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The Velvet Underground & Nico – LP Club

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The Velvet Underground & Nico – NhacCuaTui

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  • Summary: Articles about The Velvet Underground & Nico – NhacCuaTui Artist: The Velvet Underground Album: The Velvet Underground Nico Genre: rock Release Date: 24062002 Label: Universal Tracks: 31 Playing Time: 02:17:52 …

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‘The Velvet Underground and Nico’: 10 Things You Didn’t …

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  • Summary: Articles about ‘The Velvet Underground and Nico’: 10 Things You Didn’t … Now billed as the Velvet Underground with Nico, Warhol incorporated the band into a series of multimedia performances dubbed the Exploding …

  • Match the search results: A half-century on, The Velvet Underground and Nico remains the quintessential emblem of a certain brand of countercultural cool. Not the Haight-Ashbury or Sgt. Pepper kind but an eerier, artier, more NYC-rooted strain. Released on March 12th, 1967, the Velvet Underground‘s debut was an album t…

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Velvet Underground & Nico Cover by Andy Warhol …

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  • Summary: Articles about Velvet Underground & Nico Cover by Andy Warhol … The original album cover allowed fans to peel back the banana skin like a sticker, revealing the fruit of a nude-colored banana underneath. The sexually-charged …

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The Velvet Underground & Nico (45th Anniversary Edition)

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  • Summary: Articles about The Velvet Underground & Nico (45th Anniversary Edition) Listen to The Velvet Underground & Nico (45th Anniversary Edition) by The Velvet Underground & Nico on Apple Music. Stream songs including “Sunday Morning”, …

  • Match the search results: The first show The Velvet Underground played under the management of Andy Warhol was in January 1966, at a psychiatrist’s convention in New York. Warhol had been asked to give a lecture but suggested screening a film instead. The doctors consented. After all, Warhol was, at the time, arguably the mo…

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The Velvet Underground: Home

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  • Summary: Articles about The Velvet Underground: Home “Modern music begins with The Velvets.” … When The Velvet Underground & Nico album was released in March 1967 on Verve Records, with its Andy Warhol-designed, …

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‘I’ll Be Your Mirror’ is a Tasteful Reimagination of ‘The …

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  • Summary: Articles about ‘I’ll Be Your Mirror’ is a Tasteful Reimagination of ‘The … Chaotic and chic all at once, “The Velvet Underground & Nico” knows no bounds when it comes to genre, style or notions of musical orthodoxy. The …

  • Match the search results: Chaotic and chic all at once, “The Velvet Underground & Nico” knows no bounds when it comes to genre, style or notions of musical orthodoxy. The Velvet Underground as a band created a resounding cultural influence through its experimental rock genre and use of droning guitar tunings. From David …

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The Story of The Velvet Underground & Nico – Classic …

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  • Summary: Articles about The Story of The Velvet Underground & Nico – Classic … The resulting album, The Velvet Underground and Nico, is unlike anything that came before it. There is the stark, deadpan icy beauty of Nico’s vocals on …

  • Match the search results: At a time when the album was becoming king, The Velvet Underground and Nico only sold 30,000 copies but as Brian Eno famously said “everyone who bought one of those 30,000 copies started a band.” In fact, it would be easier to list the experimental or independent rock outfits the Velvet Underg…

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The Velvet Underground Singer Nico Upcoming Biopic

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  • Summary: Articles about The Velvet Underground Singer Nico Upcoming Biopic He molded and managed the band, The Velvet Underground, after seeing existing members Lou Reed, John Cale, Sterling Morrison and Maureen Tucker perform at Café …

  • Match the search results: Andy Warhol was more than just a pop artist. He was a successful film producer, photographer, author and record manager. His contribution to the world of music should not be undermined. He molded and managed the band, The Velvet Underground, after seeing existing members Lou Reed, John Cale, Sterlin…

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The Genius Of… The Velvet Underground … – Guitar.com

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The Velvet Underground & Nico – wiko

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  • Summary: Articles about The Velvet Underground & Nico – wiko The Velvet Underground & Nico là album đầu tay củaban nhạc rock người Mỹ Velvet Underground và ca sĩ người Đức Nico , được phát hành vào tháng 3 năm 1967 …

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The Velvet Underground & Nico – AllMusic

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    One would be hard-pressed to name a rock album whose influence has been as broad and pervasive as The Velvet Underground & Nico. While it reportedly took over a decade for the album’s sales to crack six figures, glam, punk, new wave, goth, noise, and nearly every other left-…

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The Velvet Underground & Nico Album Review | Pitchfork

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  • Summary: Articles about The Velvet Underground & Nico Album Review | Pitchfork The Velvet Underground & Nico … This limited six-disc set of the 1967 classic includes remasters, alternate versions and mixes, practice …

  • Match the search results: Forty-five years after its release, everything that was supposed to have made The Velvet Underground & Nico special has been nearly eradicated by its own legend. The most dangerous record of 1967 has been absorbed into the establishment rock canon; the paradoxical fame it earned from its hilario…

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Multi-read content the velvet underground and nico

Half a century has passedVelvet Underground and Nicoremains the most important symbol of a particular counterculture cool brand. Haight-Ashbury orSergeant. Peppera gentle yet NYC breed, spooky, more artistic. Released on March 12, 1967,velvet underground’s debut album is an album that brings awareness of the new, possible and dark side of humanity. Backed by Andy Warhol’s patronage and Nico’s enigmatic vocal contributions,Lou Reed’s photo., John Cale, Sterling Morrison and Maureen Tucker have declared their independence from Top 40 decor with a piece of her own that is bold, innovative and unapologetic. in many ways,Velvet Underground and Nicothe first rock album that looks truly inviting to be mentionedchange.

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Fifty years after its release, the LP still has the sound Stunning originals that provide inspiration and blueprints for everything from lo-fi punk rock to great avant-garde music, and more in between. Read on for 10 fascinating facts about the album creation process.

1. Lou Reed teamed up with John Cale for the first time to play the knockout version of “The Twist.”Reed’s professional music career took root in 1964 when he was hired as a songwriter for Pickwick Records, an NYC-based budget record label specializing in chart-topping records. “We just make songs; that’s all,” Reed recalls in 1972. “It was never a hit. What we do is make these heist albums. “

When ostrich feathers became a hot trend in women’s fashion magazines, Reed penned a parody of the emotionally charged and increasingly ridiculous dance songs. “The Twist” has nothing on “The Ostrich,” a funny and interesting trick with memorable opening lines: “Put your head down and let someone step on it!” While composing the song, Reed used a unique approach to tuning all six of the guitar strings to the same note, creating a hazy drone effect across the Middle East. “This Pickwick guy has an idea that I stole,” she said.mojoin 2005. “Looks great. I joked and wrote a song to do it. ”

Reed recorded the song with a group of studio players and released the song as Primitive. Despite the unorthodox mods, Pickwick heard the potential of “The Ostrich” and released it as a single. Selling in significant numbers, he convinced the company to recruit musicians pretending to be fake bands and promote the song in live performances. Reed began looking for potential members, valuing attitude as well as musical talent. He found them both in John Cale.

The couple crossed the street at a house party on Manhattan’s Lower East Side, where Reed was fascinated by Cale’s Beatle-y long hair. A well-educated genius, the young Welshman had moved to the city months ago to study music and violin with pioneering composer La Monte Young’s Theater of Eternal Music. Intrigued by his pedigree, Reed invited him to join Primitive. Seeing the opportunity to make some easy money and laugh a little, Cale agreed.

Focusing on rehearsing the song, Cale was surprised to discover that the “Ostorage Tuning” episode was actually the same drone Young was used to playing with. It was clear that they were connecting on the same musical wavelength on a personal level. “He met Lou at the cafe more than anything else,” Cale said in 1998.american masterdocumentary. “He made me a nice cup of coffee from the hot tap, sat me down, and started asking me what I was really doing in New York. There was a certain mind meeting there.”

2. “The Black Angel’s Death Song” resulted in the band being kicked out of their residence.Sterling Morrison became close after meeting his Syracuse University classmate Reed on the subway by chance. Together, they formed a loose band with Cale’s roommate Angus MacLise, a member of the Theater of Eternal Music collective. Lacking a consistent name—from Primitives to Warlocks and then moving on to Falling Spikes before taking their soon-to-be iconic nicknames from a paperback exhibition—the quartet practiced and recorded demos at Cale’s apartment in the summer of 1965.

John Cale, Lou Reed

The novice Velvet Underground befriended avant-garde rock journalist Al Aronowitz, who managed to get them a gig at a New Jersey high school in November. This angered the bohemian MacLise, who was afraid to appear anywhere at any given time. When he found out they were going to get paid for the show, he left and said the band was sold out. Not wanting to fill their vacancies, they asked Morrison’s friend Jim Tucker if his sister Maureen (known as “Moe”) was available. She has it and the classic lineup is present.

School gyms are not ideal venues for a group. “We created such a great uproar and fear for the high school audience that most of them – teachers, students, and parents – ran and screamed,” Cale said in the video.american master. Instead, Aronowitz found them a place to stay at Greenwich Village club Café Bizarre. The name is somewhat of a misnomer, as both owners and a handful of customers appreciate the unconventional sound. In a reluctant attempt at assimilation, the band added some rock standards to their repertoire. Morrison explained in an interview in 1990: “Café Bizarre had six nights a week, some trivia sets, 40 minutes and 20 minutes. “We played a few covers – ‘Little Queenie’, ‘Bright Lights Big City’… black R version

Three weeks later, the boredom had become too much to bear. “We were playing ‘The Dark Angel’s Death Song’ one night and the owner came and said, ‘You will be fired if you play this song again! “We started the next chapter with it,” Morrison said.Slugs!Incredible breaks as a bar band in a tourist trap. The self-sabotage had the desired effect and they got rid of their position – but not before Andy Warhol noticed.

Andy Warhol

3. The co-producer of the album refused to accept cash payment and requested a Warhol painting instead.Already a talented painter, sculptor, and filmmaker, Warhol, in the mid-60s, sought to expand his famous Factory empire to rock music.

Warhol, now known as the Velvet Underground with Nico, included the group in a series of multimedia performances called Exploding Plastic Inevitable: a marriage of underground music, film, dance and light. The promoter is Norman Dolph, 27, who is also an account representative at established Columbia Records as a DJ and siren. “I run a portable discotheque—if not the first, then at least the second in New York,” writer Joe later told Harvard. “I am an art lover and my concern is with art galleries, I want to provide music for performances and openings but instead I want to pay for a piece of art. That’s how I met Andy Warhol. ”

In the spring of 1966, Warhol decided it was time to enter the recording studio. Knowing little about such matters, he reached out to Dolph for advice. “When Warhol told me he wanted to break records with these guys, he said, ‘Oh, I can handle it, it’s okay. I would in exchange for a painting.”Sound on Sound. “I would say I would for some sort of search engine fee, but I wanted some artwork [and] he agreed.”

Dolph was tasked with reserving the studio, partially covering the costs, relying on his colleagues at Columbia to manufacture and bring the product to market. Due to his hardships, he was given one of Warhol’s silver “Death and Disaster Series” oil paintings. “It’s actually a pretty picture. Unfortunately, when I was about to get divorced, I sold it for around $75 to $17,000. I remember thinking, “God, I bet Lou Reed didn’t make $17,000 off this album.”

Nico, Sterling Morrison, Velvet Underground

4. Recorded later in the building where Studio 54 is located.Dolph’s day job in Columbia’s private label division saw him working with smaller printing companies that did not have their own printing presses. One of his clients was Scepter Records, known for releasing singles by Shirelles and Dionne Warwick. Their modest office at 254 West 54th Street in midtown Manhattan is notable for having its own independent registration facilities.

While Velvet Underground is a studio newbie, it doesn’t take an engineer to know that the room has seen better days. Reed in the liner notesPeel off slowly and seeBoxed described it as “somewhere between rebuilding and demolishing… the walls fell, there were holes in the floor, and carpentry materials were scattered all over the place.” Cale recalled that he was similarly depressed in his 1999 autobiography. “The building is on the verge of punishment. We went in and found the floorboards torn, the walls peeling, only four microphones working.”

It’s not flashy and barely works at times, but for four days in mid-April 1966 (the exact date is disputed), Specter Records will host most of the shows.Velvet Underground and Nicorecording session. Although Warhol had only played a key role in the proceedings, ten years later he would return to 254 West 54th Street, where the ground floor is home to the infamous Studio 54 nightclub.

5. Warhol wants to create a built-in crack in all recording copies to break “I Will Be Your Mirror”.Andy Warhol is the so-called producer.Velvet Underground and Nico, but in reality his role is more like that of a filmmaker; someone who finds a project, raises capital, and hires a team to bring it to life. Reed remembers, on the rare occasions when he attended lectures, “sitting behind a blackboard and admiring the flashing lights… Of course, he knew nothing about record production. He just sat down and said, “Oh, that’s great.”

Warhol’s absence is arguably his greatest gift to the Velvet Underground. “The advantage of Andy Warhol being the producer is that because he’s Andy Warhol [the engineers] will leave everything pure,” Reed said in an episode aired in 1986.This South Bank Show. “Are you all right, Mr. Warhol? “And he would say, “Oh… yes! “So from the beginning we experienced what it was like to be in the studio and recorded everything our way and basically had complete freedom.”

While he didn’t try to shape the group in his own image, Warhol made a few suggestions. One of his more eccentric ideas for the song “I’ll Be Your Mirror”, the delicate ballad inspired by Reed’s simmering romantic feelings for Nico, never came true. “We’re going to fix the profile with an integrated crack so it’s ‘I’ll be your mirror, I’ll be your mirror, I’ll be your mirror’ so it’s never rejected,” Reed explains at Victor Bockris.Nervous: The Velvet Underground Story. “He’ll just play and play until you come along and let go of the arm.”

6. “There She Goes Again” borrows a riff from a Marvin Gaye song.

Reed’s time at Pickwick gave him a basic mastery of the language of pop music. Often overshadowed by his innovative instrumental arrangements and taboo lyrical themes, the artist instantly has a clear hum with catchy lines like the album’s opening song, “Sunday Morning.” Clear and cool, with Reed’s androgynous melody replacing Nico’s planned narration, the song’s opening bass is a purposeful nod to “Monday, Monday” by the Mamas and Papas, which topped the charts in April 1966 when it was first recorded.

“There She Goes Again” also made a decent Top 40, borrowing guitar parts from one of Motown’s best hits. “Racing is a soul thing,” admits “Hitchhiker” Cale of Marvin Gaye.no cutin 2012. “The easiest song to come from Lou’s pop writing days in Pickwick.”

It will be honored when it becomes one of the first Velvet Underground songs from Vietnam to be covered halfway around the world. A copy was sent to a group of US soldiers performing under the name Electric Banana during their break.Velvet Underground and Nicoby a friend who thought they would appreciate the fruit on the lid. They also liked the music and decided to record a version of “There She Goes Again”. Not wanting to wait until they returned to the USA, they built a makeshift studio in the middle of the forest by throwing wooden pallets, setting up a tent, making a microphone stand from a bamboo branch, and plugging an amplifier into a transmitter. .

7. At the climax of “heroin”, the drum breaks.The most notorious track on the album is also one of the earliest, dating back to Reed’s days as a student at Syracuse University, performing with early rock and folk bands, and sampling illegal substances. Not to mention a healthy relationship with William S. Burroughs, it was drawn from the skills he acquired through his journalism work.bare lunch, Reed wrote a sentence describing his shooting experience with stunning clarity and enigmatic separation.

Surprisingly, Reed was able to record the song during his days on the pop assembly line at Pickwick Records. Reed told WLIR in 1972, “They locked me in a room and they said, ‘Let’s write 10 surf songs.’ And I wrote ‘Heroin’ and they said, ‘Hey, I got it. Anything for you!’ They said, ‘Never, never happen.’ However, the band had no such restrictions as it was sponsored by Andy Warhol.

Maureen Tucker

Working in the unconventional environment of a studio proved challenging for the band at times, especially during the boom period of “Heroin”. Maureen Tucker eventually got lost in the symphony and simply dropped the bat. “No one even noticed it, but it stopped right in the middle of the drum,” she said in the 2006 documentary.Velvet Underground: In Review. “No one thought about the drummer, they all worried about the sound and content of the guitar, and no one thought about the drummer. Well, when it got loud and fast, I couldn’t hear anything. I can’t hear anyone. So I stopped and said, “Oh, they’re going to stop and say, ‘What’s up, Moe?’ And nobody stopped! I’m back too”.

8. Lou Reed dedicates his “European Son” to his college mentor who hates rock music.One of Reed’s formative influences was poet and author Delmore Schwartz, who was his professor and friend while he was a student at Syracuse University. With intelligence, and often with pain, he instilled in Reed an innate belief in his own work. Reed told writer Bruce Pollock in 1973: “Delmore Schwartz was the saddest but also the smartest man I’ve ever met…until he met Andy Warhol.” If you sell Lou, I’ll understand. “I wasn’t thinking of doing anything, let alone selling.”

Rock

Schwartz has almost certainly never heard of this passage. Disabled by alcoholism and mental illness, he spent the last days of his life as a recluse in a low-rent hotel in downtown Manhattan. He died there of a heart attack on July 11, 1966, three months after recording Velvet Underground’s “European Son”. Isolated even in death, it took two days for his body to be found in the morgue.

9. The back cover led to a lawsuit that delayed the release of the album.It comes with a number of benefits managed by Andy Warhol and one benefit is a guarantee for:killer album cover. Although the artist’s relationship with music is unclear, his aim is visual arts. Just bored with still images, he found a peeled sticker of a pop art banana painting with a pink (and slightly phallic) peeled banana underneath. Besides the fine print on the helpful sticker that encourages buyers to “look and see”, the only text on the all-white cover is Warhol’s own name, which adorns the lower right corner of the page with Coronet Bold. important – added his official signed the Velvet Underground project.

The Velvet Underground & Nico

Essentially the promise of the original Warhol edition on the front of every album was a major selling point for Verve, which subsidiary MGM bought the rights to distribute the tapes and spent big bucks to get one. opinion. Ironically, the relatively traditional back cover, a photo of the band in the middle of an Exploding Plastic Inevitable performance at Norfolk’s Chrysler Art Museum, Virginia, caused the most headaches. A montage of actor and Factory collaborator Eric Emerson from Warhol’s is projected onto the stage and upside down.chelsea girlsmovie can be watched. Emerson, who was recently arrested for drug possession and in serious need of money, threatened to sue the agency for using his image without permission.

Instead of paying Emerson for his claim, which is believed to be $500,000, MGM halted production that spring as it grappled with how to remove the offending image. Copies of the album were withdrawn in June, out of commercial prospects. Morrison told Bockris: “Eric’s entire job was a complete failure for us and it just proves how stupid they are at MGM. “They responded by taking the album right off the shelf and keeping it for a few months while it lingered with Eric’s picture stickers and finally the airbrush. As a result, the album disappeared from the charts in June when it was almost about to enter the top 100. He never returned to the lists. ”

10. The broadcast delay fueled Sterling Morrison’s intense and often hilarious hatred of Frank Zappa.Parts of the album were largely completed in May 1966, but a combination of production logistics and advertising concerns, including the intricate stickers on the cover, delayed its release for almost a year. The exact situation remains unclear, but instead of blaming the recording enforcers or Warhol as their manager, the Velvet Underground blamed an unexpected target: Frank Zappa, MGM/Verve company mates.

The band believes that Zappa used his power to suppress their debut with Mothers of Invention in favor of their own album.alarm. “The problem is Frank Zappa and his manager, Herb Cohen,” Morrison said. “They sabotage us in various ways because they want to be the first to unleash a freak. And we were totally naive. We don’t have a manager who goes to the record label every day and pulls the whole production process to himself. Cale claimed that the band’s wealthy boss influenced the company’s rating. The ad for VU had the attitude, ‘There is no penny for VU because they have Andy Warhol; give all the money to Zappa’,” he wrote in his memoirs.

Whatever the truth, Sterling Morrison held a grudge against Zappa for the rest of his life and made no effort to hide his contempt in interviews. “Zappa doesn’t have the talent for writing lyrics. He keeps his musical flaws by recruiting all the vaudeville bands he calls.”Fusionin 1970. “He threw enough balls into these songs. I don’t know, I don’t like their music. … I think that albumalarmthis is incredible. “When he spoke ten years later, he was even more outspoken.Slugs!Diary. “Oh, I hate Frank Zappa. He’s really terrible, but he’s a good guitarist. … If you told Frank Zappa to shit in public, he would’ve sold the plate.”

Reed has also chosen a few words for Zappa over the years. In Nigel Trevena’s 1973 biography of the band, he refers to Zappa as “probably the only anonymous person I’ve ever heard of in my life.” He is hypocritical, arrogant, academic and can’t keep up with anything. He can’t play rock music

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March 12, 2017 marks the 50th anniversary of ‘The Velvet Underground \u0026 Nico’ album featuring “Sunday Morning”

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When it was released in 1967, few outside the band’s immediate circle seemed to know what to make of The Velvet Underground \u0026 Nico’s combative noise and provocative lyrics. Only a few years later, it would become a key building block for the punk movement.

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The Velvet Underground \u0026 Nico (In 4 Minutes)

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