The Velvet Underground

This article is about the band. For its self-titled album, lived group assembled to issue budget-priced recordings
see The Velvet Underground (album). For the book, see and support an anti-dance single penned by Reed, The
The Velvet Underground (book).
Ostrich, to which Cale added a viola passage. Reed
and Cale recruited Sterling Morrisona college classmate of Reeds at Syracuse Universityas a replacement
The Velvet Underground was an American rock band,
Maria, who had been a third member of
active between 1964 and 1973, formed in New York City. for Walter De [8]
Reed and Morrison both played guithe
Primitives.
The group achieved little commercial success during its
tars,
Cale
played
viola, keyboards and bass and Angus
career, but is now recognized as one of the most imporMacLise
joined
on
percussion to complete the initial
tant and inuential of its era. The group was briey manfour-member
unit.
This
quartet was rst called The Waraged by Andy Warhol, and served as the house band at the
locks,
then
The
Falling
Spikes.
Silver Factory and Warhols Exploding Plastic Inevitable
events from 1966 to 1967. The provocative subject matter and often nihilistic attitudes explored in their music
proved inuential in the development of punk rock and
alternative music.[1][2]

The Velvet Underground by Michael Leigh was a contemporary mass market paperback about the secret sexual subculture of the early 1960s that Cales friend Tony
Conrad showed the group. MacLise made a suggestion to
adopt the title as the bands name.[9] According to Reed
and Morrison, the group liked the name, considering it
evocative of underground cinema, and tting, as Reed
had already written "Venus in Furs", a song inspired by
Leopold von Sacher-Masoch's book of the same name,
which dealt with masochism. The band immediately and
unanimously adopted the Velvet Underground as its new
name in November 1965.

Their 1967 debut album The Velvet Underground & Nico

featured German singer and collaborator Nico and was
called the most prophetic rock album ever made by
Rolling Stone in 2003.[3][4] In 2004, Rolling Stone ranked
the band No. 19 on its list of the 100 Greatest Artists of
All Time.[5] The band was inducted into the Rock and
Roll Hall of Fame in 1996 by Patti Smith.

History

1.2 Early stages (19651966)

The newly named Velvet Underground rehearsed and performed in New York City. Their music was generally
The foundations for what would become the much more relaxed than it would later become: Cale
described this era as reminiscent of beat poetry, with
Velvet Underground were laid in late 1964.
MacLise
playing gentle pitter and patter rhythms behind
Singer/songwriter/guitarist Lou Reed had performed
the drone.[10]
with a few short-lived garage bands and had worked as
a songwriter for Pickwick Records (Reed described his In July 1965, Reed, Cale and Morrison recorded a demo
tenure there as being a poor mans Carole King").[6] tape at their Ludlow Street loft, but without MacLise
Reed met John Cale, a Welshman who had moved to because he wasn't reliable enough to be tied down to a
the United States to study classical music upon securing schedule and sometimes would only turn up to band praca scholarship. Cale had worked with experimental tice sessions when he wanted to.[11][12] When he briey
composers Cornelius Cardew and La Monte Young but returned to Britain, Cale attempted to give a copy of the
was also interested in rock music.[7] Youngs use of tape to Marianne Faithfull,[13] hoping she'd pass it on to
extended drones would be a profound inuence on the Mick Jagger, lead singer of The Rolling Stones. Nothing
bands early sound. Cale was pleasantly surprised to ever came of this, but the demo was eventually released
discover that Reeds experimentalist tendencies were on the 1995 box set Peel Slowly and See.
similar to his own: Reed sometimes used alternative Manager and music journalist Al Aronowitz arranged for
guitar tunings to create a droning sound. The pair the groups rst paying gig$75 to play at Summit High
rehearsed and performed together; their partnership and School, in Summit, New Jersey, opening for The Myddle
shared interests built the path towards what would later Class. When the group decided to take the gig, MacLise
become the Velvet Underground.
left the group, protesting what he considered a sellout.

1.1

Pre-career (19641965)

Reeds rst group with Cale was the Primitives, a short- Angus was in it for art, Morrison reported.[6]
1

MacLise was replaced by Maureen Moe Tucker, the

younger sister of Morrisons friend Jim Tucker. Tuckers
playing style was rather unusual: she generally played
standing up rather than seated and had an abbreviated drum setup of tom toms, snare and an upturned
bass drum, using mallets as often as drumsticks, and
rarely using cymbals (she admits that she always hated
cymbals).[14] (The band having asked her to do something unusual, she turned her bass drum on its side and
played standing up. When her drums were stolen from
one club, she replaced them with garbage cans, brought
in from outside.) Her rhythms, at once simple and exotic (inuenced by the likes of Babatunde Olatunji and
Bo Diddley records), became a vital part of the groups
music, despite Cales initial objections to the presence of
a female drummer.[15] The group earned a regular paying
gig at the Caf Bizarre and gained an early reputation as
a promising ensemble.

1.3

Andy Warhol and the Exploding Plastic

Inevitable (19661967)

In 1965, after being introduced to the Velvet Underground by lmmaker Barbara Rubin,[16] Andy Warhol
became the bands manager and suggested they feature
the German-born singer Nico (born Christa Pgen)
on several songs. Warhols reputation helped the band
gain a higher prole. He helped the band secure a coveted recording contract with MGMs Verve Records, with
himself as nominal "producer", and gave the Velvets free
rein over the sound they created.

HISTORY

however, that MacLise still went by his own clock: for

instance, he showed up half an hour late to one show and
carried on with half-hour drumming to compensate for
his late arrival, long after the set had nished.[12]
In December 1966, Warhol and David Dalton designed
Issue 3 of the multimedia Aspen.[19] Included in this issue of the magazine, which retailed at $4 per copy and
was packaged in a hinged box designed to look like Fab
laundry detergent, were various leaets and booklets, one
of which was a commentary on rock and roll by Lou
Reed, another an EPI promotional newspaper. Also enclosed was a 2-sided exi disk, side one produced by Peter
Walker, a musical associate of Timothy Leary, and side
two titled Loop, credited to the Velvet Underground
but actually recorded by Cale alone. Loop, a recording solely of pulsating audio feedback culminating in a
locked groove, was a precursor to [Reeds] Metal Machine Music", say Velvets archivists M.C. Kostek and Phil
Milstein in the book The Velvet Underground Companion.[20] Loop also predates much industrial music.

1.4

The Velvet Underground & Nico (1967)

Main article: The Velvet Underground & Nico

At Warhols insistence, Nico sang with the band on three

songs of their debut album, The Velvet Underground &
Nico. The album was recorded primarily in Scepter Studios in New York City during April 1966, but for reasons
unclear, some songs were rerecorded at TTG Studios in
During their stay with Andy Warhol, the band became Los Angeles, along with the new song "Sunday Mornpart of his multimedia roadshow, Exploding Plastic In- ing", later in the year with Tom Wilson producing. The
evitable, for which they provided the music. They played album was released by Verve Records the following year
shows for several months in New York City, then traveled in March 1967.
throughout the United States and Canada until its last in- The album cover is famous for its Warhol design: a yellow
stallment in May 1967.[17] The show included 16 mm lm banana sticker with Peel slowly and see printed near the
projections by Warhol, combined with a stroboscopic- tip. Those who did remove the banana skin found a pink,
light show designed by Danny Williams. Because of peeled banana beneath.
the punishing lights, the band took to wearing sunglasses
Eleven songs showcased their dynamic range, veering
onstage.[18] Early promo posters referred to the group as from the pounding attacks of "I'm Waiting for the Man"
the erupting plastic inevitable. This soon changed to
and "Run Run Run", the droning Venus in Furs and
the exploding plastic inevitable.
"Heroin", the chiming and celestial Sunday Morning to
In 1966, MacLise temporarily rejoined the Velvet Underground for a few EPI shows when Reed was suering
from hepatitis and unable to perform. For these appearances, Cale sang and played organ and Tucker switched
to bass guitar. Also at these appearances, the band often played an extended jam they had dubbed Booker T,
after musician Booker T. Jones'. Some of these performances have been released as a bootleg; they remain the
only record of MacLise with the Velvet Underground.
According to Morrison, MacLise is said to have regretted
leaving The Velvet Underground and wanted to rejoin,
but Reed specically prohibited this and made it clear
that this stint was only temporary. It should be noted,

the quiet "Femme Fatale" and the tender "I'll Be Your

Mirror", as well as Warhols own favorite song of the
group, "All Tomorrows Parties".[21] Kurt Loder would
later describe All Tomorrows Parties as a mesmerizing gothic-rock masterpiece.[21]
The overall sound was propelled by Reed and Nicos
deadpan vocals, Cales droning viola, bass and keyboards,
Reeds experimental avant-garde guitar, Morrisons often rhythm and blues- or country-inuenced guitar, and
Tuckers simple but steady and tribal-sounding beat with
sparse use of cymbals. Another distinct feature on many
songs was the drone strum, an eighth-note rhythm guitar style used by Reed. Although Cale was the bands

1.7

Cale departs

usual bassist, if he switched to viola or keyboards, Morrison would normally play bass. Despite his prociency on
the instrument, Morrison hated playing bass.[22][23] Conversely, some songs had Reed and Morrison playing their
usual guitars with Cale on viola or keyboards, but with
nobody playing bass.

3
of Cale, who believes that Sesnick tried to push Reed as
band leader at the expense of band harmony. Both Cale
and Reed called Sesnick a snake in dierent interviews
after leaving the band.[27] In September 1967, the Velvet
Underground began recording their second album, White
Light/White Heat, with Tom Wilson as producer.

The band performed live often, and their performances

1.5 Debut album release and legal prob- became louder and harsher and often featured extended
improvisations. Cale reports that at about this time the
lems
Velvet Underground was one of the rst groups to receive
an endorsement deal from Vox. The company pioneered
The album was released on March 12, 1967 (after a
special eects, which were utilized on the album.
lengthy delay by Verve) and eventually reached No. 171
on Billboard magazines Top 200 charts. The promising Sterling Morrison oered the following input regarding
commercial growth of the album was soon dampened by the recording:
legal complications: the albums back cover featured a
photo of the group playing live with another image proThere was fantastic leakage 'cause everyjected behind them; the projected image was a still of acone was playing so loud and we had so much
tor Eric Emerson from a Warhol motion picture, Chelsea
electronic junk with us in the studioall these
Girls. Emerson had been arrested for drug possession
fuzzers and compressors. Gary Kellgren, who
and, desperate for money, claimed the still had been inis ultra-competent, told us repeatedly: You
cluded on the album without his permission (in the image,
can't do itall the needles are on red. and
his face appears quite big, but upside down). Instead of
we reacted as we always reacted: Look, we
compensating Emerson for damages, MGM Records candon't know what goes on in there and we don't
celed all distribution of the album for nearly two months
want to hear about it. Just do the best you
until the legal problems were settled (by which time the
can. And so the album is fuzzy, theres all that
record had lost its modest commercial momentum), and
white noise...we wanted to do something electhe still was airbrushed out of the remaining copies of
tronic and energetic. We had the energy and
the album. By the time the record was re-distributed into
the electronics, but we didn't know it couldn't
stores, the album was re-distributed nearly at the same
be recorded...what we were trying to do was
time as Sgt. Peppers Lonely Hearts Club Band in June
really fry the tracks.[28]
1967, by which time the album faced sti competition
in the marketplace which further hindered the release.[24] The recording was raw and oversaturated. Cale has stated
Regarding MGM/Verves delay in releasing the album, that while the debut had some moments of fragility and
Warhols business manager Paul Morrissey once oered beauty, White Light/White Heat was consciously antithe following: Verve/MGM didn't know what to do with beauty. The title track sets a harsh opening, featuring
The Velvet Underground and Nico because it was so pe- bassist John Cale pounding on the piano in a style akin to
culiar. They didn't release it for almost a year. Tom Wil- Jerry Lee Lewis. It was later included in the repertoire of
son at at Verve/MGM only bought the album from me David Bowie. Despite the dominance of noisefests like
because of Nico. He saw no talent in Lou [Reed].[24]
"Sister Ray" and "I Heard Her Call My Name", there was
In 1982, Brian Eno said that while the album sold only room for the darkly comic The Gift, a short story writ30,000 copies in its early years, everyone who bought ten by Reed and narrated by Cale in his deadpan Welsh
accent. The meditative Here She Comes Now was later
one of those 30,000 copies started a band.[25]
covered by Galaxie 500, Cabaret Voltaire, and Nirvana,
among others.

1.6

White Light/White Heat (1968)

Main article: White Light/White Heat

Nico moved on after the Velvets severed their relationship with Andy Warhol. Reed once commented on their
leaving Warhol: "[Warhol asked] do you want to just keep
playing museums from now on and the art festivals? Or
do you want to start moving into other areas?" I thought it
about it, and I red him. [] I never saw Andy mad, but I
did that day. He was really mad, called me a rat. It was the
worst thing he could think of..[26] Steve Sesnick was soon
brought in as a replacement manager, much to the chagrin

The album was released on January 30, 1968, entering

the Billboard Top 200 chart for two weeks, at a dismal
number 199.

1.7 Cale departs

Tensions were growing: the group was tired of receiving
little recognition for its work, and Reed and Cale were
pulling the Velvet Underground in dierent directions.
The dierences showed in the last recording sessions the
band had with John Cale in 1968: three pop-like songs
in Reeds direction (Temptation Inside Your Heart,

4
Stephanie Says and Beginning to See the Light) and a
viola-driven drone in Cales direction (Hey Mr. Rain).
Further, some songs the band had performed with Cale in
concert, or that he had co-written, were not recorded until
after he had left the group (such as Walk It and Talk It,
Ride into the Sun, and Countess from Hong Kong).
Reed called Morrison and Tucker to a band meeting at
the Riviera Cafe on Sheridan Square in the West Village
without Cales knowledge, and delivered an ultimatum by
declaring that either Cale was sacked or the Velvets were
dissolved. Neither Morrison nor Tucker were happy with
the idea, but faced with a choice of either no Cale or no
band at all, the pair reluctantly sided with Reed.[29][30]
It has often been reported that before Cales departure
(following White Light/White Heat) there was a struggle
between his creative impulses and Reeds: Cales experimentalist tendencies had contrasted with Reeds more
conventional approach. According to Tim Mitchell, however, Morrison reported that whilst there was creative tension between Reed and Cale, its impact has been exaggerated over the years.[31] Cale played his last show with the
band at the Boston Tea Party in September 1968 and was
red shortly afterwards.

HISTORY

The cover photograph was taken by Billy Name. The LP

sleeve was designed by Dick Smith, then a sta artist at
MGM/Verve. Released on March 12, 1969, the album
failed to make Billboard's Top 200 album chart.
The harsh, abrasive tendencies on the rst two records
were almost entirely absent on their third album. This
resulted in a gentler sound inuenced by folk music,
prescient of the songwriting style that would soon form
Reeds solo career. While Reed had covered a vast range
of lyrical subjects on the rst two Velvet Underground albums, the lyrical themes of the third album were more
intimate in nature. Reeds songwriting also covered
new emotional ground as well, as heard in the songs Pale
Blue Eyes, Jesus, Beginning to See the Light, and
I'm Set Free. The personal tone of the albums subject matter resulted in Reeds desire to create a closet
mix that boosted the vocals to the forefront, while reducing the albums instrumentation. The second (and
more widely distributed) mix is the stereo mix done by
MGM/Verve sta recording engineer Val Valentin. Another factor in the change of sound was the bands Vox
ampliers and assorted fuzzboxes rumored to have been
stolen from an airport while they were on tour and they
obtained replacements by signing a new endorsement deal
with Sunn. In addition, Reed and Morrison had purchased matching Fender 12-string electric guitars, but
Doug Yule plays down the inuence of the new equipment, however.

According to Michael Carlucci, a friend of Robert Quine,

Lou told Quine that the reason why he had to get rid
of Cale in the band was Cales ideas were just too out
there. Cale had some wacky ideas. He wanted to record
the next album with the ampliers underwater, and [Lou]
just couldn't have it. He was trying to make the band Morrisons ringing guitar parts and Yules melodic bass
more accessible. Ultimately, Morrison was dispatched guitar and harmony vocals are featured prominently on
the album. Reeds songs and singing are subdued and
by Reed to tell Cale that he was out of the band.[32]
confessional in nature, and he shared lead vocals with
Yule, particularly when his own voice would fail under
1.8 Doug Yule joins and The Velvet Under- stress. Doug Yule sang the lead vocal on Candy Says
(about the Warhol superstar Candy Darling), which opens
ground (1969)
the LP, and a rare Maureen Tucker lead vocal is featured
on After Hours, which closes the album. It is a song
Main article: The Velvet Underground (album)
that Reed said was so innocent and pure he could not
sing it himself. The album also features the experimenBefore work on their third album started, Cale was tal track The Murder Mystery, which featured all four
replaced by Doug Yule of Boston group the Grass band members (Reed, Yule, Tucker and Morrison) readMenagerie, who had been a close associate of the band. ing dierent lyrics against each other (to a jarring eect),
Yule, a native New Yorker, had originally met the Velvets as well as the ballad Pale Blue Eyes, which would soon
at his apartment in Boston which he happened to be rent- be covered by many artists including R.E.M., The Killers,
ing from the Velvets road manager, Hans Onsager, who and many more. Despite the albums poor commercial
worked closely with the Velvets manager Steve Sesnick. debut upon release in 1969, the albums inuence can now
Sterling Morrison was a frequent house guest at Yules be heard in many later indie rock and lo- recordings.
apartment when the band performed at the Boston Tea
Party, and mentioned to Lou Reed that Yule was practicing guitar and was improving quickly.[33] It was following this discussion that led to Yules invitation to join the 1.9 Year on the road, the lost fourth album (VU), live albums & recordings
Velvets shortly before two upcoming shows in Cleveland,
[34]
(1969)
OH at the club La Cave. Yule would handle bass and
organ duties in the band, and would contribute vocals as
well. After several months of shows in the US, the band The Velvet Underground spent much of 1969 on the road
recorded their third album The Velvet Underground'. The both in the US and Canada, feeling they were not acalbum was recorded swiftly in late 1968 at TTG Studios in cepted in their hometown of New York City and not makHollywood, California, and was released in March 1969. ing much headway commercially. Despite these com-

1.11

Loaded, Tuckers pregnancy and Maxs residency (1970)

mercial setbacks, the Velvets focused on performing live

shows on the road, playing both re-worked songs from the
Velvets past albums, as well as debuting new songs that
would soon nd their way onto Loaded, such as New
Age, Rock and Roll, and Sweet Jane. While the
band still did extended improvisations in their live shows
during this period, in '69 the Velvets focused on tight
live performances, and several of the live shows the band
played during this period would end up released as live
albums many years later. The live album 1969: The Velvet Underground Live (featuring Reed, Yule, Morrison &
Tucker) was recorded in October 1969 but not released
until 1974, on Mercury Records, at the urging of rock
critic Paul Nelson, who worked in A&R for Mercury at
the time. Nelson asked singer-songwriter Elliott Murphy
to write liner notes for the double album which began, I
wish it was a hundred years from today"
It was also during this period that the band also played
a series of shows in November 1969 in San Francisco,
CA, at the venues The Matrix and the Family Dog, and
the recordings of these shows were released many years
later, in 2001, as a triple live album called Bootleg Series Volume 1: The Quine Tapes, - which also featured
the line up of Reed, Yule, Morrison and Tucker. During 1969 the band also recorded on and o in the studio,
creating a lot of promising material (both singles and oneos) that were never ocially released at the time due to
disputes with their record label. What many consider to
be the prime songs of these recording sessions were released years later, in 1985, in a compilation album called
VU. The album VU marks the transitional sound between
the whisper-soft third album, and the bands movement to
the later pop rock song-style of their nal record, Loaded.
Two of the songs the Velvets recorded during this period would also end up being featured on high prole
lm soundtracks many years later. The song Stephanie
Says was featured in the 2001 soundtrack to the lm
The Royal Tenenbaums, and the nursery-rhyme style song
I'm Sticking With You (with its rare Maureen Tucker
Lou Reed dual-lead vocal track, Doug Yule accompanying on piano) would be re-released many years later, in
the soundtrack to the 2008 hit lm Juno.
The rest of the recordings, as well as some alternative takes and instrumental tracks were later bundled on
Another View which was released in 1986. After Reeds
departure, he later reworked a number of these songs
for his solo records over the years: Stephanie Says,
Ocean, I Can't Stand It, Lisa Says, and Andys
Chest, as well as Shes My Best Friend, which had been
originally sung by Doug Yule.

1.10 Dropped from MGM

By 1969 the MGM and Verve record labels had been
losing money for several years. A new president, Mike
Curb, was hired and he decided to cancel the recording contracts of 18 of their acts who supposedly glori-

ed drugs in their lyrics, including their many controversial and unprotable acts. The drug or hippie-related
bands were released from MGM, and the Velvets were
on his list, along with Eric Burdon and the Animals and
Frank Zappa's Mothers of Invention. Nonetheless MGM
insisted on retaining ownership of all master tapes of
their recordings and according to an MGM representative in a Rolling Stone article from 1970, it wasn't eighteen groups, [Curb] was misquoted. The cuts were made
partly to do with the drug scenelike maybe a third
of them had to do with drug reasons. The others were
dropped because they weren't selling. Lou Reed would
later remark in the 1987 issue of "Creem" that whilst he
didn't believe that MGM dropped The Velvets for drug
associations, he did acknowledge, We wanted to get out
of there.[32]

1.11

Loaded, Tuckers pregnancy and

Maxs residency (1970)

Main article: Loaded

Atlantic Records signed the Velvet Underground for what
would be its nal studio album with Lou Reed: Loaded,
released on Atlantics subsidiary label Cotillion. The albums title refers to Atlantics request that the band produce an album loaded with hits. Though the record was
not the smash hit the company had anticipated, it contains
the most accessible pop the VU had performed, and two
of Reeds best-known songs, including Sweet Jane and
Rock and Roll.
By the recording of Loaded, Doug Yule played a more
prominent role in the band, and with Reeds encouragement, sang the lead vocal on four songs: Who Loves the
Sun, which opened the album, New Age, Lonesome
Cowboy Bill and Oh! Sweet Nuthin which closes
the album. Yule once commented on the recording of
Loaded: Lou leaned on me a lot in terms of musical
support and for harmonies, vocal arrangements. I did a
lot on Loaded. It sort of devolved down to the Lou and
Doug recreational recording.[35]
While the third Velvets LP was recorded mostly live in a
collaborative atmosphere, the bulk of Loaded was crafted
in the studio. In addition to handling all the bass and
piano duties on Loaded, Yule also contributed several
lead guitar tracks and doubled on drums as well (notably
on the songs Rock and Roll and Sweet Jane)[36] since
Maureen Tucker was absent on maternity leave to have
her rst child, a daughter named Kerry. While Sterling Morrison played guitar on Loaded, it was during
this time that he resumed his studies at City College of
New York, and split his time between classes and the
sessions, thus leaving Reed and Yule to handle the bulk
of the arrangements.[37] Although Tucker had temporarily retired from the group during the sessions due to her
pregnancy, she was credited as playing on Loaded; the

HISTORY

drums on the album were actually played by several mu- that Reed had been aware of most, if not all, of the edits.
sicians: Doug Yule, engineer Adrian Barber, session musician Tommy Castanaro, and Billy Yule (Doug Yules
younger brother), who was still in high school at the time. 1.13 The Doug Yule years (19701972)
It was during the Loaded recording sessions that the Velvets secured a now-legendary nine-week residency (from
June 24 August 28, 1970) at the New York nightclub
Maxs Kansas City, playing two lengthy sets per night,
and showcasing altered arrangements of older songs from
their previous albums, as well as showcasing the new material that would soon make up Loaded. The Velvets
Maxs live line-up consisted of Lou Reed, Doug Yule,
Sterling Morrison and Billy Yule on drums in place of
Tucker, who would not return from maternity leave until after Reeds departure. Reeds last live performance
with the band at Maxs was informally recorded and was
released two years later in 1972 as Live at Maxs Kansas
City, also on Atlantic Records.

1.12 Reeds departure and release of

Loaded (1970)
Disillusioned with the lack of progress the band was making, and facing pressure by manager Steve Sesnick, Reed
decided to quit the band during the last week of Maxs
Kansas City shows in August 1970. Although Reed had
informed Tucker, who was attending the show but not
playing with the band because of her pregnancy, that he
planned to leave the group on his last evening, he did not
tell Morrison or Yule. In a 2013 interview, Yule said Sesnick waited until one hour before the band was scheduled to take the stage the following night before notifying
him that Reed wasn't coming. I was expecting [Lou] to
show up, I thought he was late. Yule blamed Sesnick for
Reeds departure. Sesnick had engineered Lous leaving the group. He and Lou had a relationship where Lou
had depended on him for moral support, and he trusted
him, and Sesnick basically said 'screw you.' ... It must
have been hard for Lou to hear that because he depended
on him, so he quit.[38] While Loaded was nalized and
mixed, it had yet to be mastered and was not set to be
released by Atlantic until November of that year. Reed
has often said he was completely surprised when he saw
Loaded in stores. He also said, I left them to their album
full of hits that I made.
Reed was perturbed about a verse being edited from
the Loaded version of "Sweet Jane". "New Age" was
changed as well: as originally recorded, its closing line
(Its the beginning of a new age as sung by Yule) was repeated many more times. A brief interlude in Rock and
Roll was also removed. (For the 1995 box set Peel Slowly
and See, the album was presented as Reed intended; the
Fully Loaded two-disc edition also features the full versions of Sweet Jane and New Age.) On the other
hand, Yule has pointed out that the album was for all intents and purposes nished when Reed left the band and

With manager Steve Sesnick looking to ll bookings (following the departure of Lou Reed), and with the pending release of Loaded in November 1970, the band, now
featuring Sterling Morrison on guitar, Maureen Tucker
on drums, Walter Powers on bass, with Doug Yule taking over lead vocals and guitar, went on the road once
more to promote the album, playing shows around the
U.S. East Coast and Europe. In early 1971 the line-up
of Yule, Morrison, Tucker and Powers recorded two studio demos together titled She'll Make You Cry, and
Friends, both of which remained unreleased. Sterling
Morrison had obtained a bachelor of arts degree in English, and left the group in August 1971, to pursue a Ph.D.
in medieval literature at the University of Texas at Austin.
He had packed an empty suitcase and when the time came
for the band to return to New York City, he told them at
the airport that he was staying in Texas and quitting the
band - the last founding member to quit.[39] Morrisons
replacement was singer/keyboard player Willie Alexander. This line up of the band played several shows in late
1971 in England, Wales, and the Netherlands to support
the 1971 European release of Loaded, some of which are
collected on the 2001 box set Final V.U..[40] Following
a single US show in Pennsylvania in early January '72,
the Velvets lineup of Yule, Tucker, Alexander & Powers
disbanded.[40]
In May 1972 Atlantic released Live at Maxs Kansas City,
the live bootleg of the Velvet Undergrounds nal performance with Reed (also featuring Doug Yule, Morrison, and Billy Yule) recorded by a fan, Brigid Polk,
back on August 23, 1970. Due to publicity around the
Maxs release, and growing interest in the Velvet Underground in Europe, Sesnick was able to secure a single
album deal with Polydor in the UK, and a handful of
promotional shows were booked in the UK in November and December 1972. After Sesnick reached out to
Yule, a new Velvet Underground lineup was quickly assembled by Yule to do the UK shows. This brief lineup
of the Velvet Underground consisted of Yule, Rob Norris on guitar, George Kay (Krzyzewski), bass guitar, and
Mark Nauseef, drums. After Sesnick failed to show up in
London to meet the band with the necessary money and
equipment,[41] they played the handful of dates to secure
enough money for ights back to the US, and Yule left
the band when the brief tour ended in December 1972.
It was also during this period in the UK that Sesnick had
secured studio time for Yule to record the album Squeeze
under the Velvet Underground name virtually by himself, with only the assistance of Deep Purple drummer
Ian Paice and a few other session musicians in an unspecied London studio. While Maureen Tucker was personally slated by Yule to play drums on Squeeze, Sesnick vetoed his decision and claimed she was too expensive to

1.15

Reunions, death of Sterling Morrison and Hall of Fame induction (19901996)

hire.[42]

captain in Houston for several years. Maureen Tucker

Squeeze was released in February the following year, raised a family before returning to small-scale gigging and
1973, in Europe only, with minimal promotion by the recording in the 1980s; Morrison was in several touring
label, and was held in low regard by fans and critics. bands, including Tuckers band.
Stephen Thomas Erlewine notes that the album received Yule subsequently toured with Lou Reed and played on
uniformly terrible reviews upon initial release,[43] and the latters Sally Can't Dance album, and Yule (at Reeds
in the early 1970s, the NME Book of Rock counted it as request) also contributed guitar and bass tracks to Reeds
a Velvet Underground album in name only.[44] When album Coney Island Baby, that can be heard in the Bonus
asked about Squeeze, Yule hinted that band manager Edition of the album (which was released in 2002). Yule
Steve Sesnick orchestrated the album purely as a money then became a member of American Flyer, then dropped
ploy. Sesnick dumped the second iteration of the band out of the music industry altogether before reappearing in
in England with no money and no equipment and just left the early 2000s.
us there to nd our way back. He gave me six copies of In 1985 Polydor released the album VU, which collected
Squeeze as pay. I never got any money. When you sign unreleased recordings that might have constituted the
with ASCAP or BMI you get an advance. He not only bands fourth album for MGM in 1969 but had never been
made an arrangement with them but actually signed as released. Some of the songs had been recorded when
me and took the money.
Cale was still in the band. More unreleased recordings
Despite the negative reviews of the album upon its initial release, in recent years the album has been revisited
by both critics and musicians with more sympathetic and
favorable reviews. In 2011 music writer Steven Shehori
included Squeeze in his Criminally Overlooked Albums
series for The Hungton Post, and in a lengthy review of
the album, oered the following positive assessment of
Squeeze: if you pluck it from the shackles of its murky
back-story, Squeeze is nothing short of a quintessential listening experience.[45] The UK band Squeeze took their
name from its title according to band member Chris Difford, who oered the following opinion of the album in
a 2012 interview: Its an odd record, but the name came
from that, denitely. [] In a retrospective way I really
enjoy it. It has kind of a naivety about it[46]

of the band, some of them demos and unnished tracks,

were released in 1986 as Another View.
On July 18, 1988, Nico died of a cerebral hemorrhage
following a bicycle accident.
Czech dissident playwright Vclav Havel was a fan of
the Velvet Underground, ultimately becoming a friend of
Lou Reed. Though some attribute the name of the 1989
"Velvet Revolution", which ended more than 40 years of
Communist rule in Czechoslovakia, to the band, Reed
pointed out that the name Velvet Revolution derives from
its peaceful naturethat no one was actually hurt during those events.[47] Reed has also given at least one radio interview where he stated that it was called the Velvet
Revolution because all of the dissidents were listening to
the Velvet Underground leading up to the overthrow, and
this music was an inspiration for the events that followed.
After Havels election as president, rst of Czechoslovakia and then the Czech Republic, Reed visited him in
Prague.[48] On September 16, 1998, at Havels request,
Reed performed in the White House at a state dinner in
Havels honor hosted by President Bill Clinton.[49]

Although Yule had put an end to the Velvet Underground

in late 1972, in early 1973 a band featuring him, Billy
Yule on drums, Kay on bass and Don Silverman, guitar
(he later changed his name to Noor Khan), played two
shows in New England and was incorrectly billed as The
Velvet Underground by the tours manager. The band
members objected to the billing and according to Yule,
the promoter was not supposed to bill the band as the Velvet Underground.[40] In late May 1973, the band and the
tour manager parted ways, thus nally bringing the Velvet 1.15
Underground to an end.

1.14 Post-VU developments (19721990)

Reed, Cale and Nico teamed up at the beginning of 1972
to play a concert in Paris at the Bataclan club. This concert was bootlegged, and nally received an ocial release as Le Bataclan '72 in 2003.
Before that, Cale and Nico had developed solo careers.
Nico had also begun a solo career with Cale producing
a majority of her albums. Reed started his solo career
in 1972 after a brief sabbatical. Sterling Morrison was a
professor for some time, teaching Medieval Literature at
the University of Texas at Austin, then became a tugboat

Reunions, death of Sterling Morrison

and Hall of Fame induction (1990
1996)

In 1990, Reed and Cale released Songs for Drella, dedicated to Andy Warhol who had recently died. (Drella
was a nickname Warhol had been given, a combination
of Dracula and Cinderella.) Though Morrison and
Tucker had each worked with Reed and Cale since the
V.U. broke up, Songs for Drella was the rst time the pair
had worked together in decades, and rumors of a reunion
began to circulate, fueled by the one-o appearance by
Reed, Cale, Morrison and Tucker to play Heroin as the
encore to a brief Songs for Drella set in Jouy-en-Josas,
France. Lou Reed and Sterling Morrison also joined John
Cale for an encore at his show at New York University on

2 LINEUPS
The Velvet Underground continues to exist as a New
Yorkbased partnership managing the nancial and back
catalog aspects for the band members. In January 2012,
the surviving members of the band initiated legal action against the Andy Warhol Foundation for the Visual
Arts over unauthorised use of the debut albums banana
design.[51][52]

1.17 Death of Lou Reed

On October 27, 2013, Lou Reed died at his home in
Southampton, New York, aged 71. He had undergone
a liver transplant earlier in the year.[53] John Cale responded to Reeds passing by saying The world has lost
a ne songwriter and poetI've lost my 'school-yard
buddy'".[54]

1.18 Legacy
1993 promotional photo. From left to right: Sterling Morrison
(at back), Maureen Tucker, John Cale and Lou Reed

December 5, 1992.

The Velvet Underground have been considered among the

most inuential bands in rock history. Their legacy has
stretched into alternative and experimental rock. Their
rst four albums were included in Rolling Stone's list of
The 500 Greatest Albums of All Time.[55] They were
ranked the 19th greatest artist by the same magazine[56]
and the 24th greatest artist in a poll by VH1. In 1996
they were inducted into The Rock and Roll Hall of
Fame.[57] Critic Robert Christgau considers them the
number three band of the '60s, after the Beatles and
James Brown and His Famous Flames".[58]

The ReedCaleMorrisonTucker lineup ocially reunited as The Velvet Underground in 1992, commencing activities with a European tour beginning in Edinburgh on June 1, 1993, and featuring a performance at
Glastonbury which garnered an NME front cover. Cale
sang most of the songs Nico had originally performed.
As well as headlining (with Luna as the opening act), the
Velvets performed as supporting act for ve dates of U2's
Zoo TV Tour. With the success of the Velvet Under2
grounds European reunion tour, a series of US tour dates
were proposed, as was an MTV Unplugged broadcast, and
possibly even some new studio recordings. Before any of 2.1
this could come to fruition, Cale and Reed fell out again,
breaking up the band once more.
2.2
On August 30, 1995, Sterling Morrison died of nonHodgkins lymphoma after returning to his hometown of
Poughkeepsie, New York, at age 53. When the band
was inducted into the Rock and Roll Hall of Fame in
1996, Reed, Tucker, and Cale reformed the Velvet Underground for the last time. Doug Yule was absent. At
the ceremony, the band was inducted by Patti Smith, and
the trio performed Last Night I Said Goodbye to My
Friend, written in tribute to Morrison.

1.16 New York Public Library reunion

and current years
In December 2009, to commemorate the 45th anniversary of the bands formation, Reed, Tucker and Yule
(with Cale not present) gave a rare interview at the New
York Public Library.[50]

Lineups
Timeline
Temporary members, additional live
and studio musicians

Angus MacLise sat in on percussion with Tucker

switching to bass guitar and Cale and Morrison
to lead vocals during a Chicago engagement when
Reed was taken ill with hepatitis, JuneJuly 1966.
Henry Flynt stand-in for Cale for four live dates
during September 1966.[59]
Nico collaborator on vocals with the band on
four tracks on The Velvet Underground & Nico and
several Exploding Plastic Inevitable engagements,
19661967. In addition, about half of the tracks on
Nicos 1967 debut LP, Chelsea Girl, feature songs
written by and/or featuring Reed, Cale and Morrison. Some of these songs are included on compilations like the Peel Slowly and See box set and the
Gold 2-CD set.

9
Billy Yule stand-in on drums for a pregnant Tucker
on two tracks on Loaded, at the Maxs Kansas City
1970 engagement (and on the live album), and the
1973 Boston engagement.

[3] RS 500 Greatest Albums November 18, 2003.

Tommy Castanaro stand-in on drums for a pregnant Tucker on two tracks on Loaded.

[5] Julian Casablancas, The Velvet Underground (No. 19),

in The Immortals: The First Fifty, Rolling Stone, No.
946 (April 15, 2004), accessed April 29, 2007.

Adrian Barber stand-in on drums for a pregnant

Tucker on a number of tracks on Loaded.

[6] David Fricke, liner notes for the Peel Slowly and See box
set (Polydor, 1995).

Larry Estridge tour stand-in (bass guitar) for Walter Powers, June 1971.
Rob Norris (of the Bongos) tour member (guitar)
for the 1972 UK Squeeze tour.
George Kay tour member (bass guitar) for the
1972 UK Squeeze tour and the 1973 Boston engagement.
Don Silverman tour member (guitar) for the 1972
UK Squeeze tour.
Mark Nauseef tour member (drums) for the 1972
UK Squeeze tour.
Ian Paice session musician (drums) for Squeeze
(1973).

Discography

Main article: The Velvet Underground discography

The Velvet Underground & Nico (1967)

White Light/White Heat (1968)
The Velvet Underground (1969)
Loaded (1970)
Squeeze (1973)

See also
The Boston Tea Party (concert venue)

[4] 13-The Velvet Underground and Nico Rolling Stone,

November 1, 2003

[7] John Cale as told to Marc Myers. Incubator for the Velvet
Underground. Wall Street Journal. Retrieved 2013-0127.
[8] Velvet Underground. Encyclopedia of Popular Music.
[9] Jovanovic, Rob (2012). Seeing the Light: Inside the Velvet
Underground. Macmillan. p. 38. ISBN 9781250000149.
[10] Quoted by David Fricke in his liner notes for the Peel
Slowly and See box set (Polydor, 1995).
[11] http://dangerousminds.net/comments/angus_maclise_
original_velvet_underground_drummer
[12] http://www.allmusic.com/artist/
angus-maclise-mn0000756247/biography
[13] John Cale & Victor Bockris Whats Welsh For Zen London: Bloomsbury, 1999
[14] http://danielcoston.blogspot.com.au/2013/10/
moe-tucker-interview-1997-part-one.html
[15] Bockris, Victor (1994). Transformer: The Lou Reed
Story. New York, NY: Simon & Schuster. pp. 99, 101.
ISBN 0-684-80366-6. Cale, horried by the mere suggestion that a 'chick' should play in their great group, had to
be placated by the promise that it was strictly temporary.
[16] Kugelberg, Johan. Christmas on Earth: Barbara Rubin.
Boo-Hooray Gallery.
[17] Andy Warhol:
Basquiat.

From the Velvet Underground to

[18] Bockris, Victor; Malanga, Gerard (2009) [1983]. Uptight:

The Velvet Underground Story. London: Omnibus Press.
ISBN 978-0-85712-003-8. It was at this time that The
Velvets started wearing dark glasses on stage, not through
trying to be cool but because the light-show could be
blinding at times.
[19] Aspen no. 3: The Pop Art issue. Ubu.com. Retrieved
October 29, 2011.

References

[1] Heylin, Clinton (2005). All Yesterdays Parties: the Velvet

Underground in Print, 1966-1971. Da Capo Press. p. 99.
ISBN 0-306-81365-3.
[2] Blond, Phillip (1998). Post-Secular Philosophy: Between
Philosophy and Theology. Routledge. p. 191. ISBN 0415-09778-9.

[20] Heylin, Clinton. The Velvet Underground Companion:

Four Decades of Commentary (The Schirmer Companion Series , No 8): Albin, Iii Zak, Albin Zak: Books.
Amazon.com. Retrieved October 29, 2011.
[21] Kurt Loder, Liner notes V.U. CD by the Velvet Underground, December 1984, Verve Records 823 7212 Europe, a mesmerizing gothic-rock masterpiece (All
Tomorrows Parties Warhols favorite Velvets Tune).

10

REFERENCES

[22] Homan, Eric. Examinations: An Examination of John

Cale. Mental Contagion. Retrieved 24 October 2014.
When I had to play viola, Sterling had to play bass, which
he hated. According to the website, the quote is from
John Cales autobiography, Whats Welsh for Zen (NY: St.
Martins Press (2000).

[39] Moser, Margaret (March 17, 2000). Velvet Underdog:

Sterling Morrison: An Oral History With Interviews.
The Austin Chronicle. Retrieved 2014-10-24.

[23] Tom Pinnock (18 September 2012). John Cale on The

Velvet Underground & Nico. Uncut. Retrieved 7 March
2015.

[41] http://www.furious.com/perfect/yule2.html

[24] https://books.google.com/books?id=Af46S4wukzoC&
printsec=frontcover&dq=33+1/3+The+velvet+
Underground+and+Nico&hl=en&sa=X&ei=
4ljWVKuZLoyxggTH54LIBg&ved=0CB8Q6AEwAA#
v=onepage&q=33%201%2F3%20The%20velvet%
20Underground%20and%20Nico&f=false
[25] McKenna, Kristine (October 1982). Eno: Voyages in
Time & Perception. Musician. Retrieved November 8,
2012. I was talking to Lou Reed the other day and he
said that the rst Velvet Underground record sold 30,000
copies in the rst ve years. The sales have picked up in
the past few years, but I mean, that record was such an
important record for so many people. I think everyone
who bought one of those 30,000 copies started a band!
[26] https://books.google.com/books?id=6JIpBgAAQBAJ&
pg=PA7&lpg=PA7&dq=lou+Reed+on+firing+Warhol+
called+me+a+rat&source=bl&ots=1BIXMjcxwY&
sig=_rvCMnoaDFGoI0caX6Vcaam41Mo&hl=
en&sa=X&ei=6VvXVI76KZGGNpebgkA&ved=
0CB4Q6AEwAA#v=onepage&q=lou%20Reed%
20on%20firing%20Warhol%20called%20me%20a%
20rat&f=false
[27] http://www.richieunterberger.com/vuheroes.html

[40] http://olivier.landemaine.free.fr/vu/live/1971-73/
perf7173.html

[42] http://olivier.landemaine.free.fr/dougyule/dystory.html
[43] Stephen Thomas Erlewine in the Allmusic website article
on Squeeze
[44] http://www.amazon.com/
The-musical-Express-Book-Rock/dp/0352300744
[45] http://www.huffingtonpost.ca/steven-shehori/
squeeze-velvet-underground_b_880182.html
[46] http://blogs.phoenixnewtimes.com/uponsun/2012/04/
squeeze_2012_crescent.php?page=2
[47] Lou Reed, Havel at Columbia interview: 7: The Velvet
Revolution and The Velvet Underground, accessed April
29, 2007. (See table of contents for Chapters.)
[48] Lou Reed, Havel at Columbia interview: 4: 1990 visit to
Prague and the challenges faced by Havel, accessed April
29, 2007. (See table of contents for Chapters.)
[49] Lou Reed, Havel at Columbia interview: 8: 1998 White
House benet concert, accessed April 30, 2007 (See table of contents for Chapters); cf. The President and
Mrs. Clinton Honor His Excellency V()clav Havel, President of the Czech Republic and Mrs. Havlov()", September 16, 1998, accessed April 30, 2007; Transcript of Presidents Clintons remarks, ndarticles.com September 16,
1998, accessed April 30, 2007.

[28] Hogan, Peter (1997). The Complete Guide to the Music of

the Velvet Underground. London: Omnibus Press. p. 19.
ISBN 0-7119-5596-4.

[50] Velvet Underground recall links to Warhol. CBC News.

December 10, 2009.

[29] http://www.allmusic.com/artist/
the-velvet-underground-mn0000840402/biography

[51] Jasmine Coleman (January 11, 2012). Velvet Underground moves to protect Banana Album design | Music |
guardian.co.uk. London: Guardian. Retrieved February
23, 2012.

[30] http://www.mojo4music.com/17746/
the-velvet-underground-45th-anniversary-super-deluxe-edition/
[52] Pelly, Jenn. The Velvet Underground Sue Andy Warhol
Foundation Over Banana Image. Pitchfork Media Inc.
[31] Tim Mitchell, Sedition and Alchemy : A Biography of
Retrieved January 12, 2012.
John Cale (2003; London: Peter Owen Publishers, 2004);
ISBN 0-7206-1132-6 (10); ISBN 978-0-7206-1132-8
(13); cf. Press release, rpt. xsall.nl (March 2004).
[32] http://www.richieunterberger.com/vumyth.html
[33] http://roomonetwofour.com/interviewsYule.htm
[34] http://olivier.landemaine.free.fr/vu/live/1968/perf68.
html
[35] http://www.furious.com/perfect/yule.html
[36] http://olivier.landemaine.free.fr/vu/articles/lowdown/
lowdown.html
[37] http://www.richieunterberger.com/vuexc12.html
[38] https://www.youtube.com/watch?v=3aGaLi32M_Y

[53] Lou Reed, Velvet Underground Leader and Rock Pioneer, Dead at 71. Rolling Stone. October 27, 2013. Retrieved October 27, 2013.
[54] Wile, Rob (October 27, 2013). Heres Velvet Underground Co-Founder John Cales Reaction To Lou Reeds
Passing. Business Insider. Retrieved October 27, 2013.
[55] Rolling Stones 500 Greatest Albums of all time (2012
Edition)". last.fm. Retrieved 22 November 2014.
[56] Casablancas, Julian. 100 Greatest Artists: 19 - The Velvet Underground. Rolling Stone. Retrieved 22 November
2014.
[57] The Velvet Underground. Future Rock Legends. January 3, 2007. Retrieved March 13, 2012.

11

[58] http://www.robertchristgau.com/get_artist.php?name=
The+Velvet+Underground
[59] Cook, Alex V. (December 5, 2007). Alex V. Cook:
A Hypothesis Supporting the Possibility of Henry Flynt
Having Invented Everything. Alexvcook.blogspot.com.
Retrieved October 29, 2011.

External links
The Velvet Underground at DMOZ
The Velvet Underground Web Page
Style It Takes (John Cale on Studio 360 radio
program from June 2, 2006); MP3 le; John Cale
performing Style It Takes (talking about Andy
Warhol, the subject of that song).
Loop from Issue 3 of Aspen magazine (December
1966).

12

7 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

7.1

Text

The Velvet Underground Source: https://en.wikipedia.org/wiki/The_Velvet_Underground?oldid=677526619 Contributors: Paul Drye,

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Burgermeister77, Charge2charge, Bathes, Lor, Acjdesbonnet, Marthafarquahar, Johncalesauntiesdogsvetsmam, Booeighty, Cjdennis29,
KasparBot, Ludwigpaisteman, Kalichudali, Dilidor, Limitless undying love, Sparkysilversh and Anonymous: 556

7.2

Images

File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0

Contributors:
Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist:
Tkgd2007
File:The_Velvet_Underground_and_Nico.jpg
Source:
https://upload.wikimedia.org/wikipedia/commons/1/14/The_Velvet_
Underground_and_Nico.jpg License: CC BY 2.0 Contributors: https://www.flickr.com/photos/roeshad/10543624504/ Original artist:
Iburiedpaul
File:Velvet_Underground_1993_promo_photo.jpg Source: https://upload.wikimedia.org/wikipedia/en/2/23/Velvet_Underground_
1993_promo_photo.jpg License: Fair use Contributors: http://olivier.landemaine.free.fr/vu/live/1993/perf1993.html Original artist: Gram
Wood

7.3

Content license

Creative Commons Attribution-Share Alike 3.0