The Velvet Underground Velvet Underground

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Artikel-Nr.: SLP5466
Gewicht in Kg.: 0.3

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(2014 'Sundazed') 10 Tracks. Zusammenstellung der ersten 3 VU-Alben, die ursprünglich 1970... mehr

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The Velvet Underground: Velvet Underground

(2014 'Sundazed') 10 Tracks. Zusammenstellung der ersten 3 VU-Alben, die ursprünglich 1970 veröffentlicht wurden.

On Limited Edition Translucent Gold Vinyl!

Die Original-Übersicht/Kollektion der legendären Band. Auf Sundazed Compact Disc und 180g Vinyl, von den Original-Mastern.Ursprünglich als Teil der 'Golden Archive Series' von MGM veröffentlicht, ist dieses 1970er Album (einfach als Velvet Underground bezeichnet) eine grandiose Auswahl der ersten drei VU-Alben,, genau das, was man auf eine einsame Insel oder ans Ende der Welt mitnehmen kann. Es ist im Wesentlichen ihre früheste größte Hitsammlung und die perfekte Kapselung ihres Verve/MGM-Laufs. Lange von Sammlern geschätzt, präsentiert Sundazed es auf Compact Disc und 180 Gramm Vinyl von den Original-Mastertapes, mit neuen Liner Notes von Rolling Stone's David Fricke.

Artikeleigenschaften von The Velvet Underground: Velvet Underground

Interpret: The Velvet Underground
Albumtitel: Velvet Underground
Genre Rock'n'Roll
Label SUNDAZED
Preiscode VLP2
Geschwindigkeit 33 U/min
Plattengröße LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Artikelart LP
EAN: 0090771546616
Gewicht in Kg: 0.3

Velvet Underground - Velvet Underground LP 1
01	Candy Says -	The Velvet Underground
02	Sunday Morning -	The Velvet Underground
03	Femme Fatale -	The Velvet Underground
04	White Light White Heat	The Velvet Underground
05	Jesus -	The Velvet Underground
06	Heroin -	The Velvet Underground
07	Beginning to See the Light -	The Velvet Underground
08	I'm Set Free -	The Velvet Underground
09	Here She Comes Now -	The Velvet Underground
10	Afterhours	The Velvet Underground

The Velvet Underground The Velvet Underground were arguably more popular in Boston than... mehr

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"The Velvet Underground"

The Velvet Underground

The Velvet Underground were arguably more popular in Boston than anywhere else, and their home from home in the city was the famed Boston Tea Party, located at 53 Berkeley Street. "My personal favorite was The Velvet Underground," commented the club's manager Steve Nelson in 2011. "The Tea Party was essentially their home club from '67 to '70, a period when they did not play in New York. People came up from the City to see the Velvets, and onstage at the Tea Party Lou Reed called it their favorite place to play." Having played a well-received three-night stand there on Thursday 12th, Friday 13th and Saturday 14th December 1968 (their final shows of the year), it seemed obvious that they should return in the New Year. As such, they performed at the club on January 9th-11th, and again on January 22nd. Coinciding with their third visit of the year, between March 13th and 15th, came the release of their self-titled third album. With Cale having departed the preceding September, the band had gelled impressively with his replacement, Doug Yule, and entered a more contemplative phase, incorporating ballads heard on this CD such as Candy Says, I'm Set Free and Jesus.

Nonetheless, as Jonathan Richman has written of their act at this time: 'Doug had only been in the band a few months. You can hear the difference in the way he plays bass and organ compared to the style of John Cale. But Doug hadn't put his stamp on the band yet, so with Sterling and Lou playing guitars together with their own brand of double-rhythm and those tones they got, this band still sounds sorta like the one that recorded the album White Light/White Heat." Opening for the Velvets was Long Island hard rock trio Wilkinson Tri-Cycle (misnamed on the handbill as 'Wilkinson's Tricycle'). The VU's performance on the first night was taped by an audience member, and demonstrates their ever-evolving approach to their setlist.

They play what might have been the premiere of the oddball Ferryboat Bill (which is introduced as a new composition), and then follow it with a furious rendition of their staple I'm Waiting For The Man. Thereafter there's an intense White Light / White Heat and a fine Sister Ray, prefaced by some comments from Reed as to what the song is about (Richman: "I had no idea what the hell they were singing about most of the time, so any light shed on the subject was always a big help"). Reed proceeds to incorporate some of the lyrics to The Murder Mystery into this epic 22-minute rendition.

All in all, it's a superb document, and certainly preferable to the fascinating but frustrating recording of the March 15th show (which predominantly captured only Reed's guitar). As Steve Nelson later put it: "To me, if you try to figure out when they were really at their height, I think it's really '68, '69, after John had left... I don't think they really found themselves as a band, where they were really on top of what they were doing and really had that confidence in what they were doing. That really happened while Doug was with them."

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