The Velvet Underground
The Velvet Underground was an American rock band formed in New York City in 1964. It originally comprised singer and guitarist Lou Reed, Welsh multi-instrumentalist John Cale, guitarist Sterling Morrison, and drummer Angus MacLise. In 1965, MacLise was replaced by Moe Tucker, who played on most of the band's recordings. Though their integration of rock and the avant-garde resulted in little commercial success, they became one of the most influential bands in rock, underground, experimental, and alternative music.[4][5] Their provocative subject matter, musical experiments, and nihilistic attitude was also instrumental in the development of punk rock, new wave and several other genres.[4]
For other uses, see The Velvet Underground (disambiguation).
The Velvet Underground
The group performed under several names before settling on the Velvet Underground in 1965, taken from the title of a 1963 book on atypical sexual behavior. In 1966, the pop artist Andy Warhol became their manager. They served as the house band at Warhol's studio, the Factory, and his traveling multimedia show, the Exploding Plastic Inevitable, from 1966 to 1967. Their debut album, The Velvet Underground & Nico, featuring the German singer and model Nico, was released in 1967 to critical indifference and poor sales but later drew widespread acclaim.[6][7] They released three more albums: the abrasive White Light/White Heat (1968), and the more accessible albums The Velvet Underground (1969) and Loaded (1970), with Doug Yule replacing Cale for the latter two. None performed to the expectations of record labels or Reed, the band's leader. However, like the band's debut, all albums later achieved critical acclaim.
In the early 1970s, all but Yule left the band. Yule led an abortive UK tour in 1973, and released a final album under the Velvet Underground name, Squeeze (1973), recorded mostly by Yule with session musicians, before the band dissolved shortly after. The members collaborated on each other's solo work throughout the 1970s and 1980s, and a retrospective "rarities" album, VU, was released in 1985. Reed, Cale, Tucker and Morrison reunited for a series of well-received shows in 1993, and released a live album from the tour, Live MCMXCIII.
After Morrison's death in 1995, the remaining members played a final performance at their Rock and Roll Hall of Fame induction in 1996. Reed died in 2013. In 2004, the Velvet Underground were ranked number 19 on Rolling Stone's list of the "100 Greatest Artists of All Time".[8] The New York Times wrote that the Velvet Underground was "arguably the most influential American rock band of our time".[9]
History
Pre-career and early stages (1964–1966)
The foundations for what would become the Velvet Underground were laid in late 1964. Singer-songwriter and guitarist Lou Reed had performed with a few short-lived garage bands and had worked as a songwriter for Pickwick Records (Reed described his tenure there as being "a poor man's Carole King").[10] Reed met John Cale, a Welshman who had moved to the United States to study classical music upon securing a Leonard Bernstein scholarship. Cale had worked with experimental composers John Cage, Cornelius Cardew and La Monte Young, and had performed with Young's Theatre of Eternal Music, though was also interested in rock music.[11] Young's use of extended drones would be a profound influence on the band's early sound. Cale was pleasantly surprised to discover that Reed's experimentalist tendencies were similar to his own: Reed sometimes used alternative guitar tunings to create a droning sound. The pair rehearsed and performed together; their partnership and shared interests built the path towards what would later become the Velvet Underground.
Reed's first group with Cale was the Primitives, a short-lived group assembled to issue budget-priced recordings and support an anti-dance single written by Reed, "The Ostrich", to which Cale added a viola passage. Reed and Cale recruited Sterling Morrison—a college classmate of Reed's at Syracuse University—as a replacement for Walter De Maria, who had been a third member of the Primitives.[12] Reed and Morrison both played guitars, Cale played viola, keyboards and bass and Angus MacLise joined on percussion to complete the initial four-member unit. This quartet was first called the Warlocks, then the Falling Spikes.[13] The Velvet Underground by Michael Leigh was a contemporary mass market paperback about the secret sexual subculture of the early 1960s; Cale's friend and Dream Syndicate associate Tony Conrad showed it to the group, and MacLise made a suggestion to adopt the title as the band's name.[14] According to Reed and Morrison, the group liked the name, considering it evocative of "underground cinema", and fitting, as Reed had already written "Venus in Furs", a song inspired by Leopold von Sacher-Masoch's book of the same name, which dealt with masochism. The band immediately and unanimously adopted The Velvet Underground as its new name in November 1965.
The newly named Velvet Underground rehearsed and performed in New York City. Their music was generally much more relaxed than it would later become: Cale described this era as reminiscent of beat poetry, with MacLise playing gentle "pitter and patter rhythms behind the drone".[15]
In July 1965, Reed, Cale and Morrison recorded a demo tape at their Ludlow Street loft without MacLise, because he refused to be tied down to a schedule and would turn up to band practice sessions only when he wanted.[16][17] When he briefly returned to Britain, Cale attempted to give a copy of the tape to Marianne Faithfull,[18] hoping she would pass it on to Mick Jagger, lead singer of the Rolling Stones. Nothing ever came of this, but the demo was eventually released on the 1995 box set Peel Slowly and See.
Manager and music journalist Al Aronowitz arranged for the group's first paying gig—$75 ($725 in 2023 dollars)[19] to play at Summit High School, in Summit, New Jersey, opening for the Myddle Class. When they decided to take the gig, MacLise abruptly left the group, protesting what he considered a sellout; he was also unwilling to be told when to start and stop playing. "Angus was in it for art", Morrison reported.[10]
MacLise was replaced by Maureen "Moe" Tucker, the younger sister of Morrison's friend Jim Tucker. Tucker's playing style was rather unusual: she generally played standing up rather than seated and had an abbreviated drum setup of tom-toms, snare and an upturned bass drum, using mallets as often as drumsticks, and rarely using cymbals (she admits that she always hated cymbals).[20] When the band asked her to do something unusual, she turned her bass drum on its side and played standing up. After her drums were stolen from one club, she replaced them with garbage cans brought in from outside. Her rhythms, at once simple and exotic (influenced by the likes of Babatunde Olatunji and Bo Diddley as well as Charlie Watts of the Rolling Stones), became a vital part of the group's music, despite Cale's initial objections to the presence of a female drummer.[21][22] The group earned a regular paying gig at the Café Bizarre and gained an early reputation as a promising ensemble.
Andy Warhol and the Exploding Plastic Inevitable (1966–1967)
In 1965, after being introduced to the Velvet Underground by filmmaker Barbara Rubin,[23] Andy Warhol became the band's manager and suggested they use the German-born singer Nico (born Christa Päffgen) on several songs. Warhol's reputation helped the band gain a higher profile. He helped the band secure a recording contract with MGM's Verve Records, with himself as nominal "producer", and gave the Velvets free rein over the sound they created.
During their stay with Andy Warhol, the band became part of his multimedia roadshow, Exploding Plastic Inevitable, which combined Warhol's films with the band's music, which made use of minimalist devices, such as drones. Warhol included the band with his show in an effort to "use rock as a part of a larger, interdisciplinary-art work based around performance" (McDonald). They played shows for several months in New York City, then traveled throughout the United States and Canada until its last installment in May 1967.[24] During a short period in September 1966, when Cale was ill, the avant-garde musician Henry Flynt and Reed's friend Richard Mishkin[25] took turns to cover for him.[26]
The show included 16 mm film projections by Warhol, combined with a stroboscopic-light show designed by Danny Williams. Because of the punishing lights, the band took to wearing sunglasses onstage.[27] Early promo posters referred to the group as the "erupting plastic inevitable". This soon changed to "the exploding plastic inevitable".
In 1966, MacLise temporarily rejoined the Velvet Underground for a few EPI shows when Reed was suffering from hepatitis and unable to perform. For these appearances, Cale sang and played organ, Tucker switched to bass guitar and MacLise was on drums. Also at these appearances, the band often played an extended jam they had dubbed "Booker T", after musician Booker T. Jones. Some of these performances have been released as a bootleg; they remain the only record of MacLise with the Velvet Underground.
According to Morrison, MacLise is said to have regretted leaving the Velvet Underground and wanted to rejoin, but Reed specifically prohibited this and made it clear that this stint was only temporary. MacLise still behaved eccentrically with time and commerce and went by his own clock: for instance, he showed up half an hour late to one show and carried on with a half-hour of drumming to compensate for his late arrival, long after the set had finished.[16]
In December 1966, Warhol and David Dalton designed Issue 3 of the multimedia Aspen.[28] Included in this issue of the "magazine", which retailed at $4 ($38 in 2023 dollars[19]) per copy and was packaged in a hinged box designed to look like Fab laundry detergent, were various leaflets and booklets, one of which was a commentary on rock and roll by Lou Reed, another an EPI promotional newspaper. Also enclosed was a 2-sided flexi disk: side one produced by Peter Walker, a musical associate of Timothy Leary; and side two titled "Loop", credited to the Velvet Underground but actually recorded by Cale alone. "Loop", a recording solely of pulsating audio feedback culminating in a locked groove, was "a precursor to [Reed's] Metal Machine Music", say Velvets archivists M.C. Kostek and Phil Milstein in the book The Velvet Underground Companion.[29] "Loop" also predates much industrial music.
Legacy
The Velvet Underground is regarded as one of the most influential bands in rock history. In 1996 they were inducted into the Rock and Roll Hall of Fame.[89] Critic Robert Christgau considers them to be "the number three band of the '60s, after the Beatles and James Brown and His Famous Flames".[90] AllMusic wrote that "Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan [...] the Velvets' innovations – which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics – were too abrasive for the mainstream to handle."[4] The group's first four albums were included in Rolling Stone's list of The 500 Greatest Albums of All Time.[91] The group was ranked the 19th-greatest artist by the same magazine[92] and the 24th-greatest artist in a poll by VH1.
In 2021, a documentary film titled The Velvet Underground premiered at the Cannes Film Festival and was released on Apple TV+.[93]