It was the early 60’s. It was the time of Elvis, The Beach Boys, The Stones, The Beatles, Motown and who else? Who cared? Who in the world won’t want to just listen to the great music by those wonderful artists above? The answer is The Velvet Underground. They were the focal beginning point of alternative rock, punk rock and according to Joe Harvard, the “music of the low life”. The music labels and the media outlets and “critics” – the industry – snubbed them for almost their entire career. Time eventually told the story, and rather than conforming to the industry, The Velvet Underground defined what was to follow in rock musical development.
I’ll have to agree that I was amongst the “doubters” after hearing The Velvet Underground and Nico. It was counter to anything I was used to hearing. It took an effort to make it through the album experience. Songwriter Lou Reed’s lyrics, presented in his deadpan monotone, were hard to hear clearly and the instrumental directions were a 1960’s goat rodeo. My first impression was that I needed vodka, weed, Valium, or some other pharmaceutical in order to “appreciate” what the critics were raving about and that I was missing entirely. I felt as if I was in a re-make of The Emperor Without Clothes”. Am I that shallow? Why, I must learn how to be a more sophisticated listener. Then add Andy Warhol, the eclectic pop art icon of the times and Nico the sultry blonde German vocalist, and underground sexuality, and the band was “born”. The Velvet Underground was the artists’ artist, going on to influence a generation of rockers to follow. Everyone would find a small snippet of his or her sound and style to emulate.
Lou Reed and John Cale were the strongest foundational pillars of the Velvets. He wrote about sexual deviance, low life, and violence – things no one spoke or sang of in the 60’s. It was 60’s voyeurism. His lyrics were telling and captivating even though on the surface, their presentation was without embellished emotion. The 1972 “Take a Walk on the Wild Side” is classic Lou Reed. It is a good “entry level song to the Velvets for the amateur listener, prior to graduating with the “Heroin” experience. John Cale was a classical composer and guitarist, hardly an obvious choice as a musical partner for Reed. Cale was an avid enthusiast for “drone” tones; he became enamored with Lou Reed’s “The Ostrich”, where every string of Reed’s guitar was tuned to A flat. Cale developed an affinity for a drone tone viola to accompany the deadpan Reed, and the duo was born. After Sterling Morrison, a guitarist with a penchant for oversaturated, raw distorted Vox amplification, amateur percussionist and self taught drummer. “Mo” Tucker and Warhol’s vocalist, Niko were added, The Velvet Underground was formed. Their early work continued to be disastrous, with continuous rejection by critics due to their disorganized sound describing marginally speak able topics. The only saving grace for the Velvets was Andy Warhol, who kept the critic vultures at bay due solely to the strength of his notoriety and respect by the art world of the 60’s - more voyeurism for the disaffected, the “nonconformists”. The location for this culture was Warhol’s “The Factory”.
The Velvet Underground had a relentless pursuit of non-conformism because they knew they were unable to yield to the industry requirements of the songwriting arrangements, lyrics, and even dress of the band. John Cale: “The only reason we wore sunglasses on stage was because we couldn’t stand the sight of the audience.” The new they had to create a totally new sound - and they did. Their album The Velvet Underground and Niko, was raw and saturated with crude distortion, whilst accompanying the droning viola of Cale and the lyrical storytelling of Lou Reed. Venus in Furs creates a dichotomy of uneasiness and calm at the same time.
As a young producer, I have learned to be a better listener to what I initially do not appreciate, and above all, to never be labeled as a “dog baller”. I have become a better student of music as a result of learning about the depth of the history of The Velvet Underground. I also have learned that I must above all tolerate those “experts” or “critics” that pile on praise only after all the painful progress has been forged by those who won’t quit. Lastly, I gained more appreciation for Andy Warhol, who provided the translation of The Velvets to the world.
I guess maybe the emperor really is wearing clothes.
References
1986 The Southbank Show – The Velvet Underground by Alex Hudson – Jonas Mekas videographer directed by Kim Evans, Mary Harron
Joe Harvard The Velvet Underground's The Velvet Underground and Nico (33 1/3 Series) (Unabridged) 11/16/2008 Narrator Marc Vietor
Hello Rudolph,
ReplyDeleteI must admit, I too found it a bit difficult to put on a pair of headphones and really listen to The Velvet Underground and Nico all the way through. However, as I was listening to the album I realized that I was hearing techniques being used that I had just started experimenting with myself, like purposely adding feedback.
I do think you are on to something when you allude to the fact that it helps to be in an altered state of thinking when listening to this album to truly appreciate it. When you can allow yourself to let go and let the music take you wherever it goes, no matter how gruesome or disturbing the path is. When you are sober, the music makes you go crazy, when you are crazy the music takes you on a journey.
I'm really enjoying all of your blogs and the look of your page, nice work!
Brian Best
Interestingly, this week's Rolling Stone magazine states on page 26 that Lou Reed and John Cale have filed suit against The Andy Warhol Foundation for the Visual Arts, alleging the organization illegally licensed the iconic banana design. The VU feels this is their symbol and property.
ReplyDeleteRudolph