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Half Japanese ‘Overjoyed’ mini-doc features members of Sonic Youth, REM, and Velvet Underground


 
It’d be tempting to dismiss this “mini-documentary” as a mere advertisement for a record release if the subject weren’t the incandescent and seminal lo-fi band Half Japanese.

Since their debut triple-album‘s 1980 release, the band, helmed by Mr. Jad Fair, have advanced an influential primitivist approach to rock music, which has made them one of those bands that see little marketplace success but are utterly beloved by other musicians. So beloved, in fact, that Fair’s bandmates have over the years included, among many others, noted producer and Velvet Monkeys/Gumball honcho Don Fleming, Shimmy-Disc boss and Bongwater multi-instrumentalist Kramer, and Velvet Underground drummer Mo Tucker.
 

 
So when it was announced that Half Japanese would be returning with a new album after a thirteen year layoff, it was surely an easy matter to find plenty of glowing testimonials from folks you can trust. (It’s worth noting that Fair has spent that downtime pursuing the visual arts, and if you can catch an exhibit, I recommend it, his work is great fun.) Overjoyed will be released by Joyful Noise on September 2, 2014, and members of REM, Sonic Youth, the Velvet Underground, NRBQ, Teenage Fanclub and many, many others are eager to tell you all about why you should care. If what you see here whets your appetite for more, you really need to see the 1993 documentary The Band That Would Be King. I’ve said this before, many times, but as far as I’m concerned it bears infinite repeats: if that doc doesn’t make you want to start a band, you might have no soul.
 

 
Previously on Dangerous Minds
Virtuosity in minutes: Half Japanese’s only guitar lesson you’ll ever need
‘Indie, punk, Motown, Brill Building and Velvets’: meet the street karaoke maestro of Los Angeles

Posted by Ron Kretsch | Leave a comment
The Making of an Underground Film: Edie Sedgwick, Andy Warhol and a ‘topless’ Velvet Underground


 
There is simply too much pork for the fork in this wild CBS Evening News report on the then-new phenomenon of “underground films” from New Year’s Eve of 1965/66.

Seen here are Piero Heliczer filming the Velvet Underground, along with testimony from Jonas Mekas, Stan Brakhage, Andy Warhol, a gorgeous young Edie Sedgwick, Al Aronowitz (the rock journo who introduced The Beatles to Dylan—and pot), Willard Van Dyke of the Museum of Modern Art, Chuck Wein, even shirtless and bodypainted Lou Reed and John Cale. Angus MacLise, who was still in the group when this was shot makes an appearance as well.

I think it’s safe to say that this is probably the first and so far at least, only time an excerpt from a Stan Brakhage film was ever shown on The CBS Evening News with Walter Cronkite.
 

 
Thank you Michael Simmons!

Posted by Richard Metzger | Leave a comment
Check out these rare 1967 Velvet Underground covers from Dutch kids and U.S. soldiers in Vietnam!
06.12.2014
08:17 am

Topics:
History
Music

Tags:
Velvet Underground
Riats
Electrical Banana

ngyhfijgu
 
It’s truly amazing to think that somehow a few eager rock ‘n’ rollers, living in the Netherlands in the ‘60s, getting whatever US and UK records they could get their hands on, wind up with the first Velvets LP, grouping it in with The Beatles, Stones, Monkees, and Lovin’ Spoonful albums that they got that day. And when it was time to go for broke and make their own first record, what did they do? That’s right, pick 2 songs off that weird banana record! Think about that thought process—they didn’t pick 2 songs from 2 different bands, or one original song with a cover song on the flip side like every other band, they covered two Velvets songs! I can’t wrap my head around this. These Dutch kids saw, in 1967, what the rest of the world took about 25 years to notice. The band is called The Riats. What could the name mean? Stair backwards? Misspelling of Riots? Rats? We probably will never know.

When I first found this years ago it just about melted my mind with questions that are still unanswered. The band made several 45’s and an LP, none anything much to speak of. This is pretty great though. Take away the Velvet Underground’s mystique, vibe, danger, art, even their sunglasses, and what do you have? This solid beat dancer! Organ-dominated, with a pounding production and a great guitar solo. Phonetic babbling a go-go, lord knows they had no idea what they were saying. But “Run Run Run” is really great. The B side, a somber, sorta clunky run through of “Sunday Morning,” could be anybody making any record in 1967, but my mind is SO etched with wondering what this meant to them, and what it means to me personally that it still screws me up a bit hearing it. I really wish there was an interview from ‘67 where these guys explain why they made this 45. It’s pretty odd for a band to basically do a tribute to a totally unknown band. Especially THAT band.

Enjoy the unbelievable: The Riats, “Run, Run, Run”/“Sunday Morning,” Omega Records, 1967 (Sadly I can’t find “Sunday Morning” anywhere on the internet).
 

 
Similar but even more incredible is the saga of The Electrical Banana.
 
fgfhrtvd
 
In March of 1966 Dean Kohler, then of The Satellites, was drafted, and his rock ‘n’ roll dreams were put aside…for a few minutes! Dean’s amazing story, including his Vietnam sojourn, is way too much to go into here, but please check his website here, or check out his book Rock ‘n’ Roll Soldier: A Memoir. In a nutshell, he taught a buddy to play bass on the bottom four strings of a guitar supplied by their ship’s chaplain during a 28-day boat ride across the ocean. Along with roughly three thousand men were guitars, amps, and drums. Together with a drummer and another guitarist (the aspiring bass player was not quite ready), Dean’s thrown-together threesome played for “all aboard” on Christmas Day 1966.

Upon landing, Dean and the shy bassist formed The Electrical Banana. They were originally The Swinging Banana in homage to Portsmouth’s Swinging Machine (the most revered and feared band of Dean’s hometown), but after thinking about it for a quick minute they nixed the name for obvious reasons! With matching banana yellow uniforms, Vietnamese guitars and a bamboo stalk for a mic stand, the guys were in business, playing at servicemen’s clubs in the off time from their rigorous regular schedules as MP’s. Remarkably, and mostly due to their conceptual banana fever, someone got ahold of and gave Dean the first Velvet Underground LP (with the Warhol banana cover, of course) within a month of its release. The band promptly snagged “There She Goes Again” for their repertoire and even recorded it live in the middle of Vietnam about a month later, along with Dean’s fine jangler “She’s Gone” (also on the compilation LP mentioned below).

In the best sense of American musical spirit and ingenuity, the band threw down pallets, pitched a tent, dragged over a gas-powered generator, hooked everything up and voila! Not only was it recorded, but released (sort of) in the form of ten acetates with individual custom labels crediting “The Banana,” with a copy of the finished product going to all involved. Again, given the decades it took for the Velvet Underground to receive their due respect and rewards, it’s almost impossible to conceive of the true story I just told, that a band recorded a Velvets cover in the middle of a Vietnam jungle in a gas-powered recording studio straight out of Gilligan’s Island, around ONE MONTH after the Velvets debut release!! Talk about being ahead of their time—woah.
 

 
The two Electrical Banana tracks, along with music by The Satellites, The Swinging Machine, and many more can be heard on the compilation Aliens, Psychos and Wild Things (Rare & Unissued Virginia Garage 1964-1967) on the greatest record label in the world, Norton Records. Check out their website.
 
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Big thanks to Simon Trent whose liner notes I used (liberally) to write the Electrical Banana story.
 

Posted by Howie Pyro | Leave a comment
Andy Warhol shoots The Velvet Underground live (and in color) Boston, 1967
05.28.2014
09:54 am

Topics:
Art
Music

Tags:
Andy Warhol
Velvet Underground


 
A 33-minute 16mm film shot by Andy Warhol of the Velvet Underground playing live at The Boston Tea Party nightclub in 1967 started making the rounds on the bootleg torrent tracker sites a few months ago, and now a pristine version has been uploaded to YouTube.

Although this is one of only two known films of the Velvet Underground with sync sound, before you go getting too excited, it’s pretty hard to watch (although still fascinating.) Sound cuts in and out, the camera work is herky jerky—a sure sign that it was indeed the somewhat technically inept Warhol who shot it—zooming in and out on the Velvets, the crowd, the film projections, strobe lights and mirrored disco balls.

Songs heard include bits of “I’m Waiting For The Man,” “Guess I’m Falling In Love,” “Run Run Run,” “Heroin,” “Walk It & Talk It,”  “I Heard Her Call My Name,” “Venus In Furs” and Sister Ray (the sole complete number).
 

 
Thank you Velvet Lover!

Posted by Richard Metzger | Leave a comment
Lou Reed, Nico and John Cale do Velvet Underground mini-reunion on French TV, 1972
04.24.2014
01:49 pm

Topics:
Music

Tags:
Lou Reed
Nico
Velvet Underground
John Cale


 
In 1972, Velvet Underground alumni Lou Reed, John Cale and Nico reunited before the cameras of the POP2 TV program at Le Bataclan, a well-known—and very intimate—Paris venue. It was Cale’s gig originally and he invited Reed and Nico to join him. Reed, who hated rehearsing, spent two days with Cale working out what they were going to do. According to Victor Bockris’ Lou Reed biography Transformer, rock critic Richard Robinson videotaped these rehearsals, which took place in London.

Both the videotape and the audio from this show have been heavily bootlegged over the years. A legit CD release happened a few years ago, but it still sounds like a bootleg. A high quality video turned up on various torrent trackers and bootleg blogs after a rebroadcast on French TV. It’s fairly easy to find. Now if only some of the outtakes from the Le Bataclan filming (if there were any) would slip out—they did “Black Angel’s Death Song” which I’d dearly love to see—not to mention what Richard Robinson might have (There is an audio only recording of the rehearsals attributed to Robinson’s tapes already making the rounds on bootleg torrent trackers.)

This is Reed coming off his first solo record (which had not even been released yet) and just a few months before he recorded “Walk on the Wild Side” with David Bowie and took on a totally different public—and we can presume, private—persona. This is “Long Island Lou” last seen just before Reed’s druggy bisexual alter-ego showed up and took his place. Cale does the lush “Ghost Story” from his then new Vintage Violence album and Nico looks stunning and happy here singing “Femme Fatale.” It’s before the damage of her drug addiction took its toll on her looks.

I will direct you here for the full version, but I can’t embed the file.

One thing worth pointing out here is that during “Berlin” you can see Nico’s face as Reed sings a song which he told her was about her. She might even be hearing it for the first time.
 

 
Here’s a version (oddly in color, the only one on YouTube, the rest are all B&W) of Reed and Cale performing a languid, stoned and thoroughly unplugged “I’m Waiting For The Man”:
 

Posted by Richard Metzger | Leave a comment
The Pizza Underground: Macaulay Culkin’s pizza-themed Velvet Underground cover band
12.06.2013
05:27 pm

Topics:
Music

Tags:
Velvet Underground
heroin
pizza
Macaulay Culkin


 
Good for him: After years of being accused of having a junk habit, Macaulay Culkin decided to tweak his reputation a little by covering the druggy anthems of Lou Reed and the Velvet Underground… but with a twist: all of the lyrics have been retooled to be about pizza. Culkin contributes vocals, kazoo, and primitive Moe Tucker-style “percussion” pounded out on empty pizza boxes to The Pizza Underground.

So far, The Pizza Underground have only put out one song—a “demo” medley on Bandcamp featuring “Papa John Says,” “I’m Beginning to Eat the Slice,” “Pizza,” “I’m Waiting for Delivery Man,” “Cheese Days,” “Pizza Day,” “All the Pizza Parties,” “Pizza Gal,” “Take a Bite of the Wild Slice.”

The Pizza Underground have done just one gig. Their demo was recorded live at Macaulay Culkin’s house on November 11, 2013 . Sure, it’s essentially one joke milked to death, but hey, I laughed!
 

 

 
Thank you Adam Starr of Los Angeles, CA!

Posted by Richard Metzger | Leave a comment
(Nearly) unheard Velvet Underground teaser from upcoming ‘White Light/White Heat’ box set
11.25.2013
02:50 pm

Topics:
Music

Tags:
Velvet Underground
Chris Stein


 
In anticipation of the upcoming box set of The Velvet Underground’s White Light/White Heat 45th Anniversary Super Deluxe Edition—which drops December 10th—the kind folks at the Universal Music Group have given Dangerous Minds readers a taste of what is to come. They even let me choose the track, “I’m Not A Young Man Anymore,” and it’s a stunner.

The three-disc, 30-track set includes both the original stereo and mono mixes of the album, alternate versions and unreleased outtakes, including John Cale’s final studio sessions with the band. The set’s centerpiece, though, is the official release of their complete show at The Gymnasium in New York, recorded on April 30, 1967. The Gymnasium performance was bootlegged in 2008, but this was transferred from John Cale’s personal copy. The White Light/White Heat box set comes housed in a 56-page hardbound book and was developed in full cooperation with both Lou Reed and John Cale.

Reed would have been a 25-year-old in 1967 when he wrote “I’m Not A Young Man Anymore.” WHY this song was never officially recorded, well, is a mystery for the ages. If there was a an hour-long version of this song, I’d put it on a loop 24-7. Was its sole outing the Gymnasium gig? I’ve got shitloads of VU bootlegs and I’m unaware of it appearing on any other set list. Go figure!

The Gymnasium was located in the East 70s and was originally a Czechoslovakian health and social club. The gym equipment was actually left in the club. A teenaged Chris Stein, later of Blondie, played at the space with his own band and remembers seeing The Velvet Underground there:

It was pretty late at night by the time we got out of the subway in Manhattan and headed toward the Gymnasium. Walking down the block with our guitars we actually saw some people coming down the street and they said, “Oh, are you guys the band, because we’ve been waiting there all night and we couldn’t take it anymore, we left because they never showed up.” So we said, “Yeah, we’re the band.” We went inside and there was hardly anyone there. Somebody said Andy was supposed to be there, but he was off in the shadows with his entourage, we never saw him. We hung around for a little while and they played records, then we headed up for the stage. It was a big echoey place, we had absolutely no conception of playing a place like this whatsoever, but Maureen Tucker said we could use their equipment. So we plugged into their amps and the amps were all cranked up superloud…. The only song I remember doing was “You Can’t Judge A Book By Its Cover.” We must have done a few more, but I remember sitting down after a while because the whole thing had gotten me pretty discouraged. Then somebody came over and said, “Oh Andy likes you, he thinks you’re great.” We must have played five or six songs then we just gave up. By that time the rest of The Velvets had arrived. After a while they started to play and they were like awesomely powerful. I had never expected to experience anything like that before…. I was really disappointed that they didn’t have Nico, because we thought she was the lead singer, but I distinctly remember the violin and their doing “Venus in Furs” because a couple of people in dark outfits got up and started doing a slow dance with a chain in between them…. There were maybe thirty people there. It was very late, but it was a memorable experience….

It seems likely that Stein might be describing the very show (no Nico here) contained on the box set. The complete and utter lack of applause might also be because of the small number of people Stein recalls being there. It was 45 years ago, so who knows?

When Reed died recently, Rolling Stone asked Thurston Moore for a memory of the rocker, and he referenced “I’m Not a Young Man Anymore.”

I was at South by Southwest in 2008, playing at a Lou Reed appreciation concert. I’d just heard “I’m Not a Young Man Anymore,” which had just surfaced on a Velvet Underground bootleg. It was this powerful song I’d never heard before. Before we went on, I was talking to Lou and told him about it and he said, “How the hell do you know about that song?” I said, “It just surfaced on a bootleg on the Internet.” I said I thought it would be a good song to play since I just turned 50. And when I said that, he looked at me, half smiled and embraced me. It was wonderful and completely unexpected.

Below, have a listen to “I’m Not a Young Man Anymore.” I’m totally in love with this song. This groove don’t quit. Turn it up loud enough so that it hits you like a fucking freight train.
 

Posted by Richard Metzger | Leave a comment
Lou Reed dead at 71
10.27.2013
10:53 am

Topics:
Music
R.I.P.

Tags:
Lou Reed
Velvet Underground


 
Lou Reed is dead at the age of 71. He’d gotten a liver transplant in Cleveland back in May, but the cause of his death has not been disclosed.

Reed’s wife, Laurie Anderson told the Times of London earlier this year regarding the transplant: “It’s as serious as it gets. He was dying. You don’t get it for fun.”

Below,  Andy Warhol’s “Symphony in Sound,” one of the only known sync sound film recordings of The Velvet Underground:
 

Posted by Richard Metzger | Leave a comment
Astonishing found footage of kids dancing to the Velvet Underground in 1956!
03.24.2013
11:19 am

Topics:
Music

Tags:
Velvet Underground
Teen dance show


 
From the DM archives:

The footage is from TV teen dance show “Seventeen” that aired in 1956 on Iowa station WOI-TV. The video was uploaded to the Internet without sound. In its silence, I imagined a soundtrack completely unrelated to the place and the time these dancers inhabit. I put together a soundtrack of tunes that is far different from the kind of rock ‘n’ roll that existed in the mid-1950s…but not that far. As long as there’s a beat that syncs up with the movement of the teenagers in the clip, it doesn’t matter what era the music is from - it’s all about the rhythm, the rock and the roll. Yep, the soul of music is timeless. And here’s the proof: a bunch of kids dancing to the Bush Tetras and The Velvet Underground in 1956.

Songs:
Run, Run, Run - The Velvet Underground
Rule The Nation - U- Roy
DJ’s Choice - Dennis Alcapone
Warm Leatherette - The Normal
Why Can’t I Touch It - The Buzzcocks
Too Many Creeps - The Bush Tetras
Love Song - The Cure
B.O.B. - Outkast
America Drinks And Goes Home - The Mothers Of Invention
 

Posted by Marc Campbell | Leave a comment
Vintage 1969 Velvet Underground radio ad asks ‘How do you feel?’
02.27.2013
12:08 pm

Topics:
Music

Tags:
Velvet Underground


 

“How do you feel? You don’t know really know how you feel… Why?”

It seems like it makes sense—rules of grammar and sentence structure are observed—but in fact, this commercial for the third Velvet Underground album makes absolutely no sense whatsoever.

Not knocking it, though, that’s what makes it so cool.
 

Posted by Richard Metzger | Leave a comment
Andy Warhol’s Index: A Pop Art, pop-up children’s book for druggy hipsters, 1967
02.26.2013
08:39 am

Topics:
Art
Books

Tags:
Andy Warhol
Velvet Underground


 
Andy Warhol’s Index, the Pope of Pop’s mass-produced 1967 pop-up book has been described as a “children’s book for hipsters.” It’s an item seldom encountered these days outside of auction houses, or high end book dealers, but on occasion the item does, er, pop-up on eBay for a decent price. You can usually find several expensive copies on ABEbooks.com.

The prices can vary quite a bit: there’s a hardback version with a plastic lenticular cover vs a foil-printed paperback, and copies signed by Warhol, obviously, have quite a premium on them. The other factor in how dealers price the book, however, tends to be about how complete it is. Random House probably didn’t published too many of these to begin with, and obviously they were hand-made to a certain extent. Many of the goodies that were originally part of the package tend to have gotten lost over the decades, so a complete edition is difficult to come by and often very expensive (I’ve owned two copies of this myself, an incomplete hardback copy that I lost in a girlfriend “divorce” and the pristine, complete paperback I found for a shockingly low price at The Strand’s rare book room about fifteen years ago that’s sitting on a shelf behind me as I type this).

Whenever someone over to the house expresses an interest in my book collection, Andy Warhol’s Index is one of the first things I pull out. As you can see from this video below, it’s a pretty impressive item, with pop-up planes, accordions, Campbell’s soup cans, Edie, Lou, Nico, things you’re supposed to dunk into water, even a pop-up paper castle meant to stand-in for the infamous dwelling where visiting rock bands stayed when they were in Los Angeles in the 60s.

Contributors besides Warhol were David Paul, Stephen Shore, Billy Name, Nat Finkelstein, Paul Morissey, Ondine, Nico, Christopher Cerf, Alan Rinzler, Gerald Harrison and Akihito Shirakawa.
 

 
The flexi disc of a 1966 Factory “Conversation” (Nico, Lou, Andy, John Cale and others talking about a mock-up of the book itself) is almost never found still in the binding. Listen below:
 

 

 
The tear-off sheet to the right of Henry Geldzahler, the influential curator at the Metropolitan Museum of Art, above, was supposed to be dunked into a glass of water. Rumors were that it was blotter acid, but I think instead (I’ve never tried it) you got Warhol’s signature in invisible ink or it expanded like a sponge.
 

 

 

 

Posted by Richard Metzger | Leave a comment
The Velvet Underground & Nico’s ‘Scepter Sessions’: Win limited edition vinyl!
01.07.2013
01:00 am

Topics:
Music

Tags:
Velvet Underground


 
Happy 2013 you lovely, smart Dangerous Minds readers!

To kick off the new year right, we’ve got another great music give-away thanks to the fine folks at the Universal Music Group (Congrats to Richard Swanson who won the Frank Zappa CDs last month).

This time, one lucky winner, chosen at random, will receive UMe’s new 2 CD deluxe release of The Velvet Underground & Nico and a vinyl copy of the legendary Scepter sessions acetate. Disc one features a new (and quite good sounding) remastering of this classic album but it’s what’s on disc 2 (and the LP) that’s extra special. Since I have already ranted and raved about the “45th Anniversary Super Deluxe edition” box set that this more compact set was carved out of last month, I’ll stick with what I wrote earlier:

The selling points of this set have little to do with the album as we know it, however, and everything to do with it being the first official release of the now legendary Scepter Studios sessions as discovered on the “Norman Dolph acetate” found at the Sixth Ave Flea market in New York in 2002.

The acetate (a glass test record) was cut of the original five day VU recording sessions at the near derelict studios belonging to the Scepter Records label in 1966. These sessions were paid for by a Columbia Records sales executive named Norman Dolph (who I’ve met—we both collect Paul Laffoley’s art—he’s a fascinating guy) and Andy Warhol. As heard on disc four of this new box set—in the cleanest version you’ll ever hear—the Scepter Studios sessions is a true revelation—white light, white heat, even!—for any aficionado of the Velvet Underground, even the most jaded ones, like me.

It’s a show stopper. Some reviewers call the differences minor, but I don’t think so…

Truly, I’d have never thought that I could get into this album again with fresh ears, but that really has happened, via the Scepter sessions. I’ve been listening to it obsessively for about a week and just digging the fuck out of it.

Five tracks are the same, although there are different mixes, three entirely different takes and several vocal changes. Since it’s likely that when these same multi-tracked tapes were taken back into the studio at TTG in Los Angeles for finishing, the original performances were probably recorded over: Lou Reed’s falsetto backing vocals on “Femme Fatale” for instance (in the version we know he sings low and flat). “Heroin” features a far more frantic, crazed viola from Cale and even starts off with a much different opening line, giving new meaning to the lyrics (John Cale wrote of being infuriated at the change in his autobiography, now we can hear what he was so pissed off about.) “European Son” is two minutes longer and although the take is different enough from the final version known on the album, it’s pretty amazing to hear just how well-rehearsed that ear-splitting cacophony actually was! That this was “lost” for so many years, and now can be heard like this, well, it’s pretty extraordinary, it really is.

You can win a free copy of the deluxe 2 CD set of The Velvet Underground & Nico, as well as a limited edition LP version of the Sceptor sessions that was pressed on vinyl especially for Record Store Day in 2012.

To enter, it’s simple, all you have to do is “like” The Velvet Underground’s Facebook page and subscribe to the Dangerous Minds daily newsletter (see widget at the top of this page). Once you’ve done both, please leave a comment below telling us why you deserve to win. The winner will be notified on Wednesday, January 9th.

Incidentally, there’s an interesting online marketing tool that UMe came up with to sell this album that will be of interest to Velvet Underground fans and downtown New Yorkers both past and present: An interactive map of significant addresses in the history of the band and what they are today. For instance, The Dom nightclub, where Warhol’s EPI happenings occurred in 1967, located at 23 St. Marks Place—later called Cheetah and for a long time the home of NA and AA meetings—has now been divided up between a Sock Man store, a Chipotle and a gourmet cheese shop (at least that’s what was there when I was last in NYC).

Locations on the Lower East Side where Lou and John used to score heroin are probably selling artisanal mayonnaise now…

Previously on Dangerous Minds:
It’s Just Too Much: Holy grail of Velvet Underground recordings released as part of new box set
 

 
Thank you Adam Starr!

Posted by Richard Metzger | Leave a comment
‘Terry ¡Me va!’: Pre-Velvet Underground Nico in TV brandy ads, 1964
01.02.2013
09:38 am

Topics:
Advertising

Tags:
Nico
Velvet Underground


 
The year on the YouTube uploads says 1970, but these corny Centenario Terry brandy ads, made for Spanish TV, actually date back to 1964.
 

 
 

Posted by Richard Metzger | Leave a comment
Nico performs a solemn version of ‘Genghis Khan’ on French TV, 1979
12.17.2012
03:07 pm

Topics:
Music

Tags:
Nico
Velvet Underground


 
On June 27, 1979, accompanied only by her harmonium, Nico performed a stunning “Genghis Khan,” a typically atmospheric number from her as then-unrecorded 1981 album, Drama of Exile, on French television.

I have come to lie with you
I have come to die with you
On your padded shoulder
And your golden chest
In a wilderness of glass we rest
And all the flowers they are our words
And my chances follow dances Into a storm afraid
A sweet and bitter rest he gets
A sweet and bitter rest he gets
I have come to lie with you
I have come to die with you.

They don’t write ‘em like that anymore, do they?

The golf claps from the audience speak volumes about how this must’ve gone down in 1979!
 

Posted by Richard Metzger | Leave a comment
The Velvet Underground Live at The Boston Tea Party, 1969
12.06.2012
12:51 pm

Topics:
Music

Tags:
Velvet Underground
Jonathan Richman


 
Still on a musical high from listening (over and over and over again) to The Velvet Underground & Nico 45th Anniversary Super Deluxe Edition box set (read my review here), I’ve also been on a tear through the (not inconsiderable amount of) VU bootlegs I have amassed over the years.

One of the better ones is this show that was taped on January 10,1969 in Boston, at the Velvets’ “home away from home,” The Boston Tea Party nightclub.

Future Modern Lover and huge Velvets fan Jonathan Richman was often in the audience during the Boston shows:

“Sometimes you just plain couldn’t figure out where on the stage those strange sounds and harmonics were coming from, because of the eerie calm with which they played and improvised in front of you, and because every time they’d come to town they’d introduce at least one new song that would, for better or worse, sound like nothing else that had gone before in rock music.”

The opening act that night were folk freaks The Holy Modal Rounders.

There’s a particularly good take of “Move Right In” (with a Moe Tucker savagely pounding her floor toms), nice readings of quieter numbers like “I’m Set Free” and “Candy Says”; and a great rave-up of “I Can’t Stand It.” It ends, natch, with a roof-raising “Sister Ray.”

The whole thing sounds great for an old audience recording, but it sounds so much better if you REALLY CRANK IT.

1. Heroin (0:00)
2. Move Right In (8:26)
3. I’m Set Free (13:12)
4. Run Run Run (17:49)
5. I’m Waiting For The Man (25:39)
6. What Goes On (34:35)
7. I Can’t Stand It (39:05)
8. Candy Says (45:23)
9. Beginning To See The Light (50:10)
10. White Light/White Heat (56:00)
11. Pale Blue Eyes (61:42)
12. Sister Ray (68:10)

 

 
Previously on Dangerous Minds
It’s Just Too Much: Holy grail of Velvet Underground recordings released as part of new box set

Posted by Richard Metzger | Leave a comment
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