The Velvet Underground The Gift
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The Velvet Underground The Gift
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Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. As Todd Haynes presents his documentary about them, we assess the best work of a band that changed and reinvented rock'n'roll. The Velvets recorded two versions of Ride Into the Sun: a brilliant 1969 instrumental full of fuzz guitar and a 1970 take on organ-backed vocals.
Somewhere between the two is one of their great lost songs; Lou Reed's 1972 solo version doesn't do it justice at all. For all the shock that came from the lyrics Heroin and I'm Waiting for My Man, Run Run Run is perhaps the most catchy track on the debut, a powerful R&B groove given off by a haunting darkness
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with the guitar playing acoustic reeds and the. scream-you-take-drugs wails in his voice. The title suggests awakening, the melody is clear, but the lyrics are dark and bitter. They may have directed John Cale, who played on the first version of the song, which was immediately re-recorded after Reed was fired, against the wishes of his bandmates.
The 1969 live version strongly heightens the tension. Reed has been a lifelong doo-wop fan. His passion usually showed when the Velvet Underground recorded backing vocals for their ballads - such as on Candy Says - but the hard-rocking Foggy Notion went one step further, happily stealing a piece from 1955's Solitaires.
Later for you. In which the group put a two-chord mill that may or may not be based on a Booker T instrumental in one channel and a Reed black comic short story read by Cale in the other. "If you're an angry devil like us, you'll listen to them both," offered the producer, Tom Wilson.
Recorded during the White Light/White Heat sessions, but never finished, the April 1967 live recording of Guess I'm Falling in Love - recorded at the Gymnasium in New York - will more than enough There are three chords, different rhythm and blues influence, Reed's street style, punk style and an explosive guitar solo somehow enhanced by a rough sound quality.
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It's not Mein Kampf - it's my struggle," guitarist Sterling Morrison once said of the Velvet Underground's career. "It was fun." A masterpiece from the late Cale era that captures Morrison, Cale and Reed accidentally while recording their chorus, Temptation Inside Your Heart has this level. New Age comes in two varieties. Take your pick of the tired, wee-hour rumours.
it was discovered in 1969: The Velvet Underground Live, or the more epic studio version that Velvets biographer Victor Bockris suggests was "an attempt to present a stirring narrative to a confused audience when the 70s began. ". Both are excellent. The Velvets' 1969 self-titled album ends, improbably, with drummer Moe Tucker singing a song that could have come from the pre-rock era.
The twist is that his childish voice and beautiful melody hide an almost unbearably sad song, ostensibly a celebration of early hours drinking, but full of longing and regret. Among the Velvets' songs about drugs and drag queens were the descriptive sounds of Reed pining for his college sweetheart, Shelley Albin, the subject of Pale Blue Eyes, I Found Reason and I Can't Stand It.
The letter's unhappiness is overshadowed by a desperate lyric plea: "If only Shelley had come back, it would have been all right." There's something folky and vaguely Dylan-esque at the heart of Black Angel's Death Song, but when Cale's done with it - he alternates between shouting, growling and whispering his
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into the microphone instead of chorus - he sings. , and still sound, unique. One of the ironies of the Velvet Underground is that the most innovative and progressive group of the era could sound like old-fashioned rock'n'roll revivalists. Buried on side two of Loaded was one of Lou Reed's finest homages to his love of doo-wop, complete with a spoken word section.
Simple, clever in tone, Some Kinda Love is complex business, part seductive soundtrack, part refusal to be pigeonholed into the usual sexist categories - "there's no better kind of love than the other ... the possibilities are endless / and for me . missing one / would seem baseless" Killer line: "Between thought and feeling is life." Son of Europe isn't so much a song as an eruption. roll, almost literally: after two verses
short, it goes into frenzied chaos and a word-for-word crash, so an overturned table hits the floor. It's hard to see the joyful hymn and drive Loaded on the redemptive power of music - "his life saved by rock and roll" - as nothing more than a veiled autobiography on Reed's part. The suggestion that music "endures despite all
break down", at the same time, looking forward to leaving the Velvet Underground. By 1969 he was writing distance songs like Candy Says, an elegant and sensitive pen portrait of the transgender superstar Warhol Candy Darling sent to doo-wop-inspired support. His melancholy seems to reflect the note Darling wrote on his deathbed in 1974: "I had no desire to
About The Gift
to live ... I'm so tired of everything."
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