonviolent transition is, not coincidentally, dubbed the November 29–30 and Velvet Revolution, with Havel today becom-January 7–8 December 2–3 ing the country’s first president of the post-Lou Reed and John Cale perform work in Lou Reed and John Cale perform Songs For Communist era. progress from their Andy Warhol memorial Drella, their memorial to Andy Warhol, at the project at St Ann’s Church in Brooklyn. Brooklyn Academy Of Music. On December

3, Maureen Tucker joins them for the encore, 1990

February a performance of the Velvet Underground One of Lou Reed’s most acclaimed solo classic ‘Pale Blue Eyes.’ Reed and Cale film albums, New York, is released this month. a fifth performance of the album (without In another sign of growing communication an audience) on December 6, and will also between the surviving ex-Velvets, Maureen present it at the NHK Hall in Tokyo on August April Tucker contributes percussion to two songs, 6 1990. Sire Records releases Lou Reed and John ‘Last Great American Whale’ and ‘Dime Store Cale’s Songs for Drella LP. Mystery.’ She also appears at a few of Reed’s December 29 shows in support of the record, although Vaclav Havel, the famed Czech author and April 17 much of the tour ends up being canceled playwright, has been a Velvet Underground A day after attending a Nelson Mandela trib-when Reed breaks his ankle. fan since the late 60s. He’s also been involved ute concert at London’s Wembley Stadium, with the dissident human-rights organization Lou Reed travels to Prague to interview Czech March Charter 77 in his native country since the jail-president Vaclav Havel at Prague Castle for Reed returns the favor by contributing guitar ing of musicians from the VU-inspired group Rolling Stone. Despite the language barrier, the to two songs – ‘Hey Mersh!’ and a version of Plastic People Of The Universe in the mid interview marks the starts of a lengthy friend-the Velvets’ ‘Pale Blue Eyes’ – on Tucker’s 70s. By the late 80s, he and Charter 77 have ship that will see Reed and Havel share the John Cale and Lou Reed in the studio together during the late 80s. 339

1990 n WHITE LIGHT/WHITE HEAT

spotlight at several major public events over Australian boxed set What Goes On, while a given away with the French Polydor boxed the course of the next 15 years. (Reed’s inter-complete, ten-minute version of ‘Heroin’ will set simply titled The Velvet Underground. These view ends up in Musician after Rolling Stone eventually appear on bootlegs. include two songs from the band’s October 19 rejects it; a transcript can also be found in “The band start to play ‘Heroin,’ hobbling 1969 show at End Of Cole Ave, ‘One Of These Between Thought And Expression: Selected Lyrics into the song initially,” Allan Brown writes in Days’ and ‘I’m Sticking With You’; a late-1969 Of Lou Reed.) Melody Maker. “Tucker’s random, impression-acetate demo of ‘Ride Into The Sun’; and the

In the evening, Reed performs for Havel istic drum-thuds are falling into spaces they radio ad for the third VU album. Limited to and some friends in a small Prague club, and shouldn’t. The pace is uneven, beginning to 3000 copies, these EPs are only available as a is joined partway through his set by Pulnoc, a gel only when the song rushes into the shoot-bonus disc when the set is purchased at the spin-off from The Plastic People Of The Uni-up sequence. By now Cale is grinning wildly, Fnac chain. verse. “I suddenly realized the music sounded skewering his voice against his amp, eliciting familiar,” Reed writes in Between Thought And scary, supernatural howls, taking it higher.

Expression. “They were playing Velvet UnderReed is spitting lyrics, running the phrases 1991 ground songs – beautiful, heartfelt, impec-into patterns never heard previously. Com-cable versions of my songs. I couldn’t believe pared to the wide-eyed version on Live 69, this it. This was not something they could have is bilious, angry stuff … the clanging sweeps gotten together overnight.” The group know of Reed’s custom-built guitar compete with The Velvet Underground’s material so well the electronic drums that Tucker is punish- October that Reed ends up playing a few Velvets songs ing like never before. Hearing The Velvet Sterling Morrison, John Cale, and Lou Reed with them. “Any song I called they knew,” Underground play with this kind of clarity all contribute to this month’s new album by Reed adds. “It was as if Moe, John, and Sterl and power took the whole enterprise beyond Maureen Tucker, I Spent A Week There The Other were right there behind me and it was a glori-mere trainspotting nostalgia.” Night. ous feeling.” Even more surprisingly, the four ex-Velvets

Afterward, Reed joins Havel’s table to meet don’t just enjoy playing together, but also December with some other Czech dissidents. Some of have dinner as a group and carry on social-An almost unnoticed bit of VU arcana is them have been jailed for playing his songs, izing over the next few days. “It was a great blessed with an official release this month and subsequently recited his lyrics to help day,” Martha Morrison recalls. “First another when a live version of ‘Booker T.,’ recorded them through their sentences. As Reed rises band played, and suddenly The Velvet Underat one of the group’s April 1967 shows at the to leave, Havel gives him a book and explains, ground was going to play again for the first Gymnasium in New York, appears on John “These are your lyrics, hand-printed and trans-time. Somebody handed them instruments, Cale’s French EP Paris S’eveille. lated into Czechoslovakian. There were only and Sterling said to me, ‘But my hands aren’t 200 of them. They were very dangerous to clean.’ I had a bottle of Evian, and my friend

have. People went to jail.” Reed soon realizes Linda gave him her dinner napkin, and he 1992 that, despite not being appreciated during washed his hands and played. I thought I was their own lifetime, The Velvet Underground gonna stop breathing, it was that thrilling. But have since had a more far-reaching influence even better, there was a little gathering after than almost any other rock band. (At some that, where Sterling and Lou spoke, and Ster-point in the next couple of years, Havel will ling put his arm around Lou’s shoulder. It was February 20 make a less celebrated pilgrimage to a Czech a huge relief. The next day, [Lou’s wife] Sylvia Casino De Paris, Paris, France concert by Maureen Tucker, where he goes Reed said to me, ‘Lou is so easy to get along Sterling Morrison has recently been tour-backstage to pay his respects.) with today.’ And I said, ‘Sterling too.’ It was ing with Maureen Tucker’s band; tonight

a big deal, that they could drop all that stuff they’re joined on stage by Lou Reed, adding

June 15 and have each other as friends again.” further fuel to the speculation that a proper

Fondation Cartier, Jouy-En-Sosas, France With old friendships renewing, the spark Velvet Underground reunion is imminent. Lou Reed, John Cale, Sterling Morrison, and has been lit for a true Velvet Underground Morrison also features on recordings from Maureen Tucker are all at the Fondation reunion. Although nothing will happen right Tucker’s concert three days later at L’Ubu Cartier today for the opening of an Andy away, Tucker does open a few shows on Reed’s in Rennes, France (issued in September as Warhol exhibition in the small town of Jouy-August tour of Japan. Oh No, They’re Recording This Show), and on En-Sosas, near Paris. Only Reed and Cale are a John Peel session Tucker records for the

scheduled to perform, but then Reed unex-BBC in March. pectedly invites Morrison and Tucker up to November 9 the stage for a lengthy version of ‘Heroin.’ Entertainment Weekly – hardly the arbiter of cut- November 10

It’s not quite a Velvet Underground reun-ting-edge popular culture – puts The Velvet Another measure of how well regarded The ion, but it’s the first time the four of them Underground at Number Nine on its list of Velvet Underground now are comes with the have played together since September 1968. The 35 Greatest Acts Of All Time, behind only publication of the third edition of the Rolling An audience recording is made of the per-The Rolling Stones, Elvis Presley, Bob Dylan, Stone Illustrated History Of Rock & Roll, which formance, some of which will subsequently The Beatles, Jimi Hendrix, James Brown, includes a nine-page chapter on the band be heard – usually in the background of Chuck Berry, and Led Zeppelin. by David Fricke. In the first edition of the interviews with members of the band – on a book, published in 1976, the Velvets were

flexidisc entitled ‘Thanks For Warhol’ and Also in 1990 … mentioned only briefly in chapters on art-included with the fourth issue of What Goes Four previously unissued VU tracks are given rock and heavy metal; now however they’re On. The material is also included on the 1993 a low-profile release on a five-song CD-EP described by Fricke as “arguably the most

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important American band in post-1965 rock, June 1–2 this book. (Exhaustive blow-by-blow accounts the font from which nearly all white artbeat Playhouse, Edinburgh, UK of many of the shows are included in the fifth noise of the 70s and the 80s flows and the At last, almost three years after their first and final issue of What Goes On.) ruling standard for unfettered guitar-ferocity tentative reunion at the Fondation Cartier, One thing in favor of these concerts is that and barbed narrative-realism in rock song-and after increasingly fervent speculation, they offer a lot of songs. While the setlist is writing.” the reformed Velvet Underground take to the largely unchanged from show to show, some stage for the first performance of their 1993 of the selections within those strictures are

December 5 European tour. The 3,000-strong Playhouse unpredictable. There are no circulating pre— Another near-reunion of The Velvet Underis sold out for the opening night. Support 1971 live recordings, for instance, of the Vel-ground takes place tonight during John Cale’s comes from Luna, who are reportedly chosen vets performing ‘The Gift,’ ‘I Heard Her Call concert at New York University. Sterling Mor-because Lou Reed is a fan of their 1992 debut My Name,’ or ‘Hey Mr. Rain,’ but all three are rison plays guitar, and Lou Reed joins in for Lunapark, which was produced by Fred Maher, performed regularly on this tour (with Cale a couple of songs. The band-members have the drummer in Reed’s band and co-producer reading the lengthy narration of ‘The Gift’ been meeting recently to discuss an upcom-of his New York LP. from a large music-stand). Similarly, ‘Guess ing boxed set on Polygram, with thoughts of This summer’s concerts will have a polar-I’m Falling In Love,’ ‘I’m Sticking With You,’ a proper VU reunion beginning to get serious izing effect on fans. Some feel that – as is com-and ‘I Can’t Stand It’ aren’t exactly expected consideration. mon to most reunions by legendary groups fare, given that they weren’t even released – the Velvets are unable to live up to the origi- until the mid-80s out-takes compilations VU

nal article a quarter-century later, so perhaps and Another View. And while the expected

1993 should have left their barely tarnished legacy ‘classics’ such as ‘Venus In Furs,’ ‘I’ll Be Your

be. There’s also some disappointment that Mirror,’ ‘Sweet Jane,’ ‘Heroin,’ ‘White Light/

The Velvet Underground of all bands have White Heat,’ ‘Pale Blue Eyes,’ ‘Rock & Roll,’

succumbed to the temptation to capitalize ‘I’m Waiting For The Man,’ ‘All Tomorrow’s

on the revived interest in them for the flash Parties,’ and ‘Femme Fatale’ are played, so

January 19 of glory and quick cash. (In interviews, the too are more obscure pleasures such as ‘We’re Sterling Morrison makes an appearance on band-members say all the right things about Gonna Have A Real Good Time Together,’ national television alongside John Cale for doing the tour for the sheer joy of playing ‘After Hours,’ ‘Some Kinda Love,’ ‘Begin-a performance of ‘Paris 1919’ on The Tonight together, although Maureen Tucker admits ning To See The Light,’ and ‘The Black Show. Cale announces (jokingly, he later says) that the million or so dollars the shows will Angel’s Death Song.’ (The usual order in that The Velvet Underground will shortly be generate – for the band as a whole, before which the songs are played is recreated by getting together again for the money – a proc-expenses are deducted – is her equivalent of the sequence used on the 23-song, two-CD lamation that will soon be proved at least half winning the lottery.) set of performances drawn from the tour, Live right. Other VU devotees are simply enrap- MCMXCIII.) tured by the prospect of any form of Velvet There are also a couple of new songs: ‘Coy-

February Underground reunion, and are completely ote,’ a song co-written by Reed and Cale, and After a five-to-six-hour rehearsal in New York, disinclined toward criticizing the group’s per-with a slight similarity to material such as ‘Pale Lou Reed, John Cale, Sterling Morrison, and formances. For many, just having the chance Blue Eyes’; and ‘Velvets Nursery Rhyme,’ a Maureen Tucker finally feel ready to reunite to see the Velvets on stage is enough. Some fairly dispensable, semi-improvised piece, as The Velvet Underground and commit to a also feel that the high ticket-prices and arena-credited to all four band-members, the pri-short summer tour of Europe. Before the tour rock trappings aren’t really a sellout on the mary function of which is to introduce the starts, the quartet rehearse in a former factory band’s part, given that the Velvets never had musicians one by one. John Cale takes lead on West 26th Street. Cale even intimates that a the chance either to cash in on their musical vocals on two songs originally sung by Nico, studio album of new VU material might be in genius or to bask in such sustained adulation ‘All Tomorrow’s Parties’ and ‘Femme Fatale,’ the works, telling Allan Jones of Melody Maker, during their 60s prime. and, even more surprisingly, also sings ‘I’m “I’ve got three pieces I’ve almost finished that As such, there is no universally popular Waiting For The Man.’ Quite a few songs from I’ve already talked to Lou about, and he wants opinion of the reunion tour. This writer – the set were not recorded by the Velvets until to do them. I don’t really think he’s inter-who, it should be noted, does not see any of after Cale left the group – including such ested in doing something that’ll come out the shows – is not hugely impressed by the standbys as ‘Sweet Jane,’ ‘Rock & Roll,’ and as just another Lou Reed solo album. From resulting audio and video documents. What- ‘Pale Blue Eyes’ – and it’s quite possible that what he’s said, he sees this very definitely as ever the manic ups and downs of the pre-1971 he’s never played many of them with the VU a group thing.” Velvet Underground, their live performances until this tour.

Old and new tensions begin to surface were spontaneous, risky, and to a large degree “They were strikingly similar to what I during these rehearsals and preparations, unpredictable. These shows are not. They expected,” says Luna singer/guitarist Dean however, and there’s already a disagreement might recreate the vintage VU sound well in Wareham of the Velvet Underground per-between Reed and Cale over who will produce some respects, but they tend usually to stick formances he sees. “Some bands re-form and the planned live recordings from the tour. to sets of 20-odd songs performed in virtually flesh their sound out with extra musicians. Doug Yule later says that Sterling wanted to the same order, offering little new material. With the Velvets it was just the four of them take him along as well in order to be free to And even if they don’t diminish the band’s on stage. I remember sitting in our dressing play only guitar and not worry about bass, but legacy, neither do they enhance it. For those room in the Edinburgh Playhouse, waiting only four musicians will be on stage when the reasons, coverage of the reunion shows will to do a sound check, and hearing the band European tour begins. be less detailed than the entries for previous rehearse ‘Venus In Furs.’ I realized then that live engagements in the earlier chapters of for all the talk of the countless bands that the

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VU influenced, the truth is that no one else “The four of them looked good (Lou quite June 6 sounds remotely like them.” muscular in short sleeves) and pretty infor- Wembley Arena, London, UK

Reviews of the Edinburgh shows range from mal. The show itself wasn’t very theatrical, Perhaps the highest profile of the Velvets’ ecstatic to wary. “The sound is tremendous, just the usual concert lighting. The music was reunion shows is tonight’s concert at one just as if nothing had ever happened since the emphasis and you could tell they’d come of London’s biggest and most prestigious Live 69, as if anything is possible,” writes to play – ‘We’re Gonna Have A Real Good arena-rock venues. Reed sings “some peo-Philippe Manoeuvre in the French maga-Time Together’ was a perfect opener, not just ple want to go to Wembley to see The Velvet zine Rock & Folk. “They are back! They play for the subject matter, but as a display of the Underground … hard choice” during ‘Sweet together with an unhidden pleasure, and band’s willingness to dig deep into their cata-Jane’; he’ll throw in a similar adlib during the that’s all! … For the first time in 20 years, we log and how tight they could still play. ‘Hey group’s mid-June shows in Paris. felt that a rock concert played to the intel-Mr. Rain’ was a high point along those lines, In the estimation of writer and musician ligence of the audience.” full of intense interplay and a worthy substi-Mark Brend, the Wembley show “was quite

In the London Sunday Times, Robert tute for their jam-anthem ‘Sister Ray’ (one of good. But the whole thing was oddly showbiz. Sandall is more guarded. “If there is more the very few things they didn’t do that I might If you closed your eyes, they actually sounded to come in the vein of ‘Mr. Rain,’ then the have liked to hear). pretty close to how they ‘should’ sound. If 20-odd-year wait will have been worth it,” he “The instrumental work was great through-you opened them you’d be greeted with the writes. “Otherwise, The Velvet Underground out the night, and left me with a new appre-curious spectacle of the band holding hands, reformed run the risk of becoming just a ciation for Lou’s guitar skills,” Hagelston bowing in unison while they milked the crowd tidier, safer version of the original model; continues. “His vocals were a little iffier – on for another encore.” which was never their point, really.” And in slower songs, he sometimes threw in super-the Scotsman, Allen Campbell really rains on fluous words or syllables that were kind of June 8 the VU parade: “The nagging feeling was of annoying, but when he got a song with a good Paradiso, Amsterdam, The Netherlands being at a chamber concert, with few real mid-tempo groove like ‘Some Kinda Love,’ The Paradiso is one of the smallest venues chances being taken and indifferent sound he knocked it out of the park. John’s singing of the tour, with a capacity of 1,200. Part of blunting what should have been a keen edge.” was the best to my ears, and fortunately vocal ‘Guess I’m Falling In Love’ is filmed and will

In the audience for the first reunion show is duties were spread around. Even Sterling got eventually be shown on the French TV show Warner Bros executive Jeff Gold. “They were a verse in ‘I’m Sticking With You,’ which eve- Rock Express on February 18 1996. very, very good, but not as amazing as they ryone cheered. were at their best in the 60s, at least from “Along with hearing the enigmatic Mr Mor- June 9 what I hear from live tapes,” he recalls. “Still, I rison, my favorite moment of the show was Ahoy’ Sportpaleis, Rotterdam, The remember it being very emotional for me, and probably ‘I’m Waiting For The Man.’ As a Netherlands for many in the audience. People were just longtime fan, I know their songs pretty well, After last night’s intimate performance, it’s astounded that it had come to pass that these and could recognize most of them within a back to pseudo-arena shows for the second four people were on the same stage, playing few seconds. But Cale opened this one with and final Dutch concert of the tour. together this historic music. We just couldn’t a moody keyboard intro that had me racking believe it was happening, even though we my brain for a minute or so trying to place June 11 knew what we were there to see.” it or figure out if it was a whole new song Alsterdorfer Sporthalle, Hamburg,

With the vastly increased sophistication in before the familiar riffs started up. I was really Germany recording technology since Lou Reed left the pleased to hear them still trying to find fresh Not even the post-Lou Reed version of The Velvets in 1970, it’s now much more common musical approaches to their old standards. I Velvet Underground got to Germany, mak-for relatively hi-fi tapes to be made of concerts also gave them points for a new song, ‘Coy-ing this the group’s first concert of any sort given by major acts. Unsurprisingly, then, ote,’ although rather begrudgingly, as I didn’t in the country. Reed somehow manages to unreleased tapes of varying quality will later think it was very good – more a Lou-solo thing forget the words to ‘Sweet Jane,’ a song he circulate of most of the shows on this tour, than a VU-band effort.” (John Cale doesn’t might have sung more than virtually any other including every single one played between care much for ‘Coyote’ either. “It was noth-during his career, leading to a long mid-song June 1 and June 25. Considering how simi-ing,” he subsequently tells Mojo. “It just got instrumental break. lar the sets tend to be, however, the official chiseled away into something so rational and In the audience is Pat Thomas, a dedicated Live MCMXCIII album should be enough for so focused that it was boring in the end. That American VU fan currently living in Germany. all but the very most fanatical Velvet Under-song was more interesting when we didn’t “It took me about half the concert just to get ground fans. know what the hell we were doing.”) used to the fact that this was really The Velvet

As with some of the other concerts on Underground on stage that I was seeing,” he

June 5 the tour, tonight’s show is filmed from the recalls. “Having spent the previous 15 years lis-

The Forum, London, UK audience, home video equipment having tening to the band a lot, reading everything I Prior to the first and smallest of the Velvets’ experienced the same leap in affordability, could about them – and knowing that Lou and London gigs, at the 1,200-capacity Forum, quality, and portability as has audio-taping John hated each other and rarely spoke to the the Daily Mail reports that £12 ($18) tickets gear. Audience video of all or much of the other members as well during the past several are selling for more than six times their face shows from June 6, 13, 15, 16, 23, and 25 and decades – it just seemed surreal that this was value. In the audience is John Hagelston, who July 4 and 5 also exists, but once again the really them, playing those songs that I know and flies in from Los Angeles to London specially officially sanctioned Live MCMXCIII video love. At first, it felt like I was seeing the world’s for the two Velvet Underground concerts in release (taken from the June 15–17 shows in greatest Velvet Underground tribute band. But the city. Paris) ought to be enough for all but the most then once I got past that surreal feeling, I set-

“I was bowled over by the show,” he recalls. intense VU fans. tled down and began to really enjoy the show.

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“Overall, I really thought it was great,” he for both band and audience, as The Velvet be somewhat disappointing, both commer-continues. “The only disappointment was Underground have been such a significant cially and artistically, but the concerts them-that Cale had mentioned in an interview just influence on the Velvet Revolution that only selves are an unqualified success; all three weeks before the tour that the band would be three years earlier gave birth to a democratic sell out. doing some new material and/or improvis-Czech Republic. President Vaclav Havel him-Covering the Velvets live in Paris for Spin ing on stage (like they did in the early days) self is in attendance in this 3,000-capacity con-is Ira Kaplan of the respected indie-rock and the only new song we got was ‘Coyote,’ cert hall – as, less expectedly, is Nico’s son Ari. band Yo La Tengo, who will later portray a which was, sadly, about the lamest song Lou Lou Reed and Maureen Tucker have already Velvet Underground-like group in I Shot Andy Reed has ever written. Not that it ruined the met Havel, but the whole band is invited to Warhol. “Are they as good as they were?” he show, but the show would have been better a private reception after the show. As Robert asks. “Of course not. After 25 years apart, without it. One cool highlight was having Cale Gibbons points out in What Goes On, “This you don’t become a band again just by saysing ‘All Tomorrow’s Parties’ and the band show was the only one of the tour where Lou ing so, so that’s a given. The triumph of this doing some of the more oddball songs such sang the ‘some people like us we gotta work’ show is the emphatic irrelevance of the ques-as ‘The Gift.’” line in ‘Sweet Jane’ straight, presumably tion, ‘Are they as good.’ Until, miraculously,

The Hamburg crowd, Thomas adds, “was because this crowd was made up of at least they are. Following Cale’s second dip into very into the show, cheering, jumping around, some authentic working class who had done the Nico songbook for ‘Femme Fatale,’ the screaming for each song as soon as it started, the quite real work of liberating themselves band starts the unmistakable thump of ‘Hey as if it was a famous/pop hit single. That was through revolution.” Mr. Rain’ (unmistakable, that is, if you own also kind of surreal. I remember laughing to Another View). Cale’s viola and Reed’s guitar myself about it during the show, thinking, this June 15–17 intertwine magically; for minute after minute band never had any hits, and yet each song L’Olympia, Paris, France they drone, they talk back to each other, they was greeted with a lot of excitement by the In some ways these are the most important rise and fall.” audience. They knew every song by heart.” shows of the tour: not only do they take

place in one of the most famous venues in June 20

June 13 Europe, but they are also filmed and recorded Die Halle Weissensee, Berlin, Germany

Palàc Kultury, Prague, Czech Republic for release on home video and CD (as Live Just three-and-a-half years after the fall of the Tonight’s show is particularly noteworthy MCMXCIII). These subsequent releases might Berlin Wall, The Velvet Underground play

The Velvet Underground on stage during their 1993 reunion tour. 343

1993 n WHITE LIGHT/WHITE HEAT

their last show with Luna in a converted fac-

tory in the eastern section of the city, which

is now open to unrestricted traffic. Lou

Reed played here recently, filming a concert

sequence for Wim Wenders’s 1993 movie Far

Away So Close. It’s also another instance where

there’s some deviation from the usual program, with Reed playing an eight-minute solo

at the start of ‘Some Kinda Love.’

June 23

Stade De La Meinau, Strasbourg, France

A new phase of the tour begins, as the Velvets

play the first of several opening slots for U2.

For some VU fans, it’s the most contentious

aspect of the whole reunion jaunt. The U2

concerts undeniably bring the group to a huge

audience that might never see or even hear of

them otherwise. But on the other hand, for

many Velvet Underground followers, U2 are

exactly the kind of mainstream mega-band to

which the Velvets’ uncompromising aesthetic

serves as a necessary antidote. (It’s certainly

safe to say that many Velvet Underground

fans would never ordinarily be seen at a U2

concert, and that a significant percentage of

them abhor the Irish group.)

Leaving aside the U2 aspect, these huge

venues certainly aren’t the best way to appreciate the Velvets. What Goes On publisher M.C.

Kostek is largely enthusiastic about the European tour, but of tonight’s show notes, “These

four figures are tiny on the stage, barely visible. The noise they make is washed out and In his report for What Goes On, M.C. Kostek do?’ forlorn air. He swings his hand around wasted as it’s flung into the massive void … sees signs of trouble after a foul-up with Lou to beseech them. But no sympathy is forth-the stage set/stadium background dwarfs the Reed’s guitar pedal at the beginning of ‘Some coming. Lou gets out of this pose of shock, band as they play in this chasm.” Kinda Love.’ Sterling Morrison “strides to unable to believe he’s heard what’s probably

center stage, confronts Lou and speaks (off the first on stage criticism he’s received from

June 25 mic) to him. It’s a brief message, five seconds a band member in 20 years. They begin the

Glastonbury Festival, Pilton, or so, but the camera gets a good view of his next song, but this group’s days are indeed Somerset, UK eyebrows pumping up and down. Morrison is numbered.” The Velvet Underground played the odd low-telling Reed something emphatically, and he is profile rock festival in the late 60s and early making his point. Sterling returns to his spot, June 26 70s. But with more than 50,000 punters in the and Lou stands rooted, right arm held out in Hippodrome De Vincennes, Paris, France crowd, the group’s performance at Glaston-quizzical shock. It’s a ‘you talkin’ to me?’ pose, The Velvets return to Paris, this time in sup-bury (in place of the Red Hot Chili Peppers) and he’s held there. He stands there another port of U2, with a much younger alternative-is their most celebrated festival appearance moment, and looks around for support from rock band, Belly, also on the bill. to date. the other band-members with a ‘Wha’d I

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June 28 July July 4

Stade De La Pontaise, Lausanne, In Australia, Raven Records issues the Villa Manin, Udine, Italy Switzerland three-CD boxed set What Goes On. A good Lou Reed’s popularity in Italy resulted in Tonight’s show is the first of a pair of stadium deal of the material is available elsewhere, a live solo album being recorded there in shows with U2 in Switzerland. In another sign but much of it is rare or previously unre-1983, so it’s no surprise the group wind up of friction to come, Lou Reed hires a limo to leased. The rarities include mono mixes from their European tour with a few shows in the drive him to the next stop at Basel instead of the banana album, and parts of the ‘closet country. traveling by plane with the rest of the band. mix’ of the third LP. More exciting are the

hitherto-unissued items, including a couple July 6

June 30 of live tracks from the Velvets’ October 19 Arena Parco Nord, Bologna,

St. Jakob’s Stadion, Basel, Switzerland 1969 show at End Of Cole Ave in Dallas, ‘After Italy Swiss stadium shows supporting U2 are prob-Hours’ and ‘It’s Just Too Much,’ the first of As the tour winds down, The Velvet Underably not what the Velvets had in mind when which does not feature on any other official ground have added ‘What Goes On’ to their they planned their European tour, but now release. Another cut unique to the set – which set, but otherwise the songs are much the they’ve giving their second such concert in goes out of print in 1997 – is a demo of ‘Ride same as they have been throughout. Tensions three days. With typically dry wit, Sterling Mor-Into The Sun’ with vocals; also included are between Lou Reed and John Cale worsen, rison notes in What Goes On: “The U2 stadium assorted interview snippets, radio ads, and the however, when Cale begins ‘I’m Waiting For shows actually were the most comfortable for recording originally issued in 1967 on a card-The Man’ with what he calls a “huge orches-me. The entire front of the crowd were all U2 board disc as part of Andy Warhol’s Index. tral introduction” in his autobiography. “I was fans, staring at us with blank expressions. And trying to give them the tempo from the piano,

way, way back would be our fans, with the ban- July 2 but I was too far away,” Cale continues. “Lou ners and banana balloons, but they were too Roskilde Festival, Copenhagen, Denmark went and told my tech to turn the piano off. far back to be heard. So we played to mostly The VU’s second and final festival appearance At that point I was ready to knock his teeth indifference, as in the old days.” of their European tour. down his throat.”

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July 7 was coming up with all their favorites – that Crimewave U.S.A. fanzine: “He doesn’t know

Forum Assago, Milano, Italy I didn’t know – and the idea of writing new how to be in a band anymore. He’s been the Au audience recording of tonight’s show songs just went out the window. We ended boss for so long, the absolute boss, that he just – the Velvets’ last as headliners – confirms up choosing from a back catalog, and that’s doesn’t know how to be a band-member.” that despite the infighting, they’re playing not what I was in it for. I mean, we could have Ultimately, this year’s brief Velvet Under-together fairly well – perhaps better, and cer-done anything we wanted up there.” ground reunion neither adds a lot to nor tainly with less stiffness, than at the mid-June More troubling is the fact that, as the nov-takes much away from the group’s legacy. Paris shows recorded for official release. Alas, elty of rekindling old friendships wears off, The band have had at least some good times, Lou Reed, John Cale, Sterling Morrison, and personal tensions have begun to eat away at and tens of thousands of Europeans got their Maureen Tucker will only ever give one more the fragile re-alliance even before the tour only chance to see the Velvets. But no endur-performance as a quartet. begins. Some reports suggest that Reed’s sec-ing music is created, which was at least part

ond wife Sylvia (now involved in his manage- of the ostensible reason for the reunion in

July 9 ment) has helped to drive a wedge between the first place.

Stadio San Paolo, Napoli, Italy Reed and the rest of the band. Certainly, by The chief beneficiaries of the tour are prob-The last show of the tour is also the Velvets’ the end of the tour the group aren’t getting ably Morrison and Tucker, who unlike Reed final stadium gig in support of U2, with a rare along as well as they were at the outset, with and Cale had never really tasted the fruits of moment of deviation from the program when Reed keeping greater distance from the oth-widespread international acclaim. For about Bono joins them for ‘Satellite Of Love,’ a song ers and Morrison complaining more vocally five weeks, they finally played to large, adoring rarely performed by the group in their pre-about what he has to put up with from the audiences and received their due recognition 1971 days. It also turns out to be the last Vel-band’s leader. “Of course there were sparks as rock pioneers – something that’s made all vet Underground show ever, despite the high on that tour, and there were things that were the more poignant with the realization shortly hopes for more projects that accompanied the difficult,” Martha Morrison says. “I know thereafter that, had they waited only a couple original announcements of a reunion. The [Sterling] didn’t want to do it again by the more years, it would have been too late for original intention is for the group to devise time they were through.” Morrison. And although Tucker and Morri-new material, record a studio album, and tour The final split occurs back in the USA, son see only a relatively small share of the the USA in late 1993, around the time a live when it’s suggested that the Velvets might million-dollar tour revenues, it’s enough to album and video from the European tour are appear on MTV’s Unplugged series. Reed says make a substantial difference to their finan-to be released. The tour in particular would he won’t work with the group again unless cial fortunes, even if a much bigger difference have maximized the commercial impact not he can produce the album likely to come could have been made had the US tour and only of the live CD and video, but also of any out of their appearance, as well as any other its associated projects gone ahead. subsequent recording projects the quartet recordings the band might do in the future. might embark upon, not to mention their That doesn’t sit well with Cale in particular, October 26 upcoming boxed set and back catalog. who wants such activities to proceed in a more Although the fragile Velvet Underground

“I was a little surprised, because they democratic manner. (Cale, it could be noted, reunion has essentially gone bust, the release seemed to be getting along well on the tour, has by far the most production experience of of a live album and video from their Euro-but of course no one on the outside really anyone in the band, having worked on nota-pean tour goes ahead as planned. A little knows what is going on inside a band,” notes ble albums by Patti Smith, The Stooges, Nico, confusingly, Live MCMXCIII is released in two Luna’s Dean Wareham. “Anyway, it shouldn’t The Modern Lovers, and Squeeze, and would separate, identically titled editions. The more have been too much of a shock. They had certainly bring the greatest qualifications to comprehensive two-CD version has 23 tracks, already broken up once before, it probably the producer’s chair.) all recorded during the band’s June 15–17 wasn’t supposed to be a permanent arrange-Cale’s objection is not to do with his not shows in Paris, and encompasses almost all of ment.” being able to produce the record, however, the songs they played in their 1993 concerts in

The American tour, possible future albums, but Reed’s insistence both on being the pro-the order they were usually presented (mak-and possible future collaborations of any sort ducer rather than anyone else, and on mak-ing it pretty much a facsimile of an entire all fall through for myriad and complicated ing that a condition of his working with the show). For less patient listeners, a single-CD reasons dating back to before the European group at all. Maureen Tucker backs Cale in highlights disc of sorts is also issued, concen-tour even started. To begin with, as critics a fax she sends to Reed, prompting a criti-trating on the band’s most well-known songs. and fans notice even while that tour has cal response. The story will later be reported Each has virtually the same, frankly unattrac-progressed, little new material is unveiled in with a number of variations, but the upshot is tive jacket: the double disc shows a banana the European shows. This is partly because that the Unplugged project fails to come about against a heavy blue background, while the Maureen Tucker and Sterling Morrison as disagreements among the band-members single disc uses the same image against a pur-both wish to concentrate on pre-1971 Vel-become irreparable. The late-1993 US tour ple backdrop. vet Underground material. This is perhaps won’t happen either; by the end of the year, The Velvets played to a lot of people dur-understandable, as these are the songs they it’s apparent that Reed and the others will ing the tour, but for most fans – particularly feel comfortable with on so high-pressure not be playing or recording together as The those in the USA – Live MCMXCIII is the only a tour. But it also gives the shows a sort of Velvet Underground again. readily available document of the group’s greatest-hits feel that denies the group the “I suspected that he was working toward brief comeback. It might be an unfair com-opportunity to work out new numbers on the complete control,” Cale tells Mojo. “As soon as parison, but the equally ready availability of road, as they did back in the 60s. he said, ‘I want to be paid as the producer,’ it several CDs worth of officially issued, vintage

“I enjoyed myself for the first week, until seemed to me that we’d be working for him. live material means that Live MCMXCIII can’t I realized that the game was up,” Cale later And I wouldn’t wish that on my worst enemy.” help but come off as a poor, distant relation admits in Mojo. “In rehearsals, everybody Tucker offers another take on Reed in the to its celebrated cousins.

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To dwell first on the positives, however, the monumental so long ago.” And in Newsweek, MCMXCIII out of karaoke-land and into the Velvets play competently in the main, and David Gates goes so far as to claim, “The band realms of respectability.” better than many other such outfits have sounds better than ever … on once rickety Although it would certainly have done bet-during similarly temporary reunions. And rockers like ‘White Light/White Heat,’ they ter had there been a US tour to help promote while there’s certainly a more programmed sound as solid and propulsive as the Rolling it, the single-disc version of Live MCMXCIII feel to the proceedings by comparison to the Stones.” does manage to creep into the American group’s pre-1971 live sets, there is still some By contrast, Keith Cameron of the New charts, albeit in the lowly range – Number improvisation and tinkering with the arrange- Musical Express just isn’t buying it. “Anyone 180 – all too familiar to the four members of ments here and there. ‘Hey Mr. Rain’ offers who saw the Velvets this summer and thought the band who played on The Velvet Underground a good 15 minutes of largely instrumental they were great will hear this mammoth & Nico and White Light/White Heat. In Britain, guitar-viola dueling; ‘I’ll Be Your Mirror’ 23-track set and swiftly realize that the emo-it gets to Number 70, helped – to the disgust has an accelerated ending; ‘I’m Waiting For tional impact of actually seeing them – The of some purists – by the use of ‘Venus In Furs’ The Man’ has some strange and not entirely Velvet Underground playing those songs com-in a television commercial for Dunlop Tires. pleasing synth strains at the start; ‘Guess I’m petently – overrode the fact that much of this The live version of ‘Venus In Furs’ included Falling In Love’ is played at a breakneck pace; was a travesty,” he writes. “Reed’s vocal read-on both versions of Live MCMXCIII makes a and John Cale sings lead on ‘All Tomorrow’s ings of ‘Venus In Furs’ and ‘Beginning To See cameo appearance in the UK singles charts Parties,’ ‘Femme Fatale,’ and ‘I’m Waiting The Light’ have begun to overstep the line as well, holding down the Number 71 spot For The Man.’ Cale also adds some new dividing artistic license from willful piss-take. for just one week. touches to songs he didn’t have the chance ‘Rock & Roll’ is hammered to oblivion; ‘I’ll Unlike every other non-compilation VU to play on the first time around, adding viola Be Your Mirror,’ though badly bruised, just album, Live MCMXCIII can to this day be to ‘Pale Blue Eyes’ and piano to ‘After Hours’ about survives; but ‘Pale Blue Eyes’ is tossed relied upon to overpopulate the used bins at and ‘Some Kind of Love,’ while also break-to the floor and stomped on as if to prove record stores around the world. It’s a final ing into some gonzo soloing on the last of that, hell, Lou wrote it, and he can murder testament to an album that, like the reunion these songs. it if he wants to. No, it’s the contributions of tour itself, was not so much a failure as it was All the same, there’s a more routine and John Cale that time and time again boot Live unnecessary. uniform overlay to the textures and tempos than there would have been with the original group. It’s almost as if they’re moving toward THE VELVET UNDERGROUND

a more mainstream hard-rock sound – just Live MCMXCIII as they did on Live At Max’s Kansas City – but back then they did at least had the excuse of trying to cope with temporary drummer A1 ‘We’re Gonna Have A Real Good Time Together’ (REED) * Billy Yule in the absence of Maureen Tucker. A2 ‘Venus In Furs’ (REED) More surprisingly, the biggest letdown turns A3 ‘Guess I’m Falling In Love’ (REED/CALE/MORRISON/TUCKER) * out to be Lou Reed’s vocals – one of the origi- A4 ‘After Hours’ (REED) nal band’s strongest assets. Here he’s often A5 ‘All Tomorrow’s Parties’ (REED) dryly nonchalant, and whether or not he’s A6 ‘Some Kinda Love’ (REED) lost some range since the 60s, he certainly A7 ‘I’ll Be Your Mirror’ (REED) * doesn’t seem to be exploring nearly as much A8 ‘Beginning To See The Light’ (REED) * of its narrow but effective capabilities. Despite A9 ‘The Gift’ (REED/CALE/MORRISON/TUCKER) some adlibbing, his timing seems awkward A10 ‘I Heard Her Call My Name’ (REED) * and almost hesitant at times. It’s not as awk- A11 ‘Femme Fatale’ (REED) * ward, however, as Sterling Morrison’s barely B1 ‘Hey Mr. Rain’ (REED/CALE/MORRISON/TUCKER) * audible vocal ‘solo,’ which amounts to one B2 ‘Sweet Jane’ (REED) line in ‘I’m Sticking With You.’ He has such B3 ‘Velvet Nursery Rhyme’ (REED/CALE/MORRISON/TUCKER) * trouble reaching the high notes, and sings in B4 ‘White Light/White Heat’ (REED) * so barely discernible a wisp of a voice, that one B5 ‘I’m Sticking With You’ (REED) * wonders if his voice and nerve are cracking B6 ‘Black Angel’s Death Song’ (REED/CALE) * out of sheer embarrassment or fear. B7 ‘Rock & Roll’ (REED) The critical response to the CD – as to the B8 ‘I Can’t Stand It’ (REED) * reunion shows themselves – is so varied that B9 ‘I’m Waiting For The Man’ (REED) one wonders whether the writers in question B10 ‘Heroin’ (REED) all listened to the same disc. In Tower Records’ B11 ‘Pale Blue Eyes’ (REED) in-house Pulse magazine, for instance, the B12 ‘Coyote’ (REED/CALE) * album is hailed as “one of the best live-sets ever recorded.” In Entertainment Weekly, David Tracks marked * appear only on the two-CD edition Browne hails a record “as grim, determined, and tough-minded as the Velvets’ original US release: October 26 1993 (Sire 9 45464-2) work … it is that rare and wonderful beast: a UK release: November 1 1993 (Sire 9 45464-2) nostalgia-free return to old glories that both Chart high: US Number 180, UK Number 70 recaptures and expands on the tension and beauty that made the Velvet Underground so

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October 27 least some commitment. And Reed croaks played on five tracks on Tucker’s 1994 album

Released virtually simultaneously with the Live on, seemingly viewing it all with detached Dogs Under Stress, but won’t be able to play live MCMXCIII CDs is a similarly titled Warner amusement. The whole thing has the dead-again for the rest of his life. Bros video shot during the band’s June 15–17 ening atmosphere of an angst-pop master This year the Warhol Museum also issues shows in Paris. Lasting about an hour and a class.” (The film will nonetheless remain in a CD entitled Andy Warhol From Tapes: Sounds half, Velvet Redux Live MCMXCIII features per-print, and is reissued on DVD by Rhino on Of His Life And Work, which includes excerpts formances of 15 of the 23 songs included on January 24 2006.) from a March 1966 Velvet Underground the two-CD version of the album. rehearsal.

It’s unfortunate that the only straightfor- December 11 ward, well-filmed document of The Velvet In the UK, Channel 4 runs an astonishing

Underground in concert comes from shows eight hours on The Velvet Underground 1995 played about a quarter-century after the under the Peel Slowly And See banner. Hosted group’s heyday. Diehards might point out by Deborah Harry, it marks the first time that this is better than nothing, but the fact in British television history that an entire remains that the group have a more static, evening of programming is devoted to one predictable stage presence here than the band. The evening’s broadcast includes the January 12 reports of their 60s shows would lead one Velvet Redux film; the world television pre-In a scenario even less likely than the recent to expect, even accounting for the fact that miere of Andy Warhol and Paul Morrissey’s Velvet Underground reunion, Lou Reed deliv-the quartet are now in middle age. Here, for 1966 film The Chelsea Girls; and, most valuably, ers the speech inducting his one-time rival once, the Velvets’ formidable legend might a new 52-minute documentary, Curious, which Frank Zappa into the Rock And Roll Hall Of actually work in their favor when evaluating includes interviews from the 1993 European Fame. “Whether writing symphonies, satirical their reunion product; there are many past tour and comments by Vaclav Havel about the broadsides, or casting a caustic glow across audio recordings to which the Live MCMXCIII Velvets’ influence. the frontier of madness that makes up the album can’t help but come off unfavorably, Curious is subsequently issued in the home American political landscape; whether testify-but there are no such films in existence for video and laser disc formats in Japan, but not ing before Congress to put the PMRC in its this video to struggle to equal. elsewhere. Once again, as with the previous rightful lowly place, or acting as a cultural

Velvet Redux does at least allow for an British documentary about The Velvet Under-conduit for President Vaclav Havel and the inspection of Maureen Tucker’s unusual ground (aired on London Weekend Televi-Czech government, Frank was a force for stand-up drumming style, although she gets sion’s South Bank Show in 1986), Doug Yule’s reason and honesty in the business deficient the least camera time of any of the foursome. name is never mentioned. in those areas,” Reed says. “I admired Frank John Cale comes off as the most comfortable greatly and I know he admired me.” of the quartet, switching between bass, viola, Zappa himself is unable to hear Reed’s

keyboards, and the occasional lead vocal with praise, having passed away a little over a year 1994

good-natured aplomb. Lou Reed is the most before the ceremony. But in another sign

frequent focus, as one might expect, but that the two men had a greater respect for

he seems a little stiff and nervous at times. each other than is often reported, Zappa’s

Sterling Morrison is the least mobile of the wife Gail subsequently tells BAM magazine, quartet, largely staying rooted to one spot, November 18–19 “Frank admired [Reed] as a songwriter; and barely emitting a pipsqueak of a vocal John Cale, Sterling Morrison, and Maureen ‘Femme Fatale’ and ‘All Tomorrow’s Parties’ during his oneline solo in ‘I’m Sticking With Tucker join forces to perform music to accom-were two of Frank’s favorites.” You.’ pany the screening of Andy Warhol’s films

In his autobiography, Cale states that Eat and Kiss at the recently opened Andy August 30 Morrison became seriously ill in 1993 two Warhol Museum in Pittsburgh, Pennsylvania. One day after his 53rd birthday, Sterling years before dying of non-Hodgkin’s lym-Attendees pay $50 each night for a seat in the Morrison dies of non-Hodgkin’s lymphoma phoma, and in retrospect one wonders if museum’s 110-capacity theater to hear music in Poughkeepsie, New York. John Cale and this might have affected his European tour described by Lynne Margolis in the Pittsburgh Maureen Tucker attend the memorial serv-performances. “I didn’t see signs of illness Tribune-Review as “incredibly sensual. Cale’s ice at St Mary’s Roman Catholic Church on then, although when I look at the pictures keyboard playing was lushly colored; Morri-September 2, but Lou Reed is absent as he’s now, I can see yes, he was sick,” says Martha son’s soft guitar strumming added delicate attending the opening ceremonies for the Morrison. “He didn’t have any symptoms, fills. And Tucker’s light, repetitive tapping Rock And Roll Hall Of Fame in Cleveland. In though.” provided just the right minimalist touch. The his eulogy, Cale reads Dylan Thomas’s poem

In the New Musical Express, Roger Morton total effect was hypnotic.” (The performances ‘And Death Shall Have No Dominion.’ gives Velvet Redux an emphatic thumbs-down. are taped by the museum for archival pur- “On the day of the mass, I was in Cleveland “Four chronologically advanced musicians poses, but not released.) playing rock’n’roll, my answer to every crisis,” performing basic, broody adolescent rock-Despite the absence of Lou Reed, the Reed later writes in his eulogy for Morrison in songs with about as much passion as a event is truer in spirit to the artistic impulses the New York Times magazine. “As the chords quartet of railway announcers makes for a that first brought The Velvet Underground to ‘Sweet Jane’ swelled up, I hoped somehow strange spectacle,” he writes. “Sawing away together than was the 1993 reunion tour. A my friend heard them and got a laugh. After at his violin, the curate-like Cale deports cloud hovers over the proceedings, however, all, he was the first one who heard the song himself with bizarre solemnity. Morrison just as it soon becomes obvious during rehearsals the night I wrote it, more than 25 years ago, stands there and follows the notes. Maureen that Morrison is seriously ill, as he is unable to in the summer, before the leaves fell in the Tucker whacks out the mono-beat with at sit or stand for sustained periods. He recently fall.”

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Just under a month after Sterling Morri-September 26 THE VELVET UNDERGROUND

son’s death, The Velvet Underground are Peel Slowly And See honored with the release of a five-CD boxed set, Peel Slowly And See. Sets such as this are usually reserved only – in the USA at least – A1 ‘Venus In Furs’ (JULY 1965 DEMO) (REED) D1 ‘What Goes On’ (LIVE OCTOBER 4 1968) for superstars; the release of this one is yet A2 ‘Prominent Men’ (REED/CALE) (REED) another indication of how high the Velvets A3 ‘I’m Waiting For The Man’ (JULY D2 ‘Candy Says’ (REED) have risen in the pantheon of rock’n’roll 1965 DEMO) (REED) D3 ‘What Goes On’ (REED) greats. A4 ‘Wrap Your Troubles In Dreams’ D4 ‘Some Kinda Love’ (REED) While no boxed set of such size could per- (REED) D5 ‘Pale Blue Eyes’ (REED) fectly satisfy every fan or critic’s wishes, Peel A5 ‘All Tomorrow’s Parties’ (JULY 1965 D6 ‘Jesus’ (REED) Slowly And See is about as good as a five-CD DEMO) (REED) D7 ‘Beginning To See The Light’ compilation of the Velvets could get. It B1 ‘All Tomorrow’s Parties’ (MONO (REED) includes all four of the studio albums they SINGLE VERSION) (REED) D8 ‘I’m Set Free’ (REED) made while Lou Reed was in the group, B2 ‘Sunday Morning’ (REED/CALE) D9 ‘That’s The Story Of My Life’ which almost everyone would agree contain B3 ‘I’m Waiting For The Man’ (REED) (REED) the band’s most essential recordings. As is B4 ‘Femme Fatale’ (REED) D10 ‘The Murder Mystery’ (REED) the custom for such boxed sets, there are B5 ‘Venus In Furs’ (REED) D11 ‘After Hours’ (REED) also quite a few previously unissued record- B6 ‘Run Run Run’ (REED) D12 ‘Foggy Notion’ (REED/MORRISON/ ings, most crucially the July 1965 demos that B7 ‘All Tomorrow’s Parties’ (REED) TUCKER/YULE/HY WEISS) occupy the whole of disc one. A handful of B8 ‘Heroin’ (REED) D13 ‘I Can’t Stand It’ (REED) early-1967 home demos and Loaded out-takes B9 ‘There She Goes Again’ (REED) D14 ‘I’m Sticking With You’ (REED) are also eagerly welcomed by the faithful. The B10 ‘I’ll Be Your Mirror’ (REED) D15 ‘One Of These Days’ (REED) inclusion of some other out-takes already B11 ‘The Black Angel’s Death Song’ D16 ‘Lisa Says’ (REED) available on VU and Another View help round (REED/CALE) D17 ‘It’s Just Too Much’ (LIVE OCTOBER 19 out the view of the band’s studio work, just B12 ‘European Son’ (REED/CALE/MORRISON/ 1969) (REED) as some previously unissued live tracks from TUCKER) D18 ‘Countess From Hong Kong’ 1966–70 do for their concert recordings. B13 ‘Melody Laughter’ (REED/CALE/MOR- (REED/CALE) After the ugliness of the Live MCMXCIII CD RISON/TUCKER/NICO) E1 ‘Who Loves The Sun’ (REED) jacket, the superb packaging and design – B14 ‘It Was A Pleasure Then’ (FROM E2 ‘Sweet Jane’ (LONG VERSION) (REED) which closely resemble the ‘banana album’ CHELSEA GIRL) (REED/CALE/NICO) E3 ‘Rock & Roll’ (REED) jacket – come as a welcome relief. The accom- B15 ‘Chelsea Girls’ (FROM CHELSEA GIRL) E4 ‘Cool It Down’ (REED) panying 88-page booklet features an excel- (REED/MORRISON) E5 ‘New Age’ (LONG VERSION) (REED) lent survey of the group’s career by David C1 ‘There Is No Reason’ (REED/CALE) E6 ‘Head Held High’ (REED) Fricke, with plenty of firsthand quotes from C2 ‘Sheltered Life’ (REED) E7 ‘Lonesome Cowboy Bill’ (REED) Lou Reed, John Cale, Sterling Morrison, and C3 ‘It’s All Right (The Way That You E8 ‘I Found A Reason’ (REED) Maureen Tucker. Live)’ (REED/CALE) E9 ‘Train Round The Bend’ (REED) That’s not to say that Peel Slowly And See con- C4 ‘I’m Not Too Sorry (Now That E10 ‘Oh! Sweet Nuthin’’ (REED) tains everything you need to hear by The Vel- You’ve Gone’ (REED/CALE) E11 ‘Satellite Of Love’ (REED) vet Underground. The omission of anything C5 ‘Here She Comes Now’ (EARLY 1967 E12 ‘Walk And Talk’ (REED) from 1969 Velvet Underground Live guarantees DEMO) (REED/CALE/MORRISON) E13 ‘Oh Gin’ (REED) this, as it could be argued that material from C6 ‘Guess I’m Falling In Love’ (LIVE E14 ‘Sad Song’ (REED) that album is as essential as any of the record- APRIL 1967) (REED/CALE/MORRISON/TUCKER) E15 ‘Ocean’ (REED) ings featured on the box. If you throw in the C7 ‘Booker T.’ (REED/CALE/MORRISON/TUCKER) E16 ‘Ride Into The Sun’ (REED/CALE/MOR-absence of all but one cut from Live At Max’s C8 ‘White Light/White Heat’ (REED) RISON/TUCKER) Kansas City, several tracks from VU and Another C9 ‘The Gift’ (REED/CALE/MORRISON/TUCKER) E17 ‘Some Kinda Love’ (LIVE AUGUST 23 View, the additional Loaded out-takes that will C10 ‘Lady Godiva’s Operation’ (REED) 1970) (REED) later surface on Fully Loaded, and the three- C11 ‘Here She Comes Now’ (REED/CALE/ E18 ‘I’ll Be Your Mirror’ (LIVE AUGUST 23 CD package of Robert Quine tapes issued in MORRISON) 1970) (REED) 2001, there’s actually more VU material that C12 ‘I Heard Her Call My Name’ (REED) E19 ‘I Love You’ (REED) isn’t on the set than there is on it. And while C13 ‘Sister Ray’ (REED/CALE/MORRISON/ the set makes available the ‘closet mix’ of The TUCKER) US release: September 26 1995 (Poly-Velvet Underground, you still need to obtain a C14 ‘Stephanie Says’ (REED) dor 31452 7887-2) standalone CD of the album to hear the ‘regu- C15 ‘Temptation Inside Your Heart’ UK release: September 25 1995 (Poly-lar’ mix. (REED) dor 31452 7887-2) A 12-disc boxed set would have been C16 ‘Hey Mr. Rain’ (VERSION ONE) (REED/ commercially unfeasible, however, and CALE/MORRISON/TUCKER) almost everyone agrees that Peel Slowly And See is, for once, a major-label compilation of a high standard wholly befitting of The Velvet Underground’s importance. It’s too

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expensive an item to make the charts, but October 13 back to an open window, holding his hand. the reviews could barely be more positive, Maureen Tucker plays drums on John Cale’s And all the questions I had were answered beginning with a five-star rave by Robert score for Andy Warhol’s Eat and Kiss films at and all the past differences resolved. And in Palmer in Rolling Stone. “Ignored or reviled the Theatre Sebastopol in Lille, France. (The the extraordinary moments when men tran-during their time together, VU have proved show will later be issued on CD, on June 10 scend their bodies and words are spoken at themselves over the long haul to be arguably 1997.) their own peril, in these moments that move the most admired and influential American beyond speech and picture, in these moments rock-band,” he writes. “This is some of the December 31 that only an artist can capture, I saw my friend most inspirational and ultimately timeless The New York Times magazine runs Lou Reed’s Sterling: Sterl, the great guitar-playing, tug-music you’ll ever hear, reproduced with bril-eulogy to his recently fallen band-mate, ‘Ster-boat-captaining, PhD-ing professor, raconteur liant sonic verisimilitude.” ling Morrison: Velvet Warrior.’ “He was strong supreme, argumentative, funny, brilliant; Sterl Palmer also places The Velvet Underground & despite the illness, but then he’d always been as the architect of this monumental effort, Nico at the top of his Modern Rock Top Ten in the strongest one,” Reed writes of a visit he possessor of astonishing bravery and dignity. Rock & Roll: An Unruly History at around the paid to Morrison shortly before his death. The warrior heart of The Velvet Under-same time as this review. And it will come as “When he had played his passionate solos, I ground.” no surprise that Peel Slowly And See is named had always seen him as a mythic Irish hero, the best reissue of 1995 in the Village Voice’s flames shooting from his nostrils. We sat like Also in 1995 … annual Pazz & Jop poll. that, him upright in bed, me sitting with my The soundtrack to the film Antártida features John Cale, Sterling Morrison, and Maureen

Tucker playing together on the Jim Carroll

composition ‘People Who Died.’

THE VELVET UNDERGROUND

Loaded: Fully Loaded Edition 1996 A1 ‘Who Loves The Sun’ (REED) A2 ‘Sweet Jane’ (FULL-LENGTH VERSION) (REED) A3 ‘Rock & Roll’ (FULL-LENGTH VERSION) (REED) A4 ‘Cool It Down’ (REED) January 17

A5 ‘New Age’ (LONG VERSION) (REED) The Velvet Underground are inducted into A6 ‘Head Held High’ (REED) the Rock And Roll Hall Of Fame at the Wal-A7 ‘Lonesome Cowboy Bill’ (REED) dorf Astoria in New York City. For what’s A8 ‘I Found A Reason’ (REED) likely the final time, Lou Reed, John Cale, A9 ‘Train Round The Bend’ (REED) and Maureen Tucker appear together on A10 ‘Oh! Sweet Nuthin’’ (REED) stage, performing a song that they’ve written A11 ‘Ride Into The Sun’ (DEMO) (REED/CALE/MORRISON/TUCKER) together for Sterling Morrison, ‘Last Night A12 ‘Ocean’ (OUT-TAKE) (REED) I Said Goodbye To My Friend.’ Uniquely A13 ‘I’m Sticking With You’ (OUT-TAKE) (REED) among Velvet Underground tunes, the lead A14 ‘I Love You’ (DEMO) (REED) vocals are shared by Reed (who plays guitar), A15 ‘Rock & Roll’ (ALTERNATE MIX) (REED) Cale (piano), and Tucker (drums). It’s also A16 ‘Head Held High’ (ALTERNATE MIX) (REED) the most sentimental number ever performed B1 ‘Who Loves The Sun’ (ALTERNATE MIX) (REED) by the band.

B2 ‘Sweet Jane’ (EARLY VERSION) (REED) “We decided a song about Sterling would B3 ‘Rock & Roll’ (DEMO) (REED) be the only legitimate thing we could play,”

B4 ‘Cool It Down’ (EARLY VERSION) (REED) Reed tells Q magazine. “We couldn’t do any B5 ‘New Age’ (FULL-LENGTH VERSION) (REED) Velvet Underground songs because there was B6 ‘Head Held High’ (EARLY VERSION) (REED) only three of us. And we didn’t want to bring B7 ‘Lonesome Cowboy Bill’ (EARLY VERSION) (REED) in anybody else, Doug Yule included.”

B8 ‘I Found A Reason’ (DEMO) (REED) In her induction speech, Patti Smith says, B9 ‘Train Round The Bend’ (ALTERNATE MIX) (REED) “They were the stark, elusive balloon that B10 ‘Oh! Sweet Nuthin’’ (EARLY VERSION) (REED) burst upon a deflated scene, injecting that B11 ‘Ocean’ (DEMO) (REED) scene with a radiance that connected poetry, B12 ‘I Love You’ (OUT-TAKE) (REED) the avant-garde, and rock’n’roll. They were a B13 ‘Satellite Of Love’ (ALTERNATE DEMO) (REED) band of opposites, shooting freely to pole-to-B14 ‘Oh Gin’ (DEMO) (REED) pole without apology, with dissonant beauty, B15 ‘Walk And Talk’ (DEMO) (REED) trampling the flowers of peacemakers, tread-B16 ‘Sad Song’ (DEMO) (REED) ing the blind depths, black in a white world, B17 ‘Love Makes You Feel Ten Feet Tall’ (DEMO) (REED) white in a black world. They opened wounds worth opening, with brutal innocence, with-

US release: February 18 1997 (Rhino Records R2 72563) out apology, cutting across the grain, gritty, UK release: February 17 1997 (Rhino Records R2 72563) urbanic. And in their search for the kingdom, for laughter, for salvation, they explored the

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darkest areas of the psyche … They are The notes in the accompanying 24-page booklet. 1997

Velvet Underground and their work is the Unlike the Peel Slowly And See notes, these clipper ship. They are The Velvet Under- include firsthand quotes from Doug Yule, ground and we salute them, and mourn with who was not interviewed for the boxed set.

them their captain, Sterling Morrison, who no February 18 The set is even sequenced for maximum lis-doubt, in viewing these proceedings, might The MGM vaults were first plundered for tenability, keeping the multiple versions of have a bit of mythical contempt for us all, but Velvet Underground recordings in the mid some of the songs as far apart as possible would also feel a secret pride.” Fortunately, 80s, but it wasn’t until the Peel Slowly And See and grouping ten alternate versions of tracks Martha Morrison is on hand to accept the boxed that any out-takes emerged from the from the LP into an ‘alternate album’ that honor on her late husband’s behalf. (“He far less extensive, Atlantic-controlled Loaded can be listened to in order at the beginning wanted to be in the Hall,” she recalls. “He sessions. Following on from that, the two-disc of disc two. really did.”) Loaded: Fully Loaded Edition is an expansion Even so, the Loaded album itself might be Smith also performs The Velvet Under-of the 1970 LP. It adds no less than 23 bonus enough for the average rock’n’roll fan, as the ground’s ‘Pale Blue Eyes’ at the ceremony, tracks, most of them previously unreleased, alternate versions, demos, out-takes, and alter-accompanied only by guitarist Lenny Kaye apart from a few that are also on Peel Slowly nate mixes included here are clearly inferior (who sings backing vocals). It’s a fitting trib- And See, and the part of the first disc that to the original LP. Of the songs that didn’t ute given not only how much the Velvets features the original album presents longer make it onto Loaded in any form, only ‘Satellite influenced Smith and Kaye, but also how versions of ‘Sweet Jane,’ ‘Rock & Roll,’ and Of Love,’ ‘Sad Song,’ and ‘Ocean’ are in the much Smith and Kaye each championed the ‘New Age.’ David Fricke comes through same league as what made the final cut. And group as rock critics before forming a band again with passionate, well-researched liner yet serious Velvets fans will be delighted to together.

In his acceptance speech, John Cale says

that the award makes “an astonishing point to

young musicians all over the world that sales

are not the be-all and end-all of rock’n’roll …

Inspiration and artistic freedom is the cornerstone of rock’n’roll.” He also makes the point that the award is shared by three other people

who are not able to make it to tonight’s ceremony: “Sterling, Nico, and Andy [Warhol].”

However, two important figures are neither

inducted into the Hall Of Fame alongside

Reed, Cale, Tucker, and the late Morrison,

nor present at the event. One, as Cale notes

in his speech, is the now-departed Nico. The

other is Doug Yule, who is still alive and well,

but declines to attend after being told by the

attorney for the Velvet Underground Partnership that he’ll have to pay his way there, and

watch the ceremony from the audience.

February 20

Lou Reed pays tribute to the recently departed

Sterling Morrison on the track ‘Finish Line’

from his new album, Set The Twilight Reeling.

September 21

Released today, John Cale’s Walking On Locusts

features Maureen Tucker on two tracks, ‘Dancing Undercover’ and ‘Set Me Free.’ Another

song, ‘Some Friends,’ is a eulogy for Sterling

Morrison.

Lou Reed meets Bill Clinton at the White House, September 16 1998. 351

1997 n WHITE LIGHT/WHITE HEAT

hear such an abundance of works-in-progress, Havel given before an audience in Prague on 2001 if only for the considerable light it throws on January 10 2005, Reed reveals that the White the album’s artistic evolution. And there are a House had wanted to clear the lyrics of his few bonus cuts that are worthy performances songs before the event. in and of themselves, although these tend to August be the ones that have already been issued on Demand for early-70s live recordings of the

Peel Slowly And See, such as ‘Sad Song’ and the Doug Yule-led Velvet Underground is lim- 1999

more fully developed of the two unreleased ited, even among VU fanatics. Appropriately versions of ‘Ocean.’ enough, the four-disc Final VU 1971–1973 is There’s only one minor criticism to be produced in a limited edition of 1,000 and made of this otherwise exemplary release: issued in Japan only on the Captain Trip label, somehow, it doesn’t include the out-take of January 14 although a number of copies will eventually ‘Satellite Of Love’ that previously appeared Bloomsbury publishes What’s Welsh For Zen: find their way into the hands of collectors on Peel Slowly And See, which is not the same as The Autobiography Of John Cale, which Cale overseas. the more threadbare demo available on this co-wrote with Victor Bockris, who is also the Taken from four different shows and con-Fully Loaded Edition. But that’s a small blemish author of books about the Velvets and Lou sisting mostly of audience recordings, the set’s on a very worthwhile package. Reed. Despite numerous (largely minor) mis-primary value is historical, as evidence of how takes and some shaky chronology, the book The Velvet Underground sounded in that fal-

October 4 is an entertaining and fairly thoughtful work, low period after Lou Reed left the group. Nei— A ballet commissioned in honor of Nico, with with plenty of space given to Cale’s years with ther the fidelity nor the music are too good, music composed and arranged by John Cale, The Velvet Underground. but the set does come with a 48-page booklet premieres at the Rotterdam Schouwburg in As of this writing, Cale is the only member that includes comments by Doug Yule, as Holland. A fall 1997 performance of Nico, of the band to have told his or her life story well as lyrics in English and Japanese. For The Ballet will subsequently form the basis in book form. Sterling Morrison planned to the record, the set contains recordings of of Dance Music, as issued on CD in March write a memoir as well; the July 1993 issue group’s shows at the School Of African And 1998. of Q even reports that it has already been Oriental Studies in London on November 5

commissioned by the London-based Black 1971; at the Concertgebouw in Amsterdam on Spring Press, noted for publishing work by November 19 1971; at St David’s University in

1998 musicians such as Nick Cave, Leonard Cohen, Lampeter, Wales on December 6 1972; and

and Howard Devoto. It’s also mentioned in at Olivier’s in Boston on May 27 1973 – one the June 24 1993 issue of Rolling Stone, in of the Doug Yule line-up’s last-ever concerts.

which the book’s title is given as The Velvet (The final four tracks on disc four present Underground Diet. But Morrison dies before it the same performances of the songs heard on April 17 can be completed. disc two, the difference being that the tracks Another Velvet Underground classic – ‘I’ll on disc two are audience recordings, and the Be Your Mirror’ – shows up on Lou Reed’s ones on disc four taken from a Dutch radio

Perfect Night: Live In London, recorded at the broadcast.) 2000 Meltdown Festival at London’s Royal Festival As Peter Doggett writes in Record Collector, in Hall on July 3 1997. one of the few published reviews of Final VU, “At their best, the post-Reed VU sound like an September 16 extremely enthusiastic tribute group; at their Yet another honor that would have been April 7–9 worst, they’re a barely competent bar-band. unimaginable in the 60s is bestowed upon At the Camber Sands holiday camp in East Attempts to distinguish between the two are Lou Reed when he and Vaclav Havel dine at Sussex, England, the first All Tomorrow’s Par-hampered by the truly appalling sound qual-the White House. The pair, along with numer-ties alternative-rock festival begins, the still-ity … It’s mildly fascinating to hear [Yule’s] ous other celebrities, are guests of President thriving event having of course been named perfectly reasonable material in a live context; Bill Clinton and his wife Hillary at a dinner after one of The Velvet Underground’s most and one could write a lengthy article com-given in Havel’s honor. “At one end of the famous songs. paring these renditions of ‘Sister Ray,’ ‘What very grand East Room last night, Reed per- Goes On,’ and the rest to the Reed originals.

formed classic Velvet Underground hits in November 5 But only a completist would ever play a Yule his irreverent, laconic style,” the Washington Doug Yule joins Maureen Tucker on stage at boxed-set more than once.” Post reports the following day. “The audience the Showbox in Seattle as part of the Terras-Yule does at least take the trouble to treat was attentive but seemed subdued, except for tock Festival to duet with her on ‘I’m Stick-the other musicians featured on the record-Vice President [Al] Gore, whose chair rocked ing With You,’ on which he also plays piano; ings fairly. “When that boxed set came out, constantly during Reed’s 35-minute perform-he plays guitar on ‘Crackin’ Up,’ too. Both he contacted me,” Rob Norris reports. “When ance.” Accompanying Reed to the dinner is tracks are eventually issued on the Japanese that [1972 UK] tour ended, he was under a performance artist Laurie Anderson, the Moe Rocks Terrastock CD in June 2002. lot of stress and he was kind of mean, actually, woman with whom he began a long-term rela- to me. When he called all those years later, tionship in 1994, and whom he will eventually I thought he must want something. [But]

marry in April 2008. basically he wanted to track down everybody One thing hasn’t changed so much since who was involved and give them some of the the late 60s, however: in a conversation with money. I was totally impressed by that. I just

352 Robert Quine, the guitarist and archivist behind The Velvet Underground Bootleg Series Volume 1: The Quine Tapes .

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thought the world of the guy. After all these except for the bits used on the Peel Slowly And tracks – versions of ‘I’m Waiting For The Man’ years, he wanted to pay me a share of playing See boxed set. and ‘White Light/White Heat’ from Novem-on that thing. I mean, how rare is that?” We’re fortunate that the music has been ber 11 1969 – are transferred but don’t make Incidentally, in 2002 the Captain Trip preserved in the first place. Quine transferred it onto the boxed set. (‘White Light/White label also releases Yule’s solo CD Live In Seat- the cassettes to pre-used open reels, dubbing Heat’ would not have been usable, however, tle, which combines performances from May over tapes of officially released albums by because of volume-control problems that 25 and November 4 2000 and includes the other artists in several instances. Then, after result in the track fading in and out.) VU songs ‘Candy Says,’ ‘What Goes On,’ and discussions with archivist Mitch Blank and Once Polydor finally decides to plunder ‘Sweet Jane.’ With that release, Sterling Mor-Michael Carlucci at Carlucci’s Greenwich Vil-Quine’s holdings, the label opts to go whole-rison becomes the only musician who played lage shop Subterranean Records, it’s decided hog, issuing a three-CD set containing nearly in The Velvet Underground during the 60s that the music needs to be preserved in a for-four hours of music. Those who treasure never to have issued a solo album. mat more conducive to guaranteeing its sur- 1969 Velvet Underground Live as the pinnacle vival. Blank helps arrange for fellow archivist of live rock recordings could hardly contain October 16 Jeff Friedman to transfer the recordings from their excitement, especially as Quine’s tapes Back in April 1985, shortly after the release the open reels to DAT, with Friedman also are from almost exactly the same timeframe. of VU, Byron Coley wrote in the LA Weekly identifying the true titles of the songs and What’s more, the set presents quite a few that Polydor’s Bill Levenson was starting to documenting the dates of the performances. songs that didn’t make it onto 1969 Velvet be approached by people with “release-quality “I only wish that I was given the opportunity to Underground Live, including classics such as live tapes” of The Velvet Underground. Rob-transfer the original cassettes, because I prob- ‘Sunday Morning’ and ‘The Black Angel’s ert Quine might have been one such person, ably could have done a better job,” Friedman Death Song’ and relatively obscure tunes having taped the band copiously on his Sony notes today. “The DATs that I made before such as ‘I Can’t Stand It,’ ‘I’m Sticking With cassette recorder in 1969, notably during they compressed the shit out of them sound You,’ and ‘Ride Into The Sun.’ There are their San Francisco shows in November and a lot better [than The Quine Tapes CDs], in also no less than three mega-long versions December. It’s taken a good 16 years or so, my opinion.” of ‘Sister Ray,’ plus a song never before however, for any such tapes from Quine or The notes Friedman took while transfer-released by the Velvets in any form, ‘Follow anyone else to be officially issued by Polydor, ring the recordings confirm that a couple of The Leader.’

In the event, however, as much as enthusiasts might hate to admit it, listening to the THE VELVET UNDERGROUND There’s no getting around it: the sound qual-actual set is … okay, but not overwhelming.

The Velvet Underground Bootleg Series ity isn’t as good as that of 1969 Velvet Under-

ground Live, even if it is way above the average Volume 1: The Quine Tapes of most other VU bootlegs from the period. Nor are the performances quite as exciting, and a 38-minute version of ‘Sister Ray’ – as A1 ‘I’m Waiting For The Man’ (REED) mouth-watering as it might appear on paper A2 ‘It’s Just Too Much’ (REED) – will challenge the attention span of even A3 ‘What Goes On’ (REED) the most adventurous VU fan. Polydor has A4 ‘I Can’t Stand It’ (REED) already ratcheted expectations down a notch A5 ‘Some Kinda Love’ (REED) or two by titling the package The Velvet Under-A6 ‘Foggy Notion’ (REED/MORRISON/TUCKER/YULE/HY WEISS) ground Bootleg Series Volume 1: The Quine Tapes,

A7 ‘Femme Fatale’ (REED) all but spelling out its position as marginalia A8 ‘After Hours’ (REED) by comparison to the group’s primary record-A9 ‘I’m Sticking With You’ (REED) ings.

A10 ‘Sunday Morning’ (REED/CALE) Like many other champions of the group, A11 ‘Sister Ray’ (REED/CALE/MORRISON/TUCKER) Robert Christgau seems to make an extra B1 ‘Follow The Leader’ (REED) effort to give the set some leeway in his Con-B2 ‘White Light/White Heat’ (REED) sumer Guide review, which generously awards B3 ‘Venus In Furs’ (REED) it an ‘A-.’ “I was cynical too, especially once I’d B4 ‘Heroin’ (REED) ascertained that the audio on these three discs B5 ‘Sister Ray’ (REED/CALE/MORRISON/TUCKER) was as faint as I’d feared,” he writes. “Played C1 ‘Rock & Roll’ (REED) loud, though, the sound improves – not quite C2 ‘New Age’ (REED) crisp or bright, but there. Note that this trick C3 ‘Over You’ (REED) doesn’t work with Live At Max’s Kansas City C4 ‘The Black Angel’s Death Song’ (REED/CALE) and ask yourself if you wouldn’t maybe like to C5 ‘I’m Waiting For The Man’ (REED) hear the number three band of the 60s, after C6 ‘Ride Into The Sun’ (REED/CALE/MORRISON/TUCKER) The Beatles and James Brown & His Famous C7 ‘Sister Ray/Foggy Notion’ (REED/CALE/MORRISON/TUCKER/YULE/HY WEISS) Flames, without wearing out its tiny catalogue.

No new songs, true. But over the two hours US release: October 16 2001 (Polydor 314 589 067-2) that aren’t devoted to three long, distinct UK release: October 15 2001 (Polydor 314 589 067-2) versions of ‘Sister Ray,’ no title is repeated, even though every one was recorded in a one-

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month span in San Francisco in 1969. That’s into legal troubles and all this other stuff. So As a multi-disc set of a cult band geared pretty impressive. As is all the new guitar.” it came out of the liner notes.” toward collectors and completists, The Velvet According to Quine’s longtime friend According to Carlucci, there’s probably not Underground Bootleg Series Volume 1: The Quine Michael Carlucci (whom he thanks in the much unissued material left on Quine’s Velvet Tapes isn’t expected to chart, and indeed it liner notes as “my partner in this project”), Underground tapes, and what is there is very doesn’t. But while the Volume 1 in the title Quine makes the deal for the tapes’ release unlikely to see official release. “When I got seems to indicate that Polydor might be plan-in rather tragicomic fashion. “I guess the legal Quine’s record collection [after his death], ning a multi-volume series, it’s possible that department called him and said, ‘We’re will-they were ready to throw out cassettes, so I poor sales of this first set are enough to dis-ing to make an offer,’” he recalls. But that grabbed a bag,” he explains. “There was a suade the label from producing any more. day, Quine kept receiving calls from telemar-lot of junk in there, [but] I found one cas-Indeed, Universal has not subsequently put keters, and by the third one had finally had sette that had more Velvets stuff. On it there out any other previously unissued VU tapes, enough. “[So] he hangs up. The phone rings were rehearsals, soundchecks for ‘Lisa Says,’ even though Quine was presumably not the like two minutes later, and he’s like, ‘I told ‘I Can’t Stand It.’ There’s nothing docu-only person to approach Levenson with you to stop fucking calling me!’ He’s yelling mented, I can’t tell you what date it’s from. I release-quality tapes back in 1985. If Quine into the phone. And it’s the woman from Uni-offered it to [a Universal executive] and he himself had any more releasable tapes from versal, saying, ‘Uhh … we just called to make said, ‘There’s no more Velvets bootlegs com-his cache, his death in May 2004 makes it all an offer.’ They offered him $10,000 for three ing out. Lou doesn’t want it.’ [But] I heard the more doubtful than any others will sur-CDs and he accepted it, because he felt so that wasn’t true.” face. guilty about what he had done.”

Later, Quine asks Carlucci if he made a mistake. “I said, ‘You know what? They gave Brigid THE VELVET UNDERGROUND

Polk [and Danny Fields] $10,000 in 1972 for The Velvet Underground & Nico Max’s. You probably could have got $25,000; it’s three CDs, and they have it in perpetuity,’” (Deluxe Edition) Carlucci recalls. “He just accepted the first thing they gave him. But the cool thing was,

his relationship with Lou [Reed] was strained A1 ‘Sunday Morning’ (STEREO) (REED/CALE) for a long time. The last time we went out to A2 ‘I’m Waiting For The Man’ (STEREO) (REED) lunch with Bill Levenson, Quine said, ‘I’m A3 ‘Femme Fatale’ (STEREO) (REED) really concerned about Lou, because I have A4 ‘Venus In Furs’ (STEREO) (REED) a feeling once my name is associated with A5 ‘Run Run Run’ (STEREO) (REED) this, he’s gonna say “no deal.”’ And Bill said, A6 ‘All Tomorrow’s Parties’ (STEREO) (REED) ‘I’ve already talked to Lou, ’cause I wanted A7 ‘Heroin’ (STEREO) (REED) him to okay this stuff before we put it out, A8 ‘There She Goes Again’ (STEREO) (REED) and Lou’s response was, ‘If Quine says those A9 ‘I’ll Be Your Mirror’ (STEREO) (REED) are the best versions, then I believe they are, A10 ‘The Black Angel’s Death Song’ (STEREO) (REED/CALE) ’cause I trust Quine’s ear.’ That made Quine’s A11 ‘European Son’ (STEREO) (REED/CALE/MORRISON/TUCKER) year when he heard that. Not that it improved A12 ‘Little Sister’ (FROM CHELSEA GIRL) (REED/CALE) their relationship any, but it certainly helped A13 ‘Winter Song’ (FROM CHELSEA GIRL) (CALE) Quine get over some of the sore spots that he A14 ‘It Was A Pleasure Then’(FROM CHELSEA GIRL) (REED/CALE/NICO) had with Lou.” A15 ‘Chelsea Girls’(FROM CHELSEA GIRL) (REED/MORRISON) Although Quine’s liner notes give a fine A16 ‘Wrap Your Troubles In Dreams’(FROM CHELSEA GIRL) (REED) appraisal of the tapes and how he came to B1 ‘Sunday Morning’ (MONO) (REED/CALE) record them, a tiff with the label almost causes B2 ‘I’m Waiting For The Man’ (MONO) (REED) him to scrap his annotation altogether. “They B3 ‘Femme Fatale’ (MONO) (REED) asked Quine to write the liner notes,” Carlucci B4 ‘Venus In Furs’ (MONO) (REED) continues. “They were really good, except B5 ‘Run Run Run’ (MONO) (REED) Quine almost pulled them, because he was B6 ‘All Tomorrow’s Parties’ (MONO) (REED) trying to set an image of what it was like. And B7 ‘Heroin’ (MONO) (REED) he [wrote that] they would go off stage when B8 ‘There She Goes Again’ (MONO) (REED) their set was over and then come back for an B9 ‘I’ll Be Your Mirror’ (MONO) (REED) encore. When they came back, they would B10 ‘The Black Angel’s Death Song’ (MONO) (REED/CALE) have a bottle of Jack Daniels and a joint, pass B11 ‘European Son’ (MONO) (REED/CALE/MORRISON/TUCKER) the bottle and the joint, and go into ‘Sister B12 ‘All Tomorrow’s Parties’ (MONO SINGLE MIX) (REED) Ray.’ [A Universal Records executive] had B13 ‘I’ll Be Your Mirror’ (MONO SINGLE MIX) (REED) him take it out. Quine was saying, ‘This is a B14 ‘Sunday Morning’ (MONO SINGLE MIX) (REED/CALE) band that wrote a song called “Heroin” in B15 ‘Femme Fatale’ (MONO SINGLE MIX) (REED) 1966, everyone knows about the drug thing, and you’re telling me to take it out? You know US release: June 24 2002 (Polydor Universal 314 589 624-2) what, I don’t want to do the liner notes. Just UK release: June 23 2002 (Polydor Universal 314 589 624-2) scrap it.’ [Universal] talked to him a little bit more, and made it seem like they could get

355

2002 n WHITE LIGHT/WHITE HEAT

2002 release is assembled. (It’s been reported that three previously unreleased bonus tracks – one of them ‘Miss Joanie Lee,’ from the group’s

January 3 1966 rehearsal tape – were origi-

January nally planned to be included on the set before Almost 35 years after the Velvets took the deci- being dropped for unspecified reasons.) With

sion not to play in New York City, Ephemera two-disc expanded editions of both The Velvet Press issues an illustrated map/poster guide Underground & Nico and Loaded now on the to the East Village. Featured on the jacket are market, it would seem logical to devise simi-none other than The Velvet Underground, lar packages for the Velvets’ two other studio as they looked in 1966 when they played the albums from the 60s. Aside from using both

Dom on St Mark’s Place with Nico, a symbol the mono and stereo mixes of White Light/ now of the city they once abandoned. White Heat and both the regular and ‘closet’

mixes of The Velvet Underground, the out-

June 24 takes from VU and Another View would make for The two-CD ‘deluxe edition’ of The Velvet natural bonus-tracks – as would the early-1967

Underground & Nico might not be absolutely demos and live tracks from Peel Slowly And See, necessary even for some committed VU fans, and any other odds and ends from the period as it actually contains no previously unreleased that could be sniffed out. As of this writing,

material. But for those who care a lot about however, no such expanded editions have

stereo/mono variations – and there are many appeared, and nor have any other significant

such geeks in the collector community – it does releases or reissues of pre-1970 material been

present, in full, the stereo and mono versions issued by Universal, which now controls the

of the record on separate discs. Add in the group’s catalog from those years. The com-

mono single mixes of the four tracks to have pany’s Velvet Underground reissue/archive

been released on 45, and every track on Nico’s release program, if such a thing exists, seems

Chelsea Girl album written by members of the either to have been frozen or abandoned.

Velvets, and you have a worthwhile monument

to one of the greatest rock records of all time.

It would be even more worthwhile had the 2004 alternate versions/mixes from the acetate of their April sessions in New York’s Scepter Studios been included as well, but the existence of

this material isn’t widely known when this 2002

March 22

No less than five Velvet Underground songs

THE VELVET UNDERGROUND Tomorrow’s Parties,’ ‘Candy Says,’ and ‘Her- (‘Venus In Furs,’ ‘Sunday Morning,’ ‘All Live At Max’s Kansas City (Deluxe Edition) oin’) are included on Lou Reed’s double-CD

Animal Serenade, recorded live in Los Angeles on June 24 2003.

A1 ‘I’m Waiting For The Man’ (REED)

A2 ‘White Light/White Heat’ (REED) April 15

A3 ‘I’m Set Free’ (REED) The Velvet Underground notch up yet another A4 ‘Sweet Jane’ (VERSION 1) (REED) high placing in an all-time critics’ poll when A5 ‘Lonesome Cowboy Bill’ (VERSION 1) (REED) Rolling Stone puts the band at Number 19 on A6 ‘New Age’ (REED) its list of the 100 Greatest Artists Of All Time.

A7 ‘Beginning To See The Light’ (REED)

B1 ‘Who Loves The Sun’ (REED) August 3

B2 ‘Sweet Jane’ (VERSION 2) (REED) When Live At Max’s Kansas City was first released B3 ‘I’ll Be Your Mirror’ (REED) in 1972, it contained only ten songs, not the B4 ‘Pale Blue Eyes’ (REED) entire tape by Brigid Berlin. This deluxe B5 ‘Candy Says’ (REED) two-CD edition adds the bluesy, ten-minute B6 ‘Sunday Morning’ (REED/CALE) version of ‘Some Kinda Love’ that had first B7 ‘After Hours’ (REED) appeared on Peel Slowly And See, along with six B8 ‘Femme Fatale’ (REED) previously unreleased performances, as well as B9 ‘Some Kinda Love’ (REED) a vintage radio ad for the original LP. Included B10 ‘Lonesome Cowboy Bill’ (VERSION 2) (REED) among the previously unreleased recordings are second versions of ‘Sweet Jane’ and ‘Lone-

US release: August 3 2004 (Atlantic Rhino 8122/78093/2) some Cowboy Bill,’ and a lamentably incom-UK release: August 2 2004 (Atlantic Rhino 8122/78093/2) plete ‘Who Loves The Sun,’ the tape having failed to capture the first part of the tune.

356

WHITE LIGHT/WHITE HEAT n 2006

The deluxe edition is also grouped so that

the material from the first set appears on disc

one, and the material from the second set on

disc two, in the order in which they were performed. Although a few collectors have speculated that some of these tracks were actually recorded on different nights, it’s almost certainly an accurate facsimile of listening to the

sets in real time, and one further enhanced by

liner notes stringing together fresh interview

quotes from Maureen Tucker, Doug Yule, and

VU drummer-for-the-summer Billy Yule, as well

as Brigid Berlin, publicist Danny Fields (who

helped arrange the original LP’s release), and

audience member Jim Carroll.

Incidentally, the first disc of the promo

edition sent out to reviewers in 2004 also

includes previously unreleased versions of at, as they had closed down an entire block 2006

‘Cool It Down’ and ‘Who Loves The Sun’ where all the tenants had brought stuff out

from a rehearsal at Max’s on June 26 1970, of their houses to sell. I strangely enough also

as well as a two-minute unlisted bonus track passed on a copy of VU’s first record with the

of conversation at the end. (The conversation banana already peeled off.” does not actually include any of the Velvets, June 3 Hill knows an item of potential value when but Brigid Berlin and Jim Carroll are among The Velvet Underground, The Plastic Peo-he sees one. He snatched the acetate up along the participants, with the discussion mostly ple Of The Universe, and the song ‘Venus In with a Leadbelly ten-inch and a water-damaged centered on Iggy Pop and The Stooges.) By Furs’ figure prominently in the plot of the copy of the first LP by The Modern Lovers. the time a second round of advance CDs have new play by Tom Stoppard, Rock’n’Roll, which He didn’t play the acetate until he took it to a been sent out three months later, however, premieres today at the Royal Court Theatre collector friend, Eric Isaacson, founder of the the rehearsal tracks and conversation have in London. Mississippi Records shop in Portland, Oregon. been edited out, adding to the list of casual- Both men expected the tracks on the acetate ties among VU rarities that have almost but December 8 to be identical to the ones that appear on The not quite made it to the general public. Bidding ends on the eBay auction for an ace- Velvet Underground & Nico. When they played Even so, by upping the total to 17 tracks and tate containing material from the April 1966 the acetate, however, they discovered that it adding lengthy liner notes, the expanded Live sessions for The Velvet Underground & Nico at had not just a different running order but ver-At Max’s Kansas City is the best document of New York’s Scepter Studios. The winning bid sions of the songs that had never been released the original group’s final performance with of $155,401 generates news coverage around or even bootlegged. Following the publication Lou Reed as frontman. With this deluxe edi-the world, but is soon discovered to have been of articles about the acetate in magazines such tion and Fully Loaded, Atlantic seems now to placed fraudulently. Relisted shortly thereaf-as Rolling Stone, Mojo, and Record Collector, Hill now exhausted all of its Velvet Underground ter, the disc will eventually fetch a lower price and Isaacson decided to auction the disc. holdings. But while that’s almost certainly not of $25,500. “Eric and I were brainstorming about how true of Universal, no unreleased Velvet Under-For more than 35 years, the acetate dated to liquidate the acetate in the most benefi-ground material has been officially issued since April 25 1966 from The Velvet Underground’s cial way for Warren,” says Scott Wax of Sat-the appearance of this expanded Max’s. Scepter sessions was not just unheard, but urn Records in Oakland, California. “Thus, entirely unknown to all but a small few. Then as long as the acetate was a curiosity that we

in September 2002 it miraculously surfaced believed – perhaps naively – that nobody had

2005 for sale at 75 cents, setting off one of the heard of, I expected that to just spring it unh-

highest-priced and most turbulent bidding eralded onto the market would bring at most

wars ever known for a rare record. a $10,000 bid. However, if nurtured into a

The disc was discovered at a sale in New storied and thus ‘legendary’ item, the same

York’s Chelsea neighborhood by a collector buyers would have the confidence to go to

January 10 from Montreal, Warren Hill. Hill is not even … who knew? $25,000, $40,000? This was the Lou Reed and former Czech president Vaclav a particularly keen Velvet Underground fan, range that occurred to us as we contemplated Havel stage a night of conversation at Prague’s although, contrary to impressions given in hyping the item. I suggested to Eric that he Svandovo Divadlo theater. ‘Opening’ for them subsequent press accounts, he does know should write articles and promote the find are Czech band The Plastic People Of The Uni-and appreciate the group’s work. “I like their for several months, and then announce the verse, who like Havel have found The Velvet [first] and Loaded albums, spent much time auction as a news story. This strategy of letting Underground’s music inspirational since first with The Velvet Underground & Nico as a teen-it be a news story instead of advertising would discovering it in the late 60s. The second half ager, and love Nico’s first four solo records,” save advertising costs as well.” of the event includes a performance by another he says. “I bought the record because the dates The frenzy dampened just a little when a Czech VU-inspired outfit, The Velvet Under-seemed quite interesting, like it might be an bootleg of the acetate appeared, making the ground Revival Band, with whom Reed per-early bootleg or something. It was more of a music available to almost any VU fan who forms ‘Sweet Jane’ at the end of the night. street sale than a flea market that I bought it knew where to look for unauthorized items Inner labels from the acetate of April 1966 VU sessions auctioned on eBay in late 2006. 357

2007 n WHITE LIGHT/WHITE HEAT

that conventional record stores don’t stock. be believed, he was a retired man living on that are culturally, historically, or aesthetically The bootleg has a scratchy, muffled sound, the East Coast who considered this item to significant.” At the time, it’s one of only 225 and is obviously taken from a copy with actual be a souvenir of his helter-skelter youth in recordings to be honored with this status. scratches, even faithfully replicating the point the rebellious 60s,” says Scott Wax. “He told As the commentary on the Library Of Con-at which the needle gets stuck on ‘Venus In me that his intent was to store the acetate in gress website explaining the selection process Furs.’ It does however indicate that the acetate a bank safety-deposit box as a keepsake heir-notes, “For decades this album has cast a huge version, while undeniably of great historical loom for his young son, [who will] probably shadow over nearly every sub-variety of avant-interest, isn’t quite as radically different from be indifferent to it, and who will gleefully sell garde rock, from 70s art-rock to no-wave, new-the official ‘banana album’ as some reports it for cash should his father expire before he wave, and punk. Referring to their sway over might suggest – and fans suspicions that the does.” the rock music of the 70s and 80s, critic Lester acetate Isaacson and Hill are selling isn’t quite Before the disc is auctioned, it’s reported Bangs stated, ‘Modern music starts with the as unique as first thought. that Universal is in negotiations to arrange Velvets, and the implications and influence In the December 8 2006 issue of Goldmine, for official release of the recordings on the of what they did seem to go on forever.’ Oth-Isaacson claims that the bootleg suffers from acetate. Norman Dolph thinks that if the origi-erworldly vocals by the international model “poor, arguably ‘unlistenable’ sound quality,” nal mono-mix tape from which the acetate was and actress Nico appear on three of the songs. when in fact it is quite listenable (if admittedly made still exists, it’s stored in the Iron Moun-John Cale’s hard-edged electric viola playing rough), particularly by the erratic standards tain storage facility in New York State. He also adds an eerie quality to singer and guitarist of bootleg recordings. He also says that it is thinks the half-inch original multi-track tapes, Lou Reed’s frank lyrical depictions of sex and “possible that the source tape for the Japa- “and probably any quarter-inch mixed out-addiction. Percussionist Maureen Tucker and nese bootleg was made from this very acetate takes, which I doubt that there were, would guitarist Sterling Morrison make additional decades ago when it was in different hands.” have remained in Warhol’s possession. I noteworthy contributions.” Some collectors have begun to wonder, how-doubt that he would have left them at Scepter, ever, if the acetate Hill found, while undeni-because Scepter was a madhouse, and anybody April 12–May 12 ably rare, isn’t the only surviving copy. M.C. that didn’t work there would be insane if they In honor of the 40th anniversary of the Kostek, the head of The Velvet Underground left something laying around, just because it release of The Velvet Underground & Nico, the Appreciation Society, believes that there’s def-would get lost.” As of this writing, however, John McWhinnie/Glenn Horowitz Bookseller initely another copy, and makes it known that recordings from the April 1966 Scepter ses-stages c/o The Velvet Underground New York, NY, both Sterling Morrison and Maureen Tucker sions remain unissued in any form. a special exhibit of VU rarities and memora-have previously told him that the band played bilia in New York City. Attending the open-an acetate several times to see how the Scepter ing reception – and photographed embracing

sessions had gone. Norman Dolph, who co- each other – are Lou Reed, Maureen Tucker, 2007

financed and helped oversee those sessions, and Doug Yule, marking the first time Reed thinks he might have given a copy to John and Yule have met in more than 30 years. “I Cale or Andy Warhol when Columbia Records was relieved that it went well,” says Yule, who’s sent it back to him after passing on signing also happy to see that Reed “was much hap— the group, fueling speculation that at least two February 19 pier than he was when he was younger, much copies of the acetate might be in existence. John Cale has rarely revived Velvet Underless uptight.”

Even so, when the acetate is auctioned on ground material on his solo releases, but has eBay, it launches a bidding war so heated decided to include versions of ‘Venus In Furs’ April 26 that it results in substantial press coverage. and ‘Femme Fatale’ on his Circus Live album, More than 40 years have passed since Lou (Based on having authored The Velvet Under-recorded during his 2004 and 2006 tours of Reed was asked by the Tactical Police Force ground’s bio on the All Music Guide website, Europe. Of Syracuse to “leave town well before gradua-this author even gets an out-of-the-blue call tion because of various clandestine operations asking for a comment on the sale from a March 1 I was alleged to have been involved in,” as reporter from the Oregonian, the main daily Almost exactly 40 years after New York stations Reed himself wrote in the 1971 anthology No newspaper of Portland, Oregon.) The aston-allegedly ignored The Velvet Underground & One Waved Goodbye: A Casualty Report On Rock ishing winning bid of $155,401 is probably the Nico, Time Out New York puts the group at the And Roll. Today, however, Reed accepts Syra-largest amount ever offered for a musical disc, top of a list of the city’s greatest musicians of cuse University’s most prestigious award for even exceeding the price tags on the rarest all time, ahead of such giants as Duke Elling-its alumni, the George Arents Pioneer Medal. Beatles items. That realization alone immedi-ton (second), Miles Davis (fourth), Billie Holi-Among those in attendance at the W Hotel in ately raises red flags as to whether the bid is day (sixth), and others including Al Jolson, New York’s Union Square are Laurie Ander-legitimate, and sure enough, it soon emerges Ella Fitzgerald, The Ramones, Barbra Stre-son, David Bowie, Bono, and the Pulitzer that the bid is fraudulent, necessitating a sec-isand, Madonna, Patti Smith, Paul Simon, and Prize-winning novelist Oscar Hijuelos. ond auction soon afterward. Dizzy Gillespie. The Velvet Underground & Nico “Who would’ve believed this one?” Reed “I was obviously disappointed that the first is cited as the group’s “must-own album.” asks as he begins his acceptance speech, auction was so rife with problems, and that in which he makes sure to credit Delmore the second auction failed to garner as much March 6 Schwartz, the Syracuse instructor who did press as the first,” Hill says. The winning bid It’s announced today that The Velvet Underground so much to inspire his lifetime of incredible of $25,500 in the second auction is genuine, & Nico has been added to the Library Of Con-achievements. “I hope, Delmore, if you’re lis-however, and is still an astronomical price for gress’s National Recording Registry, established tening, you are finally proud as well. My name a disc of any sort, let alone by a band that in 2000 “to maintain and preserve sound is finally linked to yours in the part of heaven never had a hit record. “If the winner is to recordings and collections of sound recordings reserved for Brooklyn poets.”

358

WHITE LIGHT/WHITE HEAT n SELECTED DISCOGRAPHY

Selected Discography

THE VELVET UNDERGROUND Guess I’m Falling In Love*/After Hours/All Tomorrow’s Parties/ The Velvet Underground & Nico The Velvet Underground & Nico Some Kinda Love/I’ll Be Your Mirror*/Beginning To See The (Deluxe Edition) Sunday Morning/I’m Waiting For The Man/Femme Fatale/Venus Light*/The Gift/I Heard Her Call My Name*/Femme Fatale*/ Sunday Morning (stereo)/I’m Waiting For The Man (stereo)/Femme In Furs/Run Run Run/All Tomorrow’s Parties/Heroin/There She Hey Mr. Rain*/Sweet Jane/Velvet Nursery Rhyme*/White Light/ Fatale (stereo)/Venus In Furs (stereo)/Run Run Run (stereo)/All Goes Again/I’ll Be Your Mirror/The Black Angel’s Death Song/ White Heat*/I’m Sticking With You/Black Angel’s Death Song*/ Tomorrow’s Parties (stereo)/Heroin (stereo)/There She Goes Again European Son Rock & Roll/I Can’t Stand It*/I’m Waiting For The Man/Heroin/ (stereo)/I’ll Be Your Mirror (stereo)/The Black Angel’s Death Song US release: March 1967 (Verve V-5008 mono/Verve V6-5008 Pale Blue Eyes/Coyote* (Tracks marked * appear only on the (stereo)/European Son (stereo)/Little Sister (from Nico’s Chelsea stereo) two-CD edition) Girl)/Winter Song (from Nico’s Chelsea Girl)/It Was A Pleasure Then UK release: November 1967 (Verve VLP 9184 mono/Verve US/UK release: October 26 1993 (Sire 9 45464-2) (from Nico’s Chelsea Girl)/Chelsea Girls (from Nico’s Chelsea Girl)/ SVLP 9184 stereo) Wrap Your Troubles In Dreams (from Nico’s Chelsea Girl)/ Sunday

Peel Slowly And See Morning (mono)/I’m Waiting For The Man (mono)/Femme Fatale

White Light/White Heat Venus In Furs (July 1965 demo)/Prominent Men/I’m Waiting (mono)/Venus In Furs (mono)/Run Run Run (mono)/All Tomorrow’s White Light/White Heat/The Gift/Lady Godiva’s Operation/Here For The Man (July 1965 demo)/Wrap Your Troubles In Dreams/ Parties (mono)/Heroin (mono)/There She Goes Again (mono)/I’ll Be She Comes Now/I Heard Her Call My Name/Sister Ray All Tomorrow’s Parties (July 1965 demo)/All Tomorrow’s Parties Your Mirror (mono)/The Black Angel’s Death Song (mono)/Euro-US release: January 30 1968 (Verve V-5046 mono/Verve (mono single version)/Sunday Morning/I’m Waiting For The Man/ pean Son (mono)/All Tomorrow’s Parties (mono single version)/I’ll V6-5046 stereo) Femme Fatale/Venus In Furs/Run Run Run/All Tomorrow’s Parties/ Be Your Mirror (mono single version)/Sunday Morning (mono single UK release: June 1968 (Verve VLP 9201 mono/Verve SVLP Heroin/There She Goes Again/I’ll Be Your Mirror/The Black Angel’s version)/Femme Fatale (mono single version) 9201 stereo) Death Song/European Son/Melody Laughter/It Was A Pleasure US/UK release: June 24 2002 (Polydor Universal 314 589

Then (from Nico’s Chelsea Girl)/Chelsea Girls (from Nico’s Chel— 624-2) The Velvet Underground sea Girl)/There Is No Reason/Sheltered Life/It’s All Right (The Way Candy Says/What Goes On/Some Kinda Love/Pale Blue Eyes/ That You Live)/I’m Not Too Sorry (Now That You’ve Gone)/Here Live At Max’s Kansas City (Deluxe Jesus/Beginning To See The Light/I’m Set Free/That’s The Story She Comes Now (early 1967 demo)/Guess I’m Falling In Love Edition) Of My Life/The Murder Mystery/After Hours (live April 1967)/Booker T./White Light/White Heat/The Gift/Lady I’m Waiting For The Man/White Light/White Heat/I’m Set Free/ US release: March 1969 (MGM SE-4617) Godiva’s Operation/Here She Comes Now/I Heard Her Call My Sweet Jane (Version 1)/Lonesome Cowboy Bill (Version 1)/New UK release: April 1969 (MGM CS 8108) Name/Sister Ray/Stephanie Says/Temptation Inside Your Heart/ Age/Beginning To See The Light/Who Loves The Sun/Sweet Jane Hey Mr. Rain/What Goes On (live October 4 1968)/Candy Says/ (Version 2)/I’ll Be Your Mirror/Pale Blue Eyes/Candy Says/Sunday

Loaded What Goes On/Some Kinda Love/Pale Blue Eyes/Jesus/Beginning Morning/After Hours/Femme Fatale/Some Kinda Love/Lonesome Who Loves The Sun/Sweet Jane/Rock & Roll/Cool It Down/New To See The Light/I’m Set Free/That’s The Story Of My Life/The Cowboy Bill (Version 2) Age/Head Held High/Lonesome Cowboy Bill/I Found A Reason/ Murder Mystery/After Hours/Foggy Notion/I Can’t Stand It/I’m US/UK release: August 3 2004 (Atlantic Rhino 8122-78093-2) Train Round The Bend/Oh! Sweet Nuthin’ Sticking With You/One Of These Days/Lisa Says/It’s Just Too Much US release: September 23 1970 (Cotillion SD 9034) (live October 19 1969)/Countess From Hong Kong/Who Loves NICO UK release: March 1971 (Atlantic 2400 111) The Sun/Sweet Jane (long version)/Rock & Roll/Cool It Down/ Chelsea Girl

New Age (long version)/Head Held High/Lonesome Cowboy Bill/I The Fairest Of The Seasons/These Days/Little Sister/Winter Song/

Live At Max’s Kansas City Found A Reason/Train Round The Bend/Oh! Sweet Nuthin’/Satel— It Was A Pleasure Then/Chelsea Girls/I’ll Keep It With Mine/Some—I’m Waiting For The Man/Sweet Jane/Lonesome Cowboy Bill/ lite Of Love/Walk And Talk/Oh Gin/Sad Song/Ocean/Ride Into The where There’s A Feather/Wrap Your Troubles In Dreams/Eulogy Beginning To See The Light/I’ll Be Your Mirror/Pale Blue Eyes/ Sun/Some Kinda Love (live August 23 1970)/I’ll Be Your Mirror To Lenny Bruce Sunday Morning/New Age/Femme Fatale/After Hours (live August 23 1970)/I Love You US release: October 1967 (Verve V-5032 mono/Verve V/ US release: May 30 1972 (Cotillion SD 9500) US/UK release: September 26 1995 (Polydor 31452 V6-5032 stereo) UK release: August 1972 (Atlantic K 30022) 7887-2) UK release: October 1971 (Verve MGM 2353 025) 1969 Velvet Underground Live Loaded: Fully Loaded Edition The Marble Index I’m Waiting For The Man/Lisa Says/What Goes On/Sweet Jane/ Who Loves The Sun/Sweet Jane (full-length version)/Rock & Roll Prelude/Lawns Of Dawn/No One Is There/Ari’s Song/Facing The We’re Gonna Have A Real Good Time Together/Femme Fatale/ (full-length version)/Cool It Down/New Age (long version)/Head Wind/Julius Caesar (Memento Hodie/Frozen Warnings/Evening New Age/Rock & Roll/Beginning To See The Light/Ocean/Pale Held High/Lonesome Cowboy Bill/I Found A Reason/Train Round Of Light Blue Eyes/Heroin/Some Kinda Love/Over You/Sweet Bonnie The Bend/Oh! Sweet Nuthin’/Ride Into The Sun (demo)/Ocean US release: September 19 1968 (Elektra EKL-4029 mono/ Brown/It’s Just Too Much/White Light/White Heat/I’ll Be Your (out-take)/I’m Sticking With You (out-take)/I Love You (demo)/ Elektra EKS-74029 stereo) Mirror Rock & Roll (alternate mix) Head Held High (alternate mix)Who UK release: May 1969 (Elektra EKS-74029) US release: April 1974 (Mercury SRM 2-7504) Loves The Sun (alternate mix)/Sweet Jane (early version)/Rock & UK release: February 1979 (Mercury 6641 900) Roll (demo)/Cool It Down (early version)/New Age (full-length Desertshore

version)/Head Held High (early version)/Lonesome Cowboy Bill Janitor Of Lunacy/The Falconer/My Only Child/Le Petit Chevalier/

VU (early version)/I Found A Reason (demo)/Train Round The Bend Abschied/Afraid/Mütterlein/All That Is My Own I Can’t Stand It/Stephanie Says/She’s My Best Friend/Lisa Says/ (alternate mix)/Oh! Sweet Nuthin’ (early version)/Ocean (demo)/I US release: December 1970 (Reprise RS 6424) Ocean/Foggy Notion/Inside Your Heart/One Of These Days/Andy’s Love You (out-take)/Satellite Of Love (alternate demo)/Oh Gin UK release: January 1971 (Reprise RSLP 6424) Chest/I’m Sticking With You (demo)/Walk And Talk (demo)/Sad Song (demo)/Love Makes You US release: February 1985 (Verve Polygram 823 721-1 Y-1) Feel Ten Feet Tall (demo) JOHN CALE UK release: 1985 (POLD 5167) US/UK release: February 18 1997 (Rhino R2 72563) Vintage Violence

Hello There/Gideon’s Bible/Adelaide/Big White Cloud/Cleo/

Another View The Velvet Underground Bootleg Please/Charlemagne/Bring It On Up/Amsterdam/Ghost Story/ We’re Gonna Have A Real Good Time Together/I’m Gonna Move Series Volume 1: The Quine Tapes Fairweather Friend Right In/Hey Mr. Rain (Version I)/Ride Into The Sun/Coney Island I’m Waiting For The Man/It’s Just Too Much/What Goes On/I US release: March 25 1970 (Columbia CS 1037) Steeplechase/Guess I’m Falling In Love (Instrumental Version)/Hey Can’t Stand It/Some Kinda Love/Foggy Notion/Femme Fatale/ UK release: 1971 (CBS 64256) Mr. Rain (Version II)/Ferryboat Bill/Rock & Roll (Original Version) After Hours/I’m Sticking With You/Sunday Morning/Sister Ray/ US release: July 1986 (Verve Polygram 829 405-1 Y-1) Follow The Leader/White Light/White Heat/Venus In Furs/Heroin/ Church Of Anthrax (with Terry Riley) UK release: 1986 (POLD 5208) Sister Ray/Rock & Roll/New Age/Over You/The Black Angel’s Church Of Anthrax/The Hall Of Mirrors In The Palace At Versailles/

Death Song/I’m Waiting For The Man/Ride Into The Sun/Sister The Soul Of Patrick Lee/Ides Of March/The Protégé Live MCMXCIII Ray/Foggy Notion US release: February 10 1971 (Columbia CS 30131) We’re Gonna Have A Real Good Time Together*/Venus In Furs/ US/UK release: October 16 2001 (Polydor 314 589 067-2) UK release: May 1971 (CBS S64259) 359

CONCERT LOCATION INDEX n WHITE LIGHT/WHITE HEAT

VU concerts by location Bibliography

December 11 1965–August 23 1970

CANADA: MISSOURI, St. Louis, Washington University, May 11 1969 Angell, Callie Andy Warhol Screen Tests: The Films Of Andy Warhol Hamilton (Ontario), McMaster University, November 12 NEW HAMPSHIRE: Rindge, Hilltop Pop Festival, August 2 Catalogue Raisonné Volume 1 (Abrams 2006) 1966 1969 Angell, Callie The Films Of Andy Warhol: Part II (Whitney Museum Toronto (Ontario), Varsity Stadium, June 21 1969 NEW JERSEY, Summit, Summit High School Auditorium, Of American Art 1994) Vancouver (British Columbia), Retinal Circus, June 27–30 December 11 1965; New Brunswick, Scott Hall, Rutgers Angell, Callie, Avis Berman, Arthur C. Danto, Mark Francis, Richard 1968; Retinal Circus, October 31–November 3 1968 University, March 9 1966 Hellinger, Bennard B. Perlman, and Helen Searing The Andy

NEW YORK, Brooklyn, Brooklyn Academy Of Music, May Warhol Museum (Andy Warhol Museum) UNITED STATES OF AMERICA: 15 1968; Island Park, Action House, December 4 1966; Antonia, Nina The One And Only: Peter Perrett – Homme Fatale CALIFORNIA, Los Angeles, The Trip, May 3–5 1966; Shrine New York City, Café Bizarre, mid-to-late December (SAF 1996) Auditorium, May 24–25 1968; Shrine Auditorium, July 1965 (exact dates unknown); Delmonico’s Hotel, Janu— Atlas, James Delmore Schwartz: The Life Of An American Poet

12–13 1968; Beverly Hills High School, late October– ary 13 1966; FilmMakers’ Cinematheque, February 6 & (FSG 1977) November 1968 (exact date unknown); Whisky A Go Go, February 8–13 1966; Paraphernalia Store, mid-to-late Baxter, John Fellini: The Biography (St Martin’s 1994) October 23–27 1968; Whisky A Go Go, November 14–17 March 1966 (exact date unknown); Village Gate, March Bennett, Graham Soft Machine: Out-Bloody-Rageous (SAF 2005) 1968; Whisky A Go Go, October 29–November 2 1969; 31 1966; Dom, April 1–30 1966; Village Gate, April 28 Blake, Mark (ed) Punk: The Whole Story (DK 2006) San Diego , Hippodrome, June 14–15 1968; Hippodrome, 1966; Balloon Farm, September 16–17 1966, September Bockris, Victor The Life And Death Of Andy Warhol (Bantam 1989) July 4–6 1968; San Francisco, Fillmore Auditorium, May 23–24 1966, September 30–October 1 1966, October Bockris, Victor Transformer: The Lou Reed Story (Simon & Schuster 27–29 1966; Avalon Ballroom, June 7–9 1968; Avalon 7–8 1966, October 14–15 1966; Lita Hornick’s apart— 1994) Ballroom, July 19–21 1968; Avalon Ballroom, October ment, October 26 1966; Steve Paul’s Scene, January 2–14 Bockris, Victor, and Gerard Malanga UpTight: The Velvet Under-

18–20 1968; Avalon Ballroom, November 22–24 1968; 1967; Gymnasium, March 24 1967, April 2 1967, April ground Story (Cooper Square 2003) Family Dog, November 7–9 1969; Matrix, November 7–8 1967; Cheetah, April 11 1967; Gymnasium, April Bourdon, David Andy Warhol (Abrams 1989) 12–18 1969; Matrix, November 23–27 1969; Basin Street 14–16, April 21–23, April 28–30 1967; Steve Paul’s Boyd, Joe White Bicycles: Making Music In The 1960s (Serpent’s West, late November 1969 (exact date unknown); Matrix, Scene, May 1967 (exact date unknown); Lincoln Center, Tail 2005) December 1–3 1969 November 13 1967; Max’s Kansas City, June 24–August Browne, David Dream Brother: The Lives And Music Of Jeff And CONNECTICUT: New Canaan, Philip Johnson’s Glass House, 28 1970; Sag Harbor, [unknown venue], August 1968 Tim Buckley (Harper Entertainment 2001) June 3 1967 (exact date unknown); Schenectady, Aerodrome, Sep— Cale, John, and Victor Bockris The Autobiography Of John Cale: ILLINOIS, Chicago, Poor Richard’s, June 21–July 3 1966; tember 26 1969 What’s Welsh For Zen. (Bloomsbury 1999) Playboy Club, late June–early July 1966 (exact date OHIO, Cincinnati, Topper Club, November 3 1966; Cleve- Callwood, Brett Sonically Speaking: MC5: A Tale Of Revolution

unknown); Aardvark Cinematheque, February 1 1968; land, Masonic Auditorium, November 6 1966; La Cave, And Rock’n’Roll (IMP 2007) Kinetic Playground, April 19–20 1968; Kinetic Playground, April 26–28 1968; La Cave, October 4–6 1968; Music Carr, Roy, and Charles Shaar Murray Bowie: An Illustrated Record

January 24–25 1969; Kinetic Playground, April 25–27 Hall, December 1 1968; La Cave, January 31–February 2 (Avon 1981) 1969; Quiet Knight, January 14–25 1970 1969; La Cave, March 28–30 1969; Columbus, Valleydale Carson, David A. Grit, Noise, And Revolution: The Birth Of Detroit MARYLAND: Catonsville, University Of Maryland Baltimore Ballroom, November 4 1966 Rock’n’Roll (University Of Michigan 2006) County Campus, September 20 1969 OREGON, Eugene, Attic, November 22 1969; Portland, Christgau, Robert Christgau’s Record Guide: Rock Albums Of The MASSACHUSETTS, Boston, Institute Of Contemporary Arts, Springer’s Hall, November 21 1969 ’70s (Ticknor & Fields 1981) October 29 1966; Boston Tea Party, May 26–27 1967; PENNSYLVANIA, Bryn Mawr, Main Point, February 19–22 Christgau, Robert Christgau’s Record Guide: The ’80s (Pantheon Boston Tea Party, June 9–10 1967; Boston Tea Party, 1970; Philadelphia, YMHA Auditorium, December 10–11 1990) August 11–12 1967; Savoy Theatre, September 21–24 1966; Trauma, July 19–22 1967; Trauma, July 26–29 Clapton, Diana Lou Reed & The Velvet Underground (Bobcat 1967; Union, Harvard University, February 24 1968; 1967; Trauma, March 15–17 1968; Electric Factory, Sep— 1987) Boston Tea Party, March 22–23 1968; Boston Tea Party, tember 20–21 1968; Electric Factory, June 27–28 1969; Dalton, David, and Lenny Kaye Rock 100 (Grosset & Dunlap May 16–18 1968; Boston Tea Party, August 15–17 1968; Second Fret, August 27–30 1969; Second Fret, October 1977) Boston Tea Party, September 27–28 1968; Boston Tea 8–11 1969; Second Fret, December 25 1969–January 3 Davies, Dave Kink: An Autobiography (Boxtree 1996) Party, December 12–14 1968; Boston Tea Party, January 1970; Second Fret, March 11–15 1970; Second Fret, May Doggett, Peter Lou Reed: Growing Up In Public (Omnibus 1992) 9–11 1969; Boston Tea Party, January 22 1969; Boston 8–10 1970; Pittsburgh, Stanley Theater, February 7 1969 Duckworth, William, and Richard Fleming (ed) Sound And Light:

Tea Party, March 13–15 1969; Boston Tea Party, May TEXAS: Austin, Vulcan Gas Company, October 23–25 1969; La Monte Young And Marian Zazeela (Bucknell University 30–31 1969; Boston Tea Party, July 11 1969; Boston Tea Dallas, End Of Cole Ave, October 14–19 1969 1996) Party, August 14–16 1969; Unicorn, May 22–June 7 1970; WEST VIRGINIA, Wheeling, University Of West Virginia, Echols, Alice Scars Of Sweet Paradise: The Life And Times Of Janis

Cape Cod , A-Go-Go, July 3–6 1967; Leicester, Leicester November 5 1966 Joplin (Metropolitan 1999) Airport, October 30 1966; Lowell, Commodore, August 2 Eisen, Jonathan (ed) The Age Of Rock 2 (Random House 1970) 1969; Medford, Tufts University, February 4 1967; Prov- Eisen, Jonathan (ed) Twenty-Minute Fandangos (Vintage 1971) incetown, Chrysler Art Museum, August 31–September Ertegun, Ahmet “What’d I Say”: The Atlantic Story 50 Years Of

4 1966; South Deerfield, Woodrose Ballroom, March Music (Welcome Rain 2001) 21–22 1969; Woodrose Ballroom, May 16–17 1969; Farren, Mick Give The Anarchist A Cigarette (Jonathan Cape Woodrose Ballroom, June 13–14 1969; Woodrose Ball— 2001) room, August 22–23 1969; Woodrose Ballroom, Octo— Ferris, Paul Richard Burton (Coward, McCann & Geoghegan ber 3–4 1969; Springfield, Paramount Theater, January 1981) 9 1970; Paramount Theater, April 17 1970; Williamstown, Finkelstein, Nat Andy Warhol: The Factory Years 1964–1967:

Williams College, February 17 1967 Photographs By Nat Finkelstein (Powerhouse 2000) MICHIGAN, Ann Arbor, University Of Michigan Film Festival, Gambaccini, Paul (ed), with Susan Ready Rock Critics’ Choice:

March 12 1966; Hill Auditorium, April 9 1967; Detroit, The Top 200 Albums (Quick Fox 1979) Michigan State Fair Coliseum, November 18–20 1966; Gleason, Ralph The Jefferson Airplane And The San Francisco

Grande Ballroom, April 11–13 1969 Sound (Ballantine 1969) MINNESOTA: Minneapolis, Minneapolis Labor Temple, Goldsmith, Kenneth I’ll Be Your Mirror: The Selected Andy Warhol

October 12 1969 Interviews 1962–1987 (Carroll & Graf 2004)

360

WHITE LIGHT/WHITE HEAT n BIBLIOGRAPHY

Gorman, Paul In Their Own Write: Adventures In The Music Press Nadel, Ira B. Various Positions: A Life Of Leonard Cohen (Pan— chur 1967) (Sanctuary 2001) theon 1996) Watson, Steven Factory Made: Warhol And The Sixties (Pantheon Harvard, Joe The Velvet Underground & Nico (Continuum 2004) O’Brien, Karen Hymn To Her: Women Musicians Talk (Virago 2003) Havel, Vaclav To The Castle And Back (Knopf 2007) 1995) Weisbard, Eric, with Craig Marks (eds) Spin Alternative Record Hendricks, Jon (ed) Fluxus Codex (Gilbert & Lila Silverman Fluxus Paytress, Mark The Rolling Stones Off The Record (Omnibus 2003) Guide (Vintage 1995) Collection 1988) Peellaert, Guy, and Nik Cohn Rock Dreams (Popular 1973) West, Mike The Velvet Underground & Lou Reed (Babylon 1982) Henry, Tricia Break All Rules! Punk Rock And The Making Of A Pegg, Nicholas The Complete David Bowie (Reynolds & Hearn Wilcock, John The Autobiography & Sex Life Of Andy Warhol

Style (UMI Research 1989) 2002) (Other Scenes 1971) Heylin, Clinton (ed) All Yesterday’s Parties: The Velvet Underground Pitt, Kenneth Bowie: The Pitt Report (Omnibus 1985) Wiseman, Rich Jackson Browne: The Story Of A Hold Out (Dou-

In Print 1966–1970 (Da Capo 2005) Platt, John A., Chris Dreja, and Jim McCarty Yardbirds (Sidgwick bleday 1982) Heylin, Clinton Bob Dylan: A Life In Stolen Moments: Day By Day: & Jackson 1983) Witts, Richard Nico: The Life & Lies Of An Icon (Virgin 1993) 1941–1995 (Schirmer 1996) Poe, Randy Skydog: The Duane Allman Story (Backbeat 2006) Witts, Richard The Velvet Underground (Indiana University 2006) Heylin, Clinton Bob Dylan: Behind The Shades Revisited (William Potter, Keith Four Musical Minimalists: La Monte Young, Terry Wrenn, Michael Andy Warhol In His Own Words (Omnibus 1991) Morrow 2001) Riley, Steve Reich, Philip Glass (Cambridge University 2000) Wrenn, Michael Lou Reed Between The Lines (Plexus 1993) Heylin, Clinton The Act You’ve Known For All These Years: A Reed, Lou Between Thought And Expression: Selected Lyrics Of Wyman, Bill, with Richard Havers Rolling With The Stones (DK

Year In The Life Of Sgt Pepper And Friends (Canongate 2007) Lou Reed (Hyperion 1991) 2002) Hjort, Christopher, and Doug Hinman Jeff’s Book: A Chronology Ribowsky, Mark He’s A Rebel (E.P. Dutton 1989) Youngblood, Gene Expanded Cinema (P. Dutton & Co 1970) Of Jeff Beck’s Career, 1965–1980 (Rock’n’Roll Research 2000) Riordan, James, and Jerry Prochnicky Break On Through: The Life Yule, Doug, with Sal Mercuri (ed) 69 On The Road: Velvet Under-Hoberman, J. On Jack Smith’s Flaming Creatures (And Other And Death Of Jim Morrison (William Morrow 1991) ground Photographs (Fierce Pup Productions 1996) Secret-Flix Of Cinemaroc) (Granary 2001) Roberts, Chris Walk On The Wild Side: Lou Reed: The Stories Zak III, Albin (ed) The Velvet Underground Companion: Four Dec-Hogan, Peter The Rough Guide To The Velvet Underground Behind The Songs (Hal Leonard 2004) ades Of Commentary (Schirmer 1997) (Rough Guides 2007) Robinson, Richard, and Andy Zwerling The Rock Scene (Pyramid The Velvet Underground File (Aes-Nihil 1995) Holzman, Jac, and Gavan Daws Follow The Music: The Life And 1971) High Times Of Elektra Records In The Great Years Of American Roxon, Lillian Lillian Roxon’s Rock Encyclopedia (Grosset & Dunlap Pop Culture (FirstMedia 1998) 1969) Joseph, Branden W Beyond The Dream Syndicate: Tony Conrad Savage, Jon England’s Dreaming: Sex Pistols And Punk Rock

And The Arts After Cage (Zone 2008) (Faber 1991) Julia, Ignacio FeedBack: The Legend Of The Velvet Underground Schaffner, Nicholas Saucerful Of Secrets: The Pink Floyd Odyssey

(What Goes On Magazine/Velvet Underground Appreciation (Harmony 1991) Society 1987) Sewall-Ruskin, Yvonne High On Rebellion: Inside The Under-Kostek, M.C. The Velvet Underground Handbook (Black Spring ground At Max’s Kansas City (Thunder’s Mouth 1998) 1992) Shaw, Greg The Doors On The Road (Omnibus 1997) Kugelberg, Johan (ed) c/o The Velvet Underground New York, NY Shaw, Suzy, and Mick Farren Bomp! Saving The World One Record

(JMc & GHB Editions 2007) At A Time (AMMO 2007) Leffingwell, Edward, and Carole Kismaric, Marvin Heiferman (eds) Shore, Stephen, and Lynne Tillman The Velvet Years 1965–67:

Flaming Creature: Jack Smith: His Amazing Life And Times Warhol’s Factory (Thunder’s Mouth 1995) (Lookout 1997) Simmons, Sylvie Serge Gainsbourg: A Fistful Of Gitanes (Da Capo Leigh, Michael The Velvet Underground (Macfadden 1963) 2002) Leigh, Michael The Velvet Underground Revisited (Macfadden– Spence, Simon Immediate Records Labels Unlimited (Black Dog Bartell 1968) 2008) Lundbye, Vagn Nico (Berg 1969) Stein, Jean (ed), with George Plimpton Edie: American Girl (Knopf Malanga, Gerard Archiving Warhol (Creation 2002) 1982) Malanga, Gerard, and Anselm Hollo (ed) A Purchase In The Stoppard, Tom Rock’n’Roll (Grove 2006) White Botanica: The Collected Poetry Of Piero Heliczer (Gra— Swados, Elizabeth The Four Of Us: The Story Of A Family (FSG

nary 2001) 1991) Marsh, Dave, with John Swenson (eds) The Rolling Stone Record Thompson, Dave Beyond The Velvet Underground (Omnibus Guide (Rolling Stone 1979) 1989) Maywald, Willy, and Patrick Brissard Die Splitter Des Spiegels Torgoff, Martin Can’t Find My Way Home: America In The Great

(Schirmer/Mosel-Broschur 1985) Stoned Age, 1945–2000 (Simon & Schuster 2004) McKenna, Kristine Book Of Changes (Fantagraphics 2001) Trevena, Nigel Lou Reed & The Velvets (Bantam 1973) McLuhan, Marshall & Quentin Fiore The Medium Is The Message Trynka, Paul Iggy Pop: Open Up And Bleed (Broadway 2007) (Random House 1967) Ultra Violet Famous For 15 Minutes: My Years With Andy Warhol McNeil, Legs and Gillian McCain Please Kill Me: The Uncensored (Harcourt Brace Jovanovich 1988) Oral History Of Punk (Grove 1996) Van Ronk, Dave, with Elijah Wald The Mayor Of MacDougal Street Miles, Barry In The Sixties (Jonathan Cape 2002) (Da Capo 2005) Miles, Barry Pink Floyd: The Early Years (Omnibus 2006) Warhol, Andy a, A Novel (Grove 1968) Miles, Barry Zappa: A Biography (Grove 2004) Warhol, Andy Andy Warhol (Moderna Museet 1968) Miller, Debra Billy Name Stills From The Warhol Films (Prestel Warhol, Andy The Andy Warhol Diaries, Edited By Pat Hackett

1994) (Warner 1989) Mitchell, Tim Sedition And Alchemy: A Biography Of John Cale Warhol, Andy Andy Warhol’s Index (Random House 1967) (Peter Owen 2003) Warhol, Andy, and Pat Hackett POPism: The Warhol ’60s (Harcourt Mitchell, Tim There’s Something About Jonathan: Jonathan Rich- Brace Jovanovich 1980) man And The Modern Lovers (Peter Owen 1999) Warhol, Andy, and Gerard Malanga Screen Tests/A Diary (Kul-

361

INDEX n WHITE LIGHT/WHITE HEAT

Index

A 192, 200, 202, 210, 217, 252, 264, 272 315, 317, 321, 327, 328, 329, 330, 336, 338 Alexander, Willie 203, 308, 309, 310, 317, 319, Crowther, Bosley 78

324 C

‘All Tomorrow’s Parties’ 42, 89, 90, 97, 107, 115, Cale, John 4, 5, 6, 7, 8, 9, 11, 17, 18, 19, 20, 21, D

116, 119, 121, 132, 135, 148, 152, 288, 332, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, Dalton, David 121, 168, 332

341, 343, 347, 348, 349, 355 34, 35, 37, 39, 40, 41, 42, 43, 44, 45, 46, 48, Davies, Dave 161

Angel, Billy 250, 252 49, 50, 51, 52, 53, 54, 56, 57, 58, 59, 60, 62, Dead Language Press 12, 16, 18 Angell, Callie 57, 76, 79, 126, 127, 158, 175 64, 65, 66, 68, 72, 73, 75, 76, 78, 79, 80, 81, 83, Delon, Alain 14, 18, 20, 29, 143 Antoine 113 84, 85, 88, 90, 92, 93, 94, 95, 96, 99, 100, 103, De Maria, Walter 34, 35, 36, 48, 55, 65, 111, 112 Antonia, Nina 320 105, 107, 108, 111, 112, 113, 116, 117, 118, Deux Voix 42, 68 Aronowitz, Al 57, 58, 59, 60, 61, 65, 200, 311 121, 125, 126, 127, 130, 132, 138, 139, 143, Deviants, The 53, 139, 219

144, 145, 146, 147, 150, 151, 152, 153, 155, Dick Tracy And Gruesome 102

B 161, 162, 165, 166, 167, 169, 170, 171, 174, Doggett, Peter 13, 320, 352 Bailey, Alice 161, 261 175, 177, 178, 179, 180, 181, 182, 183, 184, Dolph, Norman 81, 82, 84, 85, 89, 90, 91, 92, Bangs, Lester 162, 163, 164, 194, 201, 212, 227, 186, 187, 188, 189, 191, 196, 197, 199, 200, 93, 271, 358

254, 273, 277, 289, 292, 306, 310, 315, 317, 201, 202, 203, 204, 207, 213, 214, 218, 219, Donohue, Jack 165

358 222, 223, 224, 229, 230, 231, 232, 237, 239, Doors, The 81, 82, 94, 95, 102, 103, 131, 136, Barrios, Gregg 123, 127, 132, 136, 145, 175, 240, 242, 243, 244, 245, 246, 248, 250, 252, 156, 160, 186, 192, 200, 207, 228, 246, 256, 250, 270, 332 253, 254, 262, 270, 271, 272, 275, 281, 289, 257, 329

Baxter, John 14 292, 295, 296, 297, 298, 299, 301, 302, 303, Dreja, Chris 120, 189 Beatles, The 20, 24, 26, 31, 32, 36, 48, 57, 58, 64, 304, 307, 308, 309, 310, 311, 312, 313, 314, Dylan, Bob 26, 27, 28, 31, 42, 46, 48, 49, 51, 55, 76, 78, 82, 85, 93, 135, 136, 143, 151, 160, 172, 315, 317, 319, 321, 324, 325, 328, 329, 330, 56, 57, 58, 59, 75, 77, 78, 79, 82, 89, 91, 93, 175, 192, 204, 213, 225, 233, 237, 241, 245, 249, 332, 334, 335, 337, 338, 339, 340, 341, 342, 95, 96, 110, 113, 114, 118, 127, 134, 135, 145, 256, 264, 268, 274, 278, 281, 283, 285, 306, 309, 345, 346, 347, 348, 349, 350, 351, 352, 358 146, 158, 166, 189, 199, 201, 212, 233, 248, 330, 340, 354, 358 Camp 72 253, 268, 272, 298, 306, 312, 340

Beggars Banquet 216, 232 ‘Candy Says’ 217, 222, 225, 226, 232, 247, 249, Berlin, Brigid 111, 151, 289, 290, 291, 292, 308, 261, 277, 289, 290, 293, 312, 349, 356 E

309, 315, 316, 337, 356, 357 Chelsea Girls, The 57, 107, 108, 111, 116, 122, East Village Other 78, 83, 84, 110, 125, 168, 179, Billboard 33, 52, 91, 113, 136, 166, 177, 178, 130, 132, 145, 147, 149, 160, 166, 172, 175, 197, 297, 333

179, 182, 183, 186, 215, 222, 229, 242, 281, 191, 219, 348 Edmonds, Ben 149, 154, 186, 242, 304, 337

311, 315, 319 Christgau, Robert 200, 295, 296, 304, 317, 327, Eisen, Jonathan 156

‘Black Angel’s Death Song’ 61, 148, 168, 305, 347 332, 336, 338, 354 Electric Frog 142 Blonde On Blonde 233 Ciao, Manhattan! 78 Elektra Records 133, 191, 197, 199, 200, 215, Blow Job 83 Circus 61, 106, 154, 162, 163, 191, 210, 275, 232 Bockris, Victor 8, 14, 16, 31, 67, 151, 183, 202, 282, 283, 288, 302, 303, 358 Emperor 83

204, 214, 217, 226, 237, 273, 274, 288, 324, Clapton, Diana 8, 142, 287, 289, 293, 308 Ertegun, Ahmet 272, 294, 316

334, 352 Cleopatra 299 ‘European Son’ 60, 77, 90, 125, 132, 135, 162, Boston Tea Party 80, 92, 110, 142, 151, 153, 157, Closet, The 57 349, 355

158, 160, 162, 163, 178, 181, 183, 184, 187, Cohen, Leonard 132, 134, 139, 145, 168, 170, Exploding Plastic Inevitable 4, 6, 12, 19, 44, 60, 195, 196, 201, 203, 216, 222, 223, 229, 230, 199, 352 65, 71, 76, 77, 79, 82, 83, 84, 85, 94, 95, 96, 97, 231, 233, 239, 240, 241, 243, 244, 270 Coming Attractions 299 100, 103, 104, 105, 106, 107, 110, 111, 114, Bowie, David 6, 53, 119, 125, 137, 139, 143, 228, Conrad, Tony 19, 21, 22, 24, 26, 27, 28, 29, 30, 115, 117, 118, 119, 127, 129, 130, 132, 133, 272, 294, 301, 303, 307, 308, 309, 311, 315, 31, 32, 33, 34, 35, 36, 37, 40, 41, 43, 45, 46, 134, 135, 139, 147, 148, 149, 150, 152, 153, 317, 321, 324, 332, 358 49, 50, 51, 53, 56, 58, 60, 66, 110, 111, 112, 157, 158, 164, 172, 175, 187, 190, 283, 337

Boyd, Joe 53, 91, 271, 281, 297, 298 126, 127, 178, 181, 184, 186, 203, 218, 219, Brakhage, Stan 49, 123 223, 224, 232, 246, 250, 263, 264, 270 F Browne, David 347 Couch 37, 83, 270 Factory 13, 43, 46, 56, 57, 59, 64, 69, 72, 73, Browne, Jackson 14, 91, 126, 133, 134, 139, 144, Crawdaddy 82, 180, 196, 200, 227, 268, 315 76, 77, 78, 79, 80, 83, 84, 100, 108, 111, 116, 145, 160, 161, 166, 167, 215 Creem 46, 89, 93, 132, 146, 152, 162, 163, 178, 118, 119, 122, 126, 127, 131, 132, 135, 136, Brown, Pete 36 194, 201, 212, 228, 229, 242, 247, 254, 273, 138, 148, 151, 152, 154, 155, 161, 162, 166, Byrds, The 49, 55, 67, 81, 82, 94, 113, 132, 160, 277, 279, 289, 292, 293, 296, 297, 306, 307, 169, 170, 172, 175, 180, 181, 189, 199, 201, 362

WHITE LIGHT/WHITE HEAT n INDEX

212, 213, 219, 225, 226, 232, 241, 245, 281, Harris, Phil 12, 13 International Times (IT) 82, 112, 137, 149, 168, 283, 285, 288, 289, 294, 299, 309, 311, 325, Harvard, Joe 85, 96 201, 305

332, 337 Havel, Vaclav 6, 175, 185, 339, 343, 348, 352, Invasion Of Thunderbolt Pagoda, The 186, 218, Falling Spikes, The 42, 44, 59 357 219, 270 Farren, Mick 53, 139, 219, 316 Hedy 76, 77

Fellini, Federico 14, 28 Heliczer, Kate 46, 52, 56, 57, 59, 92, 103, 112, J ‘Femme Fatale’ 89, 119, 120, 121, 135, 148, 126, 127, 143 Jades, The 13, 14, 21, 211

154, 156, 171, 198, 249, 254, 258, 289, 290, Heliczer, Piero 12, 18, 22, 27, 28, 35, 37, 44, 49, Jagger, Mick 52, 53, 55, 88, 101, 216, 242, 246

314, 315, 325, 341, 347, 348, 349, 354, 355, 50, 58, 65, 67, 77, 186, 219, 270 Jahn, Mike 200, 287

356, 358 Hendrix, Jimi 42, 55, 127, 131, 154, 155, 161, Jeffreys, Garland 16, 253, 271, 272, 280

Fields, Danny 65, 133, 142, 143, 156, 160, 167, 168, 175, 179, 207, 229, 236, 244, 306, 311, John, Elton 302

168, 197, 200, 203, 232, 268, 271, 281, 283, 340 Johns, Jasper 65

290, 297, 302, 305, 307, 309, 310, 311, 316, Henry, Tricia 224 Jones, Brian 43, 44, 53, 55, 57, 58, 80, 154, 155, 321, 355, 357 Hentoff, Nat 200 241, 244, 281, 305, 311

FilmMakers’ Cinematheque 31, 42, 44, 58, 60, ‘Here She Comes Now’ 29, 130, 151, 162, 169, Joseph, Branden W. 35, 36, 60

67, 76, 77, 78, 79, 92, 111, 135, 172, 219 178, 179, 289, 349 Julia, Ignacio 72, 88, 90, 103, 163, 170, 194, Finkelstein, Nat 9, 13, 31, 52, 78, 79, 100, 107, ‘Heroin’ 32, 41, 42, 48, 50, 51, 60, 61, 66, 75, 202, 204, 211, 223, 252, 277, 283, 290, 292, 111, 126, 135, 136, 172 77, 89, 90, 97, 103, 104, 106, 114, 117, 135, 294, 316, 325, 337

Fluxus 17, 18, 19, 20, 23, 29, 30, 93, 111, 127, 137, 148, 150, 163, 172, 185, 188, 190, 191, 264 192, 205, 206, 211, 212, 214, 224, 226, 228, K

**** (aka Four Stars) 113, 127, 145, 151, 158, 230, 241, 243, 254, 258, 259, 261, 262, 263, Kaye, Lenny 49, 110, 152, 163, 200, 228, 248, 174, 175 264, 268, 277, 289, 290, 297, 306, 314, 325, 264, 280, 282, 283, 288, 294, 297, 316, 324, Fugs, The 16, 44, 51, 58, 61, 65, 78, 82, 84, 93, 327, 329, 330, 340, 347, 349, 354, 355, 356 328, 329, 332, 351

110, 111, 112, 113, 122, 125, 136, 139, 158, Heylin, Clinton 49, 56 Kay, George 318, 319, 321

219, 224, 250, 281, 332 Hills, Chris 131 Kent, Nick 216, 320, 324

Fusion 88, 93, 100, 101, 132, 145, 150, 160, 164, Hilltop Pop Festival 243, 244 Kiss, The 57

213, 214, 215, 216, 217, 227, 229, 232, 252, Hit Parader 143

263, 264, 270, 272, 274, 288, 293, 294, 302, Hollo, Anselm 18 L

304, 305, 310, 311, 315, 317 Holzman, Jac 91, 133, 197, 200, 201, 232, 242, La Cicatrice Intérieure 271, 296, 314

281 La Dolce Vita 9, 14, 15, 21, 26, 31, 55

G Hullabaloo 122, 180, 185, 282 ‘Lady Godiva’s Operation’ 123, 162, 178, 180, Gainsbourg, Serge 21, 28, 85 349 Gambaccini, Paul 229 I La Tempesta 12 Garrel, Philippe 14, 232, 244, 271, 296, 314 I, A Man 158, 175, 189, 210 LA & The Eldorados 17, 24, 26, 32 Geldzahler, Henry 43, 45, 78, 152, 337 ‘I Heard Her Call My Name’ 151, 161, 164, 178, Leigh, Michael 24, 50, 56, 219 ‘Gift, The’ 162, 178, 179, 180, 186, 189, 192, 347, 349 Lennon, John 151, 241

202, 214, 341, 347, 349 ‘I’ll Be Your Mirror’ 7, 79, 84, 89, 97, 107, 111, ‘Lisa Says’ 247, 250, 256, 294, 311, 325, 335, Gillett, Charlie 84 115, 116, 132, 135, 154, 211, 215, 250, 254, 337, 349 Ginsberg, Allen 56, 57, 58, 84, 93, 96, 103, 125, 261, 285, 287, 312, 314, 315, 325, 347, 349, Little Caesar 12, 30, 44, 49, 65, 219

132, 199, 305 352, 355, 356 Loaded 5, 8, 19, 137, 147, 204, 222, 229, 237, Gleason, Ralph 6 ‘I’m Not Sayin’’ 53, 55, 56, 167 239, 240, 245, 247, 249, 252, 254, 258, 261, Goldman, Albert 200 ‘I’m Waiting For The Man’ 32, 41, 51, 53, 77, 89, 262, 267, 268, 269, 274, 275, 276, 277, 278, Goldstein, Richard 78, 111, 114, 130, 143, 148, 90, 91, 96, 97, 118, 119, 120, 125, 135, 139, 279, 280, 282, 283, 284, 288, 289, 290, 292, 150, 200 143, 146, 148, 151, 153, 156, 189, 205, 210, 293, 294, 295, 296, 297, 302, 303, 304, 305, Goodman, Ellen 80 216, 217, 219, 222, 223, 224, 230, 242, 243, 306, 309, 310, 315, 316, 319, 320, 321, 324, Graham, Bill 97, 100, 101, 189, 283 249, 254, 257, 258, 259, 262, 268, 269, 270, 325, 326, 327, 332, 336, 349, 350, 351, 352, Greenhaus, Donald 50 272, 276, 282, 285, 287, 290, 292, 308, 309, 356, 357

311, 312, 314, 315, 317, 319, 321, 324, 325, Lobel, Elektrah 42, 44, 59, 68 326, 330, 332, 333, 334, 341, 342, 345, 347, Lundbye, Vagn 242, 265 349, 354, 355, 356 Lupe 78, 79

H Imitation Of Christ, The 150, 174

363

INDEX n WHITE LIGHT/WHITE HEAT

M Morrison, Jim 95, 102, 121, 156, 158, 186, 198, 42, 43, 44, 46, 48, 49, 50, 51, 52, 53, 55, 56, MacLise, Angus 4, 11, 12, 16, 18, 19, 21, 22, 24, 203, 210, 329 57, 59, 64, 71, 72, 73, 75, 76, 77, 78, 79, 80, 82, 26, 27, 28, 29, 30, 33, 35, 36, 37, 39, 41, 42, Morrison, Martha 61, 83, 85, 90, 133, 153, 194, 83, 84, 85, 89, 90, 91, 92, 93, 94, 95, 96, 97, 99, 43, 44, 45, 46, 49, 50, 54, 55, 57, 58, 60, 65, 302, 307, 340, 346, 348, 351 100, 101, 102, 103, 104, 106, 107, 108, 110, 66, 67, 77, 85, 95, 100, 101, 103, 105, 106, Morrison, Sterling 4, 5, 8, 9, 12, 16, 17, 31, 32, 111, 112, 113, 114, 115, 116, 117, 118, 119, 107, 126, 135, 150, 170, 171, 174, 175, 181, 39, 42, 43, 44, 49, 50, 51, 52, 53, 54, 58, 59, 120, 121, 122, 123, 124, 125, 126, 127, 129, 183, 186, 203, 216, 218, 219, 232, 244, 264, 61, 62, 65, 66, 72, 73, 77, 78, 79, 81, 82, 83, 130, 132, 133, 134, 135, 136, 137, 138, 139, 270, 274, 284, 297, 298, 299, 332 85, 88, 89, 90, 91, 93, 96, 99, 100, 101, 102, 142, 143, 144, 145, 146, 147, 148, 149, 150, MacLise, Hetty 44, 59, 100, 174, 181, 184, 186, 103, 104, 107, 108, 110, 112, 113, 114, 116, 151, 152, 154, 155, 156, 158, 160, 161, 163, 189, 218, 244, 264, 274, 297, 298 117, 120, 126, 127, 130, 131, 132, 133, 136, 166, 167, 168, 169, 170, 171, 172, 174, 175, Malanga, Gerard 27, 30, 37, 46, 58, 64, 65, 67, 138, 142, 144, 145, 148, 149, 150, 155, 158, 177, 178, 179, 180, 181, 183, 184, 185, 186, 75, 76, 77, 78, 79, 80, 81, 83, 84, 92, 94, 97, 99, 160, 161, 162, 163, 164, 165, 166, 167, 169, 189, 191, 192, 195, 197, 198, 199, 200, 201, 100, 102, 103, 106, 107, 108, 110, 111, 112, 170, 171, 178, 180, 182, 183, 184, 187, 192, 203, 213, 214, 215, 216, 219, 225, 228, 229, 116, 117, 119, 120, 122, 123, 125, 126, 132, 194, 202, 203, 207, 209, 211, 214, 216, 217, 232, 241, 242, 244, 245, 248, 249, 250, 252, 142, 147, 149, 152, 172, 175, 178, 189, 191, 219, 222, 223, 225, 227, 229, 236, 237, 240, 253, 264, 265, 268, 271, 272, 281, 282, 287, 218, 219, 264, 270, 297, 334, 337 241, 242, 245, 247, 252, 256, 257, 258, 269, 288, 293, 294, 295, 296, 297, 299, 301, 302, Marble Index, The 145, 156, 168, 181, 191, 197, 270, 272, 273, 275, 278, 283, 284, 287, 289, 303, 304, 305, 306, 307, 308, 309, 310, 311, 198, 199, 200, 201, 203, 216, 228, 229, 232, 290, 292, 293, 294, 295, 297, 298, 301, 302, 312, 313, 314, 319, 320, 321, 324, 325, 329, 242, 265, 281, 296, 303 304, 306, 307, 308, 310, 312, 316, 318, 321, 330, 332, 333, 334, 337, 338, 341, 343, 346, Marcus, Greil 288, 333 325, 326, 328, 329, 330, 332, 333, 334, 336, 347, 349, 350, 351, 352, 355, 356, 357, 358 Marsh, Dave 296, 327 337, 338, 340, 341, 344, 345, 346, 347, 348, Nico/Antoine 113 Martin, James Michael 245 349, 350, 351, 352, 354, 358 Cohn, Nik 324 Mary I 113, 127 Morris, Phil 282, 283 Norris, Rob 59, 60, 161, 216, 261, 307, 318, Max’s Kansas City 5, 116, 118, 143, 170, 181, Morris, Robert 33 319, 321, 352

204, 214, 252, 267, 277, 279, 280, 282, 283, Morrissey, Paul 4, 39, 48, 57, 59, 64, 72, 73, 76, Notes On The Circus 106

284, 285, 288, 289, 290, 291, 292, 293, 296, 77, 78, 80, 83, 85, 89, 91, 92, 96, 100, 102, 297, 301, 302, 304, 305, 309, 314, 315, 316, 103, 107, 110, 111, 114, 115, 116, 121, 123, O

317, 319, 327, 328, 329, 347, 349, 354, 356, 126, 127, 129, 133, 135, 142, 149, 151, 152, O’Brien, Karen 295, 308

357 155, 158, 160, 166, 167, 169, 172, 175, 187, Oldham, Andrew Loog 43, 52, 53, 55, 155

Maywald, Willy 9, 12, 22, 29, 44, 46 203, 311, 348 Onsager, Hans 204, 222, 252, 258, 261, 295 McCartney, Paul 151, 294 Mothers Of Invention, The 92, 94, 95, 100, 101, ‘Ostrich, The’ 32, 33, 35, 36, 40, 41, 68, 329 McCarty, Jim 120 113, 117, 122, 135, 136, 149, 150, 161, 164, McGuire, Wayne 196 168, 175, 179, 180, 183, 186, 189, 207, 227, P McKenna, Kristine 55, 137, 175 252, 273, 288 ‘Pale Blue Eyes’ 104, 190, 212, 225, 226, 227, McLuhan, Marshall 96, 152 Mott The Hoople 258, 294, 317 232, 236, 242, 243, 249, 250, 263, 290, 312, Mekas, Jonas 24, 27, 31, 42, 44, 57, 58, 75, 84, 314, 315, 325, 328, 329, 339, 341, 347, 349,

106, 122, 123, 196 N 351, 356

Melody Maker 33, 40, 56, 103, 155, 160, 167, Name, Billy 18, 76, 78, 135, 161, 166, 172, 213, Paltridge, Jim 95, 96, 100, 102, 151

171, 194, 201, 227, 233, 244, 252, 271, 273, 225 Papatakis, Nico 9, 14, 16

281, 296, 302, 304, 305, 306, 308, 309, 311, Nelson, Paul 200, 257, 326 Peellaert, Guy 324

312, 314, 315, 317, 318, 320, 329, 330, 336, Nelson, Steve 80, 92, 93, 153, 158, 171, 204, Peel Slowly And See 8, 26, 29, 51, 52, 53, 60, 84, 337, 338, 340, 341 205, 216, 217, 223, 231, 239, 243, 244, 258, 89, 91, 104, 116, 118, 130, 135, 136, 144, 145, Minnelli, Vincente 50 268, 276, 277, 279, 283, 284, 302 146, 151, 157, 161, 162, 163, 166, 178, 182, Mishkin, Richard 17, 24, 26, 83 New Jerusalem, The 49 206, 211, 213, 214, 227, 236, 247, 249, 275, Mitchell, Tim 23, 29, 52, 126, 127, 183, 231, 269 New Musical Express 16, 49, 51, 53, 55, 61, 89, 91, 277, 278, 279, 280, 288, 292, 336, 348, 349, Mojo 125, 138, 139, 155, 229, 232, 273, 278, 110, 117, 120, 149, 161, 163, 167, 171, 186, 350, 351, 352, 354, 356

293, 294, 303, 308, 311, 318, 320, 321, 342, 189, 194, 201, 202, 212, 216, 227, 229, 248, Philips, Terry 32, 33, 34, 35, 36, 37, 40, 41, 42, 346, 357 277, 293, 296, 307, 309, 310, 311, 316, 320, 48, 68, 69, 73, 127, 143

Mojo Navigator 111 324, 328, 333, 347, 348 Pickwick Records 4, 33, 35, 36, 39, 66, 67, 69, 85 Montparnasse 12 Nico 4, 5, 6, 8, 9, 11, 12, 14, 15, 16, 17, 18, 19, Pile, Susan 103, 108, 114, 115, 116, 127, 138, More Milk, Yvette 77, 78 20, 21, 22, 24, 26, 27, 28, 29, 31, 35, 37, 39, 139, 145, 149, 152, 168, 170, 171, 184, 191,

364

WHITE LIGHT/WHITE HEAT n INDEX

207, 210, 213, 219, 254, 272 Richman, Jonathan 160, 196, 222, 223, 230, 237, Sims, Jimmie 32, 35, 36, 37, 40, 41, 48, 68, 73

Pitt, Kenneth 119, 125, 132, 139 243, 263, 269, 276, 314, 324 Sims, Judy 214, 215 Plimpton, George 25, 92, 93, 199 Riley, Terry 18, 33, 36, 43, 48, 56, 60, 169, 178, ‘Sister Ray’ 118, 146, 151, 163, 164, 165, 174, Police Car 127 186, 231, 239, 242, 253, 270, 272, 281, 297, 178, 185, 186, 189, 190, 191, 192, 194, 205, Potter, Keith 33 298, 304 206, 210, 211, 214, 215, 217, 219, 222, 223, Powers, Walter 203, 295, 297, 302, 307, 308, Riordan, James 156 224, 230, 231, 233, 241, 242, 249, 252, 254, 310, 317, 324 Rise And Fall Of Ziggy Stardust & The Spiders From 259, 261, 262, 263, 264, 285, 309, 329, 342, Primitives, The 4, 32, 33, 34, 35, 36, 39, 40, 41, Mars, The 315 349, 354

43, 48, 65, 68, 69, 75, 329, 330 Roberts, Chris 278 Sleep 83

Prochnicky, Jerry 156 Robinson, Richard 154, 306, 310, 311, 312, 314 Soap Opera 37 ‘Prominent Men’ 51, 53, 349 Rolling Stone 41, 49, 53, 56, 59, 73, 96, 100, Solanas, Valerie 158, 189, 333

103, 116, 118, 136, 138, 139, 144, 155, 167, Zagorski, Stanislaw 294

Q 175, 179, 180, 194, 200, 212, 224, 227, 229, Stark, Bob 152, 214, 228 Quine, Robert 202, 236, 237, 254, 256, 257, 262, 242, 272, 273, 281, 294, 295, 296, 297, 304, Stein, Jean 25

263, 349, 352, 354 311, 314, 316, 328, 332, 336, 339, 340, 350, Stevenson, Rosalind 42, 68, 84, 126

352, 356, 357 Stooges, The 205, 215, 232, 233, 242, 243, 252,

R Rolling Stones, The 37, 43, 44, 48, 55, 57, 59, 64, 253, 272, 332, 346, 357 Ragona, Bob 33, 40, 41, 42, 48, 69 67, 79, 80, 82, 113, 121, 135, 146, 148, 150, Stoppard, Tom 357 Rainbow Bridge 46 154, 172, 175, 186, 192, 200, 216, 232, 241, Strip-Tease 21, 22, 28 Reed, Lou 4, 5, 6, 7, 8, 9, 11, 12, 13, 14, 16, 17, 250, 252, 264, 268, 279, 282, 287, 320, 324, ‘Sunday Morning’ 116, 117, 120, 121, 125, 135, 18, 19, 20, 24, 26, 27, 29, 31, 32, 33, 34, 35, 330, 340, 347 142, 154, 161, 172, 212, 249, 261, 273, 289, 36, 37, 39, 40, 41, 42, 43, 44, 46, 48, 49, 50, Roxon, Lillian 184, 200, 265, 283, 311 290, 297, 315, 349, 354, 355, 356

51, 52, 53, 54, 58, 59, 60, 61, 62, 64, 65, 66, Rubber Soul 192 Superstar, Ingrid 77, 80, 83, 91, 92, 102, 103, 67, 68, 69, 72, 73, 75, 76, 77, 78, 79, 80, 81, Rubin, Barbara 27, 46, 49, 52, 57, 58, 61, 64, 67, 104, 111, 123, 125, 126, 127, 158, 172, 199

83, 84, 85, 88, 89, 90, 91, 93, 95, 96, 97, 99, 75, 78, 79, 84, 102, 126, 132, 219 Swados, Elizabeth 17

100, 102, 103, 104, 106, 107, 108, 110, 111, ‘Run Run Run’ 73, 89, 90, 91, 119, 146, 172, 189, ‘Sweet Jane’ 256, 258, 262, 268, 276, 278, 290, 112, 113, 114, 115, 116, 117, 118, 119, 121, 222, 242, 243, 349, 355 293, 294, 295, 305, 315, 320, 324, 325, 328, 122, 125, 126, 127, 130, 132, 133, 134, 135, 336, 342, 343, 347, 348, 349, 350, 356, 357

136, 137, 138, 139, 141, 142, 143, 144, 145, S Symphony Of Sound 76, 126, 127, 144, 337

146, 147, 148, 149, 150, 151, 152, 153, 154, Sander, Ellen 200 Szwed, John F. 152

155, 158, 160, 161, 162, 163, 164, 165, 166, Satisfaction 49, 67

167, 168, 169, 171, 172, 175, 178, 180, 181, Savage, Jon 330 T

182, 183, 184, 185, 186, 187, 188, 189, 192, Schupak, Don 17, 32 ‘There She Goes Again’ 73, 75, 77, 90, 132, 135, 194, 195, 196, 198, 200, 202, 203, 204, 205, Schwartz, Delmore 14, 20, 32, 90, 108, 122, 161, 259, 349, 355

206, 207, 209, 210, 211, 212, 213, 214, 215, 228, 261, 305, 358 Thomas, Pat 114, 160, 202, 204, 211, 249, 283, 216, 217, 219, 222, 223, 224, 225, 226, 227, Scorpio Rising 49, 123 293, 294, 329, 342

228, 229, 230, 231, 232, 233, 236, 237, 239, Sedgwick, Edie 46, 57, 58, 64, 65, 75, 77, 78, 79, Tiger Hop 113, 127

240, 241, 242, 243, 245, 246, 247, 248, 249, 80, 89, 92, 95, 100, 108, 111, 122, 156, 249 Tillman, Lynne 84, 113

250, 252, 253, 254, 255, 256, 257, 258, 259, Sesnick, Steve 4, 110, 129, 151, 153, 160, 161, Time Out 162, 169, 212, 308, 309, 314, 316, 358

261, 262, 263, 264, 265, 267, 268, 269, 272, 163, 165, 167, 171, 178, 182, 189, 202, 204, Torgoff, Martin 101

273, 274, 275, 276, 277, 278, 279, 280, 282, 215, 226, 236, 264, 273, 275, 278, 280, 284, Trevena, Nigel 41, 117

283, 284, 285, 287, 288, 289, 290, 292, 293, 287, 289, 292, 293, 302, 308, 309, 317, 320, Trynka, Paul 232, 242

294, 295, 297, 301, 302, 303, 304, 305, 306, 324 Tucker, Maureen ‘Moe’ 4, 5, 9, 39, 44, 55, 57, 58, 307, 308, 309, 310, 311, 312, 313, 314, 315, Sewall-Ruskin, Yvonne 143, 283 59, 61, 62, 65, 66, 73, 77, 83, 85, 90, 96, 97, 99, 316, 317, 318, 319, 320, 321, 324, 325, 326, Shad, Bob 12, 13, 18, 20, 32, 33 103, 106, 107, 118, 124, 126, 127, 131, 143, 327, 328, 329, 330, 332, 333, 334, 335, 336, Shades, The 8, 12, 13, 20, 49, 112, 321 145, 148, 152, 153, 161, 162, 163, 165, 166, 337, 338, 339, 340, 341, 342, 343, 344, 345, Shaw, Greg 95, 315, 316 167, 169, 171, 179, 180, 182, 184, 185, 202, 346, 347, 348, 349, 350, 351, 352, 354, 355, Shaw, Suzy 316 203, 204, 209, 214, 216, 222, 223, 224, 225, 356, 357, 358 Shelton, Robert 200 229, 230, 231, 233, 236, 237, 240, 241, 242, Reilly, Peter 196 Shore, Stephen 76, 172 245, 248, 249, 250, 254, 255, 257, 258, 264, Richard, Keith 287 Silverman, Leslie 32 267, 269, 273, 274, 275, 276, 277, 279, 280,

365

INDEX n WHITE LIGHT/WHITE HEAT

282, 283, 284, 285, 287, 288, 289, 290, 292, 281, 283, 284, 289, 291, 294, 295, 296, 299, 311, Williams, Richard 156, 168, 201, 215, 252, 271, 293, 295, 301, 302, 308, 309, 310, 312, 317, 316, 321, 333, 337, 338, 339, 340, 343, 345, 348, 304, 308, 309, 314, 317, 320, 329, 330, 332

318, 324, 325, 326, 328, 329, 332, 333, 336, 350, 358 Wilson, Tom 49, 59, 90, 91, 92, 96, 97, 107, 116, 337, 338, 339, 340, 341, 343, 346, 347, 348, Wein, Chuck 46 117, 121, 144, 160, 161, 163, 167, 178, 180, 349, 350, 351, 352, 357, 358 Wenner, Jann 100, 200 186, 189, 192, 215, 244, 253, 273, 277, 329

West, Mike 76 Witts, Richard 28, 49, 60, 65, 78, 144, 151, 281

U ‘What Goes On’ 190, 202, 205, 213, 225, 226, Woronov, Mary 77, 83, 92, 94, 99, 101, 103, Ultra Violet 119, 158, 160, 174, 200 228, 229, 243, 257, 258, 325, 330, 345, 349, 111, 123, 126

354 ‘Wrap Your Trouble In Dreams’ 51

V White Album (The Beatles) 136, 213, 225 Vance, Jerry 32, 35, 36, 37, 40, 41, 48, 68, 73, ‘White Light/White Heat’ 151, 161, 169, 178, 186, Y

127 222, 230, 231, 257, 259, 261, 268, 269, 289, Yardbirds, The 55, 97, 114, 120, 156, 168, 180, Van Ronk, Dave 61 309, 315, 325, 347, 349, 354, 356 183, 186, 188, 189, 206, 311 Velvet Underground & Nico, The 4, 6, 11, 14, 19, White Light/White Heat 1, 3, 4, 5, 6, 7, 8, 9, 12, 13, Youngblood, Gene 106, 186

20, 24, 35, 50, 51, 52, 57, 72, 73, 75, 76, 77, 14, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, Young, La Monte 4, 16, 17, 18, 19, 22, 23, 26, 79, 83, 84, 85, 89, 90, 91, 93, 95, 96, 97, 104, 28, 29, 30, 31, 32, 33, 35, 36, 37, 41, 42, 43, 44, 28, 29, 30, 31, 33, 35, 36, 37, 39, 40, 41, 43, 107, 110, 111, 114, 115, 116, 117, 119, 120, 45, 46, 48, 49, 50, 51, 52, 53, 55, 56, 57, 58, 59, 45, 46, 48, 50, 51, 53, 56, 58, 60, 65, 67, 76, 121, 123, 125, 129, 135, 136, 137, 138, 139, 60, 61, 64, 65, 66, 67, 68, 69, 77, 78, 79, 80, 81, 78, 85, 111, 112, 126, 150, 169, 170, 178, 181, 142, 145, 147, 148, 149, 150, 151, 152, 156, 82, 83, 84, 85, 88, 89, 90, 91, 92, 93, 94, 95, 96, 183, 184, 186, 187, 219, 231, 242, 264, 297

160, 161, 163, 167, 168, 169, 171, 172, 175, 97, 100, 101, 102, 103, 104, 105, 106, 107, 108, Yule, Billy 279, 280, 284, 285, 286, 288, 290, 177, 178, 179, 184, 185, 186, 199, 200, 214, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 292, 316, 318, 347, 357

219, 225, 248, 288, 294, 296, 305, 332, 337, 120, 121, 122, 123, 124, 125, 126, 127, 129, 130, Yule, Doug 5, 14, 44, 100, 117, 132, 169, 171, 347, 350, 355, 356, 357, 358 133, 134, 135, 136, 137, 138, 139, 142, 143, 144, 177, 182, 202, 203, 205, 206, 207, 209, 211, Velvet Underground Eats Supper 127 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 212, 213, 214, 216, 217, 222, 223, 225, 227, ‘Venus In Furs’ 32, 51, 60, 73, 77, 78, 90, 91, 155, 156, 157, 158, 160, 161, 162, 163, 164, 165, 229, 230, 231, 233, 236, 237, 239, 240, 241, 92, 97, 103, 106, 135, 148, 163, 171, 192, 194, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 242, 245, 248, 249, 250, 252, 256, 257, 258, 206, 210, 248, 259, 263, 293, 347, 349, 354, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 259, 261, 262, 263, 267, 268, 269, 271, 273, 355, 357, 358 187, 188, 189, 190, 191, 192, 194, 195, 196, 197, 274, 275, 276, 277, 279, 280, 282, 283, 284, Village Voice 17, 42, 52, 65, 81, 82, 83, 84, 92, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 285, 287, 289, 290, 292, 293, 294, 295, 296, 111, 113, 114, 115, 122, 130, 133, 135, 139, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219, 297, 301, 302, 303, 304, 305, 307, 308, 309, 143, 146, 147, 148, 149, 154, 167, 168, 175, 222, 223, 224, 225, 226, 227, 228, 229, 230, 231, 310, 311, 312, 316, 317, 318, 319, 320, 321, 200, 229, 241, 270, 285, 287, 295, 296, 304, 232, 233, 236, 237, 239, 240, 241, 242, 243, 244, 323, 325, 328, 329, 330, 334, 335, 337, 338, 317, 350 245, 246, 247, 248, 249, 250, 252, 253, 254, 256, 341, 348, 350, 351, 352, 357, 358

Vinyl 64, 79, 80, 83, 123, 133 257, 258, 259, 261, 262, 263, 264, 265, 268, 269, Viva 170, 199, 232, 299 270, 271, 272, 273, 274, 275, 276, 277, 278, 279, Z

280, 281, 282, 283, 284, 285, 287, 288, 289, 290, Zappa, Frank 33, 57, 94, 117, 164, 167, 168, 224,

W 292, 293, 294, 295, 296, 297, 298, 299, 302, 303, 252, 273, 299, 348 Walden 84 304, 305, 306, 307, 308, 309, 310, 311, 312, 314, Zazeela, Marian 18, 19, 22, 24, 26, 28, 29, 30, ‘Walk On The Wild Side’ 32, 311, 321 315, 316, 317, 318, 319, 320, 321, 324, 325, 326, 31, 33, 35, 37, 40, 41, 43, 45, 50, 53, 56, 58, Warhol, Andy 4, 6, 11, 12, 13, 14, 27, 28, 37, 39, 327, 328, 329, 330, 332, 333, 334, 335, 336, 337, 60, 65, 126, 181, 184, 186, 264, 297

42, 43, 44, 46, 49, 56, 57, 58, 59, 60, 64, 65, 67, 338, 339, 340, 341, 342, 343, 344, 345, 346, 347, Zwerling, Andy 306

71, 72, 75, 76, 77, 78, 79, 80, 82, 83, 84, 85, 88, 348, 349, 350, 351, 352, 354, 355, 356, 357, 358

92, 93, 95, 96, 97, 99, 100, 101, 102, 103, 104, ‘Who Loves The Sun’ 277, 278, 290, 293, 294, 105, 106, 107, 108, 111, 112, 113, 114, 115, 116, 305, 306, 349, 350, 356, 357

117, 118, 119, 120, 121, 122, 123, 124, 125, 126, ‘Why Don’t You Smile Now’ 68, 127, 143

127, 129, 130, 132, 133, 134, 135, 136, 138, 139, Wiedemann, Eric 242

141, 142, 143, 144, 146, 147, 148, 149, 150, 151, Wilcock, John 64, 65, 78, 79, 80, 82, 83, 92, 152, 153, 155, 156, 157, 158, 160, 161, 164, 166, 175, 189, 311

170, 171, 172, 173, 174, 175, 178, 179, 181, 186, Williams, Danny 78, 80, 100, 103, 104, 106, 108, 189, 190, 196, 197, 199, 200, 201, 203, 210, 211, 110, 121, 127, 155

219, 230, 241, 244, 246, 265, 270, 271, 277, 279, Williams, Paul 200, 227, 330

366

WHITE LIGHT/WHITE HEAT n ACKNOWLEDGMENTS

Acknowledgments

AUTHOR’S THANKS A special thanks to Martha Morrison for permitting me to look gave so much of their time to be interviewed about The Velvet Reconstructing The Velvet Underground’s career in as much depth through some of her VU-related clippings and memorabilia, as Underground for this volume. And, of course, to the musicians as this book does is by necessity a team effort in many respects, did Susan Pile when I interviewed her. Thanks also to Susan Pile responsible for the great music played by the Velvet Underground even if just one name appears on the cover. I couldn’t have for permitting quotation from the letters she wrote about The themselves: Lou Reed, John Cale, Sterling Morrison, Maureen possibly done so in nearly as much detail without the generos— Velvet Underground during the 60s. Tucker, Nico, Doug Yule, Billy Yule, and Angus MacLise. ity and expertise of many other fans of the group, quite a few of whom devoted an astonishing amount of energy to passing Thanks to these friends and family members who opened their PICTURE CREDITS along material and doing research on my behalf. homes to me and let me stay with them during my research: Jason The photographs in this book are reproduced by permission from Gross in New York; Scott Jackson in Portland, Oregon; Ruth and the following copyright holders, and we are grateful for their help.

Above all, I’d like to thank my friend Pat Thomas, who contrib— Bob Kildall in Seattle; Lisa McElroy and Keith Mills in Vancouver, All efforts have been made to contact the original photographers uted more time to assisting my endeavors, and helping put me Washington; Barry Ochrach and Amanda Konradi in the Baltimore— where possible. We apologize for any omissions, and will correct in touch with many other experts and interview subjects, than Washington, DC area; Roz Rosen in Brooklyn; Andrew Unterberger them in any future editions. anyone else. This book would be far less comprehensive if not in Brooklyn; Howard Unterberger and Margie Zinman in Los Ange—for his efforts. les; and my parents, Sue and Elliot Unterberger, in Philadelphia. Jacket Steve Schapiro/Corbis; 2 Adam Ritchie/Redferns; 15 Hulton Archive/Getty; 16 Philip Smith; 18 Philip Smith; 22 Serge Mir— Jeff Gold (Recordmecca.com) was especially vital to tracking Many thanks as well to many others who provided valuable help roneau; 34 Bob Ragona; 42 Rosalind Stevenson; 45 Premium down rare memorabilia and making contacts on my behalf. Matt for my research: Michael Adelsheim, Ted Alvy, Gordon Anderson, Archives/Getty; 46 Bob Ragona; 47 Bettmann/Corbis; 49 Matt Wrbican, archivist of the Andy Warhol Museum, was unfailingly Keith Badman, Bananafish, Richard Barone, Don Barrett, Clark Giarrizzo; 54 Donald Greenhaus/Shabobba ® International, LLC; courteous and diligent in helping me gain access to Velvet Besch, Randy Beucus, Mark Blake, Peter Blecha, Chuck Blore, 60 Chris Van Tuyll; 62–3 Adam Ritchie/Redferns; 73–5 Adam Underground-related material during my visit to that facility. Stephanie Boris, John Broven, Pete Brown, Keith Cameron, Ronn Ritchie/Redferns; 81 Charlie Gillett Archive/Redferns; 82 Chris Campisi, Corrado Canonici, Ed Carter, Michael Chaiken of Con- Van Tuyll; 83 Charles R. Rothschild Collection; 86–7 Steve Scha-

Jon Arnold was instrumental to my successful search for numer— temporary Films, Christopher Cox, Richard Cromelin, Paul Cronin, piro/Corbis; 94 Charles R. Rothschild Collection; 98–9 Steve ous rare recordings. Paul Anchico, Tim Bradstock, John Hagelston Terry Currier, Cindy Dern, Mason Disosway, Peter Doggett, Cindy Schapiro/Corbis; 109 Gavin Roberts; 113 Bettmann/Corbis; 115 of Rhino Entertainment, Lau Buur Nielsen, Nuno Robles, and Drake, Thorne Dreyer, Sean Egan, Mike Esposito, Cyrus Faryar, Ken Chris Van Tuyll; 117 Chris Van Tuyll; 120 Chris Van Tuyll; 121 Joan Chris Van Tuyll all lent or sent me loads of off-the-beaten-track Feinleib, Gary Fiset, Marc Fisher, Laura Flanders, Conrad Flynn, Kron; 122 Hulton Archive/Getty; 131 Jeff Gold/Recordmecca. clippings, recordings, publications, and memorabilia I often Ben Fong-Torres, Greg Freeman, David Fricke, Gillian Gaar, David com; 138 Ronn Spencer; 140–1 Ronn Spencer; 151 Chris Van would never have suspected existed. Dave Brown showed great Gans, Dave Gebroe, Matt Giarrizzo, Jason Gibbs, Charlie Gillett, Tuyll; 152 Rob Norris; 154 GAB Archives/Redferns; 159 Chris resourcefulness in tracking down leads for previously undocu— Jane Glover of the de Young Museum Library in San Francisco, Van Tuyll; 173 Gavin Roberts; 176 Michael Ochs Archives/Getty; mented information concerning Lou Reed’s stint at Pickwick Vinny Golia, Judy Golden, Paul Gorman, Rob Grenoble, Randy 179 Michael Ochs Archives/Getty; 187 Chris Van Tuyll; 188 John Records and the Velvets’ appearances in Philadelphia in 1966. Haecker of Legacy Media Relations, Steve Hammonds, Martyn Hagelston; 190–1 John Hagelston; 195 John Hagelston; 197 Tom McQuown gave me access to many publications that would Hanson, Ben Harrison of the Andy Warhol Museum, Jonathan Michael Ochs Archives/Getty; 208–9 Michael Ochs Archives/ have otherwise been impossible to find. Stuart Schellberg was Hess, Alan Horvath, Barney Hoskyns, Richard Jehn, Mike Johnson, Getty; 225 Michael Ochs Archives/Getty; 234–5 William “PoPsie” especially helpful in sharing his collection of music by some of Branden W. Joseph, Ignacio Julia, Donna Katz, Elliot Kendall, Randolph; 238 Jeff Albertson/Corbis; 240 Chris Van Tuyll; 243 The Velvet Underground’s associates, much of it out of print Tony Keys, Daniel Konhauser, M.C. Kostek, Stuart Kremsky, Johan Chris Van Tuyll; 247 Chris Van Tuyll; 251 Gavin Roberts; 269 Chris and difficult to obtain. Kugelberg, Andrew Lampert of Anthology Film Archives, Tom Lax, Van Tuyll; 270 Chris Van Tuyll; 276 Chris Van Tuyll; 285 Chris Van Eric Liknaitzky of Contemporary Films, Erik Lindgren, Isaac Lipfert, Tuyll; 286 Rob Norris; 291 Time & Life Pictures/Getty; 298 Hetty

Doug Hinman, Christopher Hjort, Richard Morton Jack, and Greg Laureen Lucero, Mike Mastrangelo, Karl MacRae, Rose Mann, MacLise; 313 Mick Gold/Redferns; 318 Bonnie Hagen; 319 Nigel Shaw conducted an enormous amount of research for me out Jacob McMurray, Dave Mihaly, Charlie Milgrim, Craig Miller, Phil Castle; 326–8 Elliott Murphy; 339 Hulton Archive/Getty; 343 of town and overseas through material that I otherwise could Milstein, Serge Mironneau, John Morthland, Dave Nolan, Michael Leon Morris/Redferns; 344 Gavin Roberts (ticket); 344–5 John not have inspected. Joe Hedio was particularly helpful in track— Oliver-Goodwin, Alec Palao, Maggie Paley, Stephen Parr, Dave Hagelston; 351 Getty Images; 353 Ebet Roberts/Redferns; 356 ing down vintage Velvet Underground reviews in New England. Peifley, Kenneth Wayne Peralta, Greg Pierce of the Andy Warhol James Romberger and Marguerite Van Cook/Ephemera Press.

Museum, Randy Poe, Lou Pollack, David Reed, Mark Ribowsky, Andy Zax helped clarify some details of The Velvet Underground’s William Rose, Janet Rosen, Dick Rosemont, Rob Saffer, Rob JACKET DESIGN early-70s recordings for Atlantic, as well as letting me hear and Santos of Sony-BMG/Legacy Recordings, Pierre Satgé of Uni— Paul Cooper Design look through some rare material from his collection. Tom Tier— versal Music in France, Neil Scaplehorn, Joel Selvin, Will Shade, ney, manager of the Sony-BMG Music Entertainment library Willoughby Sharp, David Sheppard, Michael Simmons, Mike Stax PUBLISHER’S THANKS and archives, went to considerable lengths to help me access of Ugly Things magazine, Jeff Tamarkin, Barry Tashian, Kent Paul Cooper; Philip Grimwood-Jones; Jason Gross; John Hagel—information about John Cale’s late-60s/early-70s sessions for Taylor, Henri Ter Hall, Bryan Thomas, Ira Transport, Tony Traguardo, ston; Dixie Henderson; Christopher Hjort and Gøril Johnstad Columbia Records that would have otherwise been unavailable, Paul Trynka, Joe Viglione, Diane Wallis, Kevin Walsh, Mark Web— Hansen; Joan Kron; Hetty MacLise; Marc Miller at Ephemera as well as clarifying some details regarding Lou Reed’s early-70s ber, Tracy Wemett, Philip White, Jeffrey Wood, and Todd Zimmer. Press; Serge Mirroneau; Elliott Murphy; Rob Norris; Michael RCA recordings. Randolph; Julian Ridgway; Neil Scaplehorn; Ronn Spencer;

At Jawbone Press/Backbeat Books in London, thanks to Mark Rosalind Stevenson; Chris Van Tuyll.

Philip Smith shared rare early VU-related material especially Brend, Tony Bacon, and Nigel Osborne for commissioning this important to researching the career of Angus MacLise, and book and editorial guidance; Kevin Becketti, Sales and Marketing also introduced me to Bill Breeze, who supplied leads to some Manager for Jawbone’s US branch, for his advice and support; FEEDBACK particularly valuable contacts. Matt Cunitz was of great help in Tom Seabrook, for his meticulous and sympathetic editorial work Comments? Complaints? Updates? Email us – whitelight@ analyzing and clarifying the technical aspects of some of the on the volume; Christopher Hjort for the book’s graphic design; jawbonepress.com – or write – White Light, Jawbone Press, 2a recordings that I covered. Longtime friend Alan Korn gave use— and Jawbone/Backbeat publicist Jon Mills. Thanks also to agents Union Court, 20-22 Union Road, London, SW4 6JP, England. ful legal advice. Bent Sørensen went beyond the call of duty in Sheree Bykofsky and Janet Rosen (no relation to the Janet Rosen translating several Danish publications into English. I benefited listed above) for their representation. greatly from Sam Hammond’s technical and computer expertise. “Sales are not the be-all and end-all of rock’n’roll …

Another special thanks to Paris friends Pascal Regis and Cath- inspiration and artistic freedom is the cornerstone of

Thanks to Larry Appelbaum, Matt Barton, and Bryan Cornell erine Mazodier, who were the first to encourage the idea that rock’n’roll.” for their help during my visit to the Library Of Congress, and eventually grew into this book. especially to Tony Thompson for his research on my behalf in John Cale, from his acceptance speech at The

that facility. The biggest thanks go to the many musicians, producers, Velvet Underground’s induction into the Rock And

promoters, filmmakers, journalists, and fans who graciously Roll Hall Of Fame, January 17 1996

367

Velvet jacket 24/2/11 16:07 Page 1

W

H

White Light/White Heat is the most comprehensive, immensely detailed work Richie Unterberger is the author of numerous rock IT

about one of the most influential bands in the history of rock. history books. His first book, Unknown Legends Of E

The Velvet Underground are by turns fiercely confrontational, literate, primitive, and LIG Rock’n’Roll, profiles underappreciated cult artists of

sweetly melodic. They are the ultimate cult band and the ultimate art-rock HT/ all styles and eras; the next, Urban Spacemen &

experience, their music and style providing a blueprint for everyone from David Wayfaring Strangers: Overlooked Innovators & W

Bowie to The Jesus And Mary Chain. Yet for all their Eccentric Visionaries Of ’60s Rock, features in-depth H

enduring importance, the band were largely unsuccessful in their day. Their records surveys of 20 underrated greats of the era. His other IT

sold in tiny quantities, their monochrome look and photo-realist lyrics at odds with books include a two-part history of 60s folk-rock, E

the garish colors and peaceful spirit of the hippie era. It was only when David Bowie H

championed the band in the early 70s – after they had E Turn! Turn! Turn!: The ’60s Folk-Rock Revolution and split up – that The Velvet Underground’s reputation A Eight Miles High: Folk-Rock’s Flight From Haight-

started to spread. Ashbury To Woodstock, and The Unreleased Beatles: T

Music And Film, which won a 2007 Association For

analyses the band’s career and influence in forensic detail, drawing on more than E In Historical Recorded Sound Research. V 100 interviews with band-members and associates, countless previously In White Light/White Heat, noted rock writer and historian Richie Unterberger Recorded Sound Collections Award For Excellence TH

ELV

undiscovered archive sources, and a vast knowledge ET

of the music of the times. He covers everything from Lou Reed’s first musical U Unterberger is also the author of The Rough Guide

ALSO IN THIS SERIES: experiments, John Cale’s journeys into the mid-60s avant-garde, and Nico’s early , which charts the evolution of regional ER G popular-music styles throughout America in the 20th DTo Music USA N

career as a model and actress, through to the recording of their landmark albums, RO

STRANGE BREW U their association with Andy Warhol, their legendary live shows and acrimoniousN century. He is a frequent contributor to the All Music

ERIC CLAPTON & THE BRITISH D BLUES BOOM 1965–1970 split, and beyond. D Guide and Mojo magazine, and has written hundreds

by Christopher Hjort of liner notes for CD reissues. He lives in San Y-D

Y-BA Praise for Richie Unterberger’s books:

“Impeccably researched, full of revealing anecdotes and hidden treasures, and told in a commendably unfussy AFrancisco. Y

SO YOU WANT TO BE A way, Turn! Turn! Turn! is a landmark in rock history.” RECORD COLLECTOR More information about the author, his books, and Ric h ie the music he documents can be found on his “Unterberger leaves no stone unturned.” MOJO ON EIGHT MILES HIGH U n website at richieunterberger.com. te ROCK’N’ROLL STAR WHITE LIGHT/ WHITE HEAT rb “Thorough research yielding fascinating mini-biographies of hipster heroes.” THE BYRDS DAY-BY-DAY e rg 1965–1973 LOS ANGELES NEW TIMES ON UNKNOWN LEGENDS OF ROCK’N’ROLL e THE VELVET UNDERGROUND DAY-BY-DAY r

by Christopher Hjort

www.jawbonepress.com Richie Unterberger A GENUINE JAWBONE BOOK

Velvet jacket 24/2/11 16:07 Page 1

W

H

White Light/White Heat is the most comprehensive, immensely detailed work Richie Unterberger is the author of numerous rock IT about one of the most influential bands in the history of rock. history books. His first book, Unknown Legends Of E

The Velvet Underground are by turns fiercely confrontational, literate, primitive, and HT/LIG Rock’n’Roll, profiles underappreciated cult artists of

all styles and eras; the next, Urban Spacemen &

sweetly melodic. They are the ultimate cult band and the ultimate art-rock

experience, their music and style providing a blueprint for everyone from David Wayfaring Strangers: Overlooked Innovators & WH

Bowie to The Jesus And Mary Chain. Yet for all their Eccentric Visionaries Of ’60s Rock, features in-depth

enduring importance, the band were largely unsuccessful in their day. Their records surveys of 20 underrated greats of the era. His other IT

sold in tiny quantities, their monochrome look and photo-realist lyrics at odds with books include a two-part history of 60s folk-rock, E

the garish colors and peaceful spirit of the hippie era. It was only when David Bowie H Turn! Turn! Turn!: The ’60s Folk-Rock Revolution and championed the band in the early 70s – after they had E split up – that The Velvet Underground’s reputation A Eight Miles High: Folk-Rock’s Flight From Haight-

started to spread. Ashbury To Woodstock, and The Unreleased Beatles: T

Music And Film, which won a 2007 Association For In White Light/White Heat, noted rock writer and historian Richie Unterberger Recorded Sound Collections Award For Excellence THE

analyses the band’s career and influence in forensic detail, drawing on more than In Historical Recorded Sound Research. VEL 100 interviews with band-members and associates, countless previously VET

undiscovered archive sources, and a vast knowledge of the music of the times. He covers everything from Lou Reed’s first musical UNDERGROUND Unterberger is also the author of The Rough Guide

experiments, John Cale’s journeys into the mid-60s avant-garde, and Nico’s early To Music USA, which charts the evolution of regional

ALSO IN THIS SERIES: career as a model and actress, through to the recording of their landmark albums, popular-music styles throughout America in the 20th

STRANGE BREW their association with Andy Warhol, their legendary live shows and acrimonious century. He is a frequent contributor to the All Music ERIC CLAPTON & THE BRITISH

BLUES BOOM 1965–1970 split, and beyond. DA Guide and Mojo magazine, and has written hundreds by Christopher Hjort Y-BY of liner notes for CD reissues. He lives in San Praise for Richie Unterberger’s books: -DA Francisco.

Y

“Impeccably researched, full of revealing anecdotes and hidden treasures, and told in a commendably unfussy way, Turn! Turn! Turn! is a landmark in rock history.” RECORD COLLECTOR Richie More information about the author, his books, and

“Unterberger leaves no stone unturned.” MOJO ON EIGHT MILES HIGH Unterberger LIGHT/ WHITE HEAT WHITE the music he documents can be found on his

SO YOU WANT TO BE A website at richieunterberger.com.

ROCK’N’ROLL STAR “Thorough research yielding fascinating mini-biographies of hipster heroes.” THE VELVET UNDERGROUND DAY-BY-DAY THE BYRDS DAY-BY-DAY

1965–1973 LOS ANGELES NEW TIMES ON UNKNOWN LEGENDS OF ROCK’N’ROLL

by Christopher Hjort

www.jawbonepress.com Richie Unterberger A GENUINE JAWBONE BOOK

Velvet jacket 24/2/11 16:07 Page 1

W

H

White Light/White Heat is the most comprehensive, immensely detailed work Richie Unterberger is the author of numerous rock IT

about one of the most influential bands in the history of rock. history books. His first book, Unknown Legends Of E

The Velvet Underground are by turns fiercely confrontational, literate, primitive, and LIG Rock’n’Roll, profiles underappreciated cult artists of

sweetly melodic. They are the ultimate cult band and the ultimate art-rock HT/ all styles and eras; the next, Urban Spacemen &

experience, their music and style providing a blueprint for everyone from David Wayfaring Strangers: Overlooked Innovators & W

Bowie to The Jesus And Mary Chain. Yet for all their Eccentric Visionaries Of ’60s Rock, features in-depth H

enduring importance, the band were largely unsuccessful in their day. Their records surveys of 20 underrated greats of the era. His other IT

sold in tiny quantities, their monochrome look and photo-realist lyrics at odds with books include a two-part history of 60s folk-rock, E

the garish colors and peaceful spirit of the hippie era. It was only when David Bowie H

championed the band in the early 70s – after they had E Turn! Turn! Turn!: The ’60s Folk-Rock Revolution and split up – that The Velvet Underground’s reputation A Eight Miles High: Folk-Rock’s Flight From Haight-

started to spread. Ashbury To Woodstock, and The Unreleased Beatles: T

Music And Film, which won a 2007 Association For

analyses the band’s career and influence in forensic detail, drawing on more than E In Historical Recorded Sound Research. V 100 interviews with band-members and associates, countless previously In White Light/White Heat, noted rock writer and historian Richie Unterberger Recorded Sound Collections Award For Excellence TH

ELV

undiscovered archive sources, and a vast knowledge ET

of the music of the times. He covers everything from Lou Reed’s first musical U Unterberger is also the author of The Rough Guide

ALSO IN THIS SERIES: experiments, John Cale’s journeys into the mid-60s avant-garde, and Nico’s early , which charts the evolution of regional ER G popular-music styles throughout America in the 20th DTo Music USA N

career as a model and actress, through to the recording of their landmark albums, RO

STRANGE BREW U their association with Andy Warhol, their legendary live shows and acrimoniousN century. He is a frequent contributor to the All Music

ERIC CLAPTON & THE BRITISH D BLUES BOOM 1965–1970 split, and beyond. D Guide and Mojo magazine, and has written hundreds

by Christopher Hjort of liner notes for CD reissues. He lives in San Y-D

Y-BA Praise for Richie Unterberger’s books:

“Impeccably researched, full of revealing anecdotes and hidden treasures, and told in a commendably unfussy AFrancisco. Y

SO YOU WANT TO BE A way, Turn! Turn! Turn! is a landmark in rock history.” RECORD COLLECTOR More information about the author, his books, and Ric h ie the music he documents can be found on his “Unterberger leaves no stone unturned.” MOJO ON EIGHT MILES HIGH U n website at richieunterberger.com. te ROCK’N’ROLL STAR WHITE LIGHT/ WHITE HEAT rb “Thorough research yielding fascinating mini-biographies of hipster heroes.” THE BYRDS DAY-BY-DAY e rg 1965–1973 LOS ANGELES NEW TIMES ON UNKNOWN LEGENDS OF ROCK’N’ROLL e THE VELVET UNDERGROUND DAY-BY-DAY r

by Christopher Hjort

www.jawbonepress.com Richie Unterberger A GENUINE JAWBONE BOOK

Table of Contents

Apart from a one-off performance in