The Velvet Underground & Nico

The Velvet Underground & Nico
Studio album by The Velvet Underground and Nico
Released March 12, 1967 (1967-03-12)
Recorded April–May and November 1966
Studio
Genre
Length 48:51
Label Verve
Producer Andy Warhol
The Velvet Underground chronology
The Velvet Underground & Nico
(1967)		 White Light/White Heat
(1968)
Nico chronology
The Velvet Underground & Nico
(1967) The Velvet Underground & Nico1967		 Chelsea Girl
(1967) Chelsea Girl1967
Singles from The Velvet Underground & Nico
  1. "All Tomorrow's Parties" / "I'll Be Your Mirror"
    Released: July 1966
  2. "Sunday Morning" / "Femme Fatale"
    Released: December 1966
Alternative cover
The early LP edition with the banana-skin sticker peeled off.

The Velvet Underground & Nico is the debut album by American rock band the Velvet Underground, released in March 1967 by Verve Records. It was recorded in 1966 while the band were featured on Andy Warhol's Exploding Plastic Inevitable tour, which gained attention for its experimental performance sensibilities and controversial lyrical topics, including drug abuse, prostitution, sadomasochism and sexual deviancy.

Though it was a commercial failure and mostly ignored by contemporary critics, The Velvet Underground & Nico became one of the most acclaimed and influential albums in popular music. In 2003, it ranked 13th on Rolling Stone magazine's list of the 500 Greatest Albums of All Time.[5] It was added to the 2006 National Recording Registry by the Library of Congress.[6] Many subgenres of rock music and forms of alternative music were significantly informed by the album.[7]

Recording

Nico sang lead vocals on three tracks, including the single "All Tomorrow's Parties".

The Velvet Underground & Nico was recorded with the first professional line-up of the Velvet Underground: Lou Reed, John Cale, Sterling Morrison and Maureen Tucker. At the instigation of their mentor and manager Andy Warhol, and his collaborator Paul Morrissey, German singer Nico was also featured; she had occasionally performed lead vocals for the band.[8] She sang lead on three of the album's tracks—"Femme Fatale", "All Tomorrow's Parties" and "I'll Be Your Mirror"—and back-up on "Sunday Morning". In 1966, as the album was being recorded, this was also the line-up for their live performances as a part of Warhol's Exploding Plastic Inevitable.[9]

The bulk of the songs that would become The Velvet Underground & Nico were recorded in mid-April 1966, during a four-day stint at Scepter Studios, a decrepit recording studio in Manhattan. This recording session was financed by Warhol and Columbia Records' sales executive Norman Dolph, who also acted as an engineer with John Licata. Though the exact total cost of the project is unknown, estimates vary from $1,500 (US$11,314 in 2017 dollars[10]) to $3,000 (US$22,628 in 2017 dollars[10]).[11]

Soon after recording, Dolph sent an acetate disc of the recordings to Columbia in an attempt to interest them in distributing the album, but they declined, as did Atlantic Records and Elektra Records—according to Morrison, Atlantic objected to the references to drugs in Reed's songs, while Elektra disliked Cale's viola.[12] Eventually, the MGM Records-owned Verve Records accepted the recordings, with the help of Verve staff producer Tom Wilson who had recently moved from a job at Columbia.[13]

With the affirmation of a label, three of the songs, "I'm Waiting for the Man", "Venus in Furs" and "Heroin", were re-recorded in two days at TTG Studios during a stay in Hollywood, one month later in May 1966. When the record's release date was postponed, Wilson brought the band into Mayfair Recording Studios in Manhattan in November 1966, to add a final song to the track listing: the single "Sunday Morning".[14]

Production

Artist Andy Warhol designed the album's cover and played a major role in its production.

There is some confusion as to who actually produced The Velvet Underground & Nico. Although Andy Warhol was the only formally credited producer, he had very little direct influence or authority over the album beyond paying for the recording sessions.[15] In fact, several other individuals who worked on the album are often mentioned as the album's technical producer.[11][16]

Norman Dolph and John Licata are sometimes attributed to producing the Scepter Studios sessions, considering they were responsible for recording and engineering them (despite the fact that neither of the two were ever mentioned in the original album's credits).[11] Dolph himself, however, says John Cale was the album's rightful creative producer, as he handled the majority of the album's musical arrangements.[11] And yet, Cale later recalled that it was Tom Wilson who actually produced nearly all the tracks on The Velvet Underground & Nico. "The band never again had as good a producer as Tom Wilson", Cale told an interviewer. "Andy Warhol didn't do anything."[16] Reed also said the "real producer" of the album was Tom Wilson.[15]

However, other band members Sterling Morrison and Lou Reed would cite Warhol's lack of manipulation as a legitimate means of production.[11] Morrison described Warhol as the album's producer "in the sense of producing a film."[17] Reed further discussed the matter in an interview:

He just made it possible for us to be ourselves and go right ahead with it because he was Andy Warhol. In a sense, he really did produce it, because he was this umbrella that absorbed all the attacks when we weren't large enough to be attacked... and as a consequence of him being the producer, we'd just walk in and set up and do what we always did and no one would stop it because Andy was the producer. Of course he didn't know anything about record production—but he didn't have to. He just sat there and said "Oooh, that's fantastic," and the engineer would say, "Oh yeah! Right! It is fantastic, isn't it?"[18]

Music and lyrics

Themes

The Velvet Underground & Nico was notable for its overt descriptions of topics such as drug abuse, prostitution, sadism and masochism and sexual deviancy. "I'm Waiting for the Man" describes a man's efforts to obtain heroin,[19][20] while "Venus in Furs" is a nearly literal interpretation of the 19th century novel of the same name (which itself prominently features accounts of BDSM).[21] "Heroin" details an individual's use of the drug and the experience of feeling its effects.[22]

Lou Reed, who wrote the majority of the album's lyrics, never intended to write about such topics for shock value. Reed, a fan of poets and authors such as Raymond Chandler, Nelson Algren, William S. Burroughs, Allen Ginsberg, and Hubert Selby, Jr., saw no reason the content in their works couldn't translate well to rock and roll music. An English major who studied for a B.A. at Syracuse University, Reed said in an interview that he thought joining the two (gritty subject matter and music) was "obvious".[16] "That's the kind of stuff you might read. Why wouldn't you listen to it? You have the fun of reading that, and you get the fun of rock on top of it."[16]

Though the album's dark subject matter is today considered revolutionary,[23] several of the album's songs are centered on themes more typical of popular music. Certain songs were written by Reed as observations of the members of Andy Warhol's "Factory superstars". "Femme Fatale" in particular was written about Edie Sedgwick at Warhol's request. "I'll Be Your Mirror", inspired by Nico,[14] is a tender and affectionate song; in stark contrast to a song like "Heroin". A common misperception is that "All Tomorrow's Parties" was written by Reed at Warhol's request (as stated in Victor Bockris and Gerard Malanga's Velvet Underground biography Up-Tight: The Velvet Underground Story). While the song does seem to be another observation of Factory denizens, Reed wrote the song before meeting Warhol, having recorded a demo in July 1965 at Ludlow Street.[8] It had folk music sounds, which were possibly inspired by Bob Dylan.[24]

Instrumentation and performance

Much of the album's sound was conceived by John Cale, who stressed the experimental qualities of the band. He was influenced greatly by his work with La Monte Young, John Cage and the early Fluxus movement, and encouraged the use of alternative ways of producing sound in music. Cale thought his sensibilities meshed well with Lou Reed's, who was already experimenting with alternative tunings. For instance, Reed had "invented" the ostrich guitar tuning for a song he wrote called "The Ostrich" for the short-lived band the Primitives. Ostrich guitar tuning consists of all strings being tuned to the same note. This method was utilized on the songs "Venus in Furs" and "All Tomorrow's Parties". Often, the guitars were also tuned down a whole step, which produced a lower, fuller sound that Cale considered "sexy".[11]

Cale's viola was used on several of the album's songs, notably "Venus in Furs" and "Black Angel's Death Song". The viola used guitar and mandolin strings, and when played loudly, Cale would liken its sound to that of an airplane engine.[23] Cale's technique usually involved drones, detuning and distortion.[25] According to Robert Christgau, the "narcotic drone" not only sustains the sadomasochism-themed "Venus in Furs", but it also "identifies and unifies the [album] musically". Of the vocal performances, he believed "Nico's contained chantoozy sexuality" complemented "the dispassionate abandon of Reed's chant singing".[26]

Artwork

The album cover for The Velvet Underground & Nico is recognizable for featuring a Warhol print of a banana. Early copies of the album invited the owner to "Peel slowly and see"; peeling back the banana skin revealed a flesh-colored banana underneath. A special machine was needed to manufacture these covers (one of the causes of the album's delayed release), but MGM paid for costs figuring that any ties to Warhol would boost sales of the album.[11][16] Most reissued vinyl editions of the album do not feature the peel-off sticker; original copies of the album with the peel-sticker feature are now rare collector's items. A Japanese re-issue LP in the early 1980s was the only re-issue version to include the banana sticker for many years. On the 1996 CD reissue, the banana image is on the front cover while the image of the peeled banana is on the inside of the jewel case, beneath the CD itself. The album was re-pressed onto heavyweight vinyl in 2008, featuring a banana sticker.[27]

Back cover lawsuit

Reproduction of original back cover

When the album was first issued, the main back cover photo (taken at a performance of Warhol's event Exploding Plastic Inevitable) contained an image of actor Eric Emerson projected upside-down on the wall behind the band. Having recently been arrested for drug possession and desperate for money, Emerson threatened to sue over this unauthorized use of his image, unless he was paid.[11] Rather than complying, MGM recalled copies of the album and halted its distribution until Emerson's image could be airbrushed from the photo on subsequent pressings.[28] Copies that had already been printed were sold with a large black sticker covering the actor's image.[28]

Front cover lawsuit

In January 2012, the "Velvet Underground" business partnership (of which John Cale and Lou Reed were general partners) sued The Andy Warhol Foundation for the Visual Arts, Inc. in the United States District Court for the Southern District of New York after the Foundation licensed the cover's banana design to Incase Designs for use on a line of iPhone and iPad cases. The complaint involved copyright infringement, trademark infringement and unfair competition.[29]

Alleging that the Foundation had earlier claimed it "may" own the design's copyright, the partnership asked the court for a declaratory judgment that the Foundation did not have such rights.[30] In response, the Foundation gave the partnership a "Covenant Not to Sue"—a written and binding promise that, even if the partnership and certain other parties continued to use the design commercially, the Foundation would never invoke its professed copyright ownership against them in court.

On the Foundation's motion, Judge Alison J. Nathan severed and dismissed from the lawsuit the partnership's copyright claim. According to Judge Nathan, the Constitution allows federal courts to decide only "Cases" or "Controversies", which means ongoing or imminent disputes over legal rights, involving concrete facts and specific acts, that require court intervention in order to shield the plaintiff from harm or interference with its rights. The judge held that the partnership's complaint fell short of that standard because even if the Foundation continued to claim ownership of the design's copyright—and even if its claim was invalid—that claim would not legally harm the partnership or prevent it from making its own lawful uses of the design. The partnership did not claim that it owned the design's copyright, only that the Foundation did not. Since, according to the court, the Foundation promised not to sue the partnership for any "potentially copyright-infringing uses of the Banana Design", the partnership could continue using the design and there would be no legal action that the Foundation could take (under copyright law[a 1]) to stop it. And if, the court concluded, the partnership could continue with business as usual (as far as copyright was concerned) regardless of whether the Foundation actually owned the design's copyright, a court decision would have no practical consequences for the partnership; it would be a purely academic (or "advisory") opinion, which federal courts may not issue. The court therefore "dismissed without prejudice" the partnership's request that it resolve whether the Foundation owned the design's copyright.[30] The remaining trademark claims were settled out of court with a confidential agreement, and the partnership's suit was dismissed in late May 2013.[31]

Reception and sales

Contemporary reception

Upon release, The Velvet Underground & Nico was largely unsuccessful and a financial failure. The album's controversial content led to its almost instantaneous ban from various record stores, many radio stations refused to play it, and magazines refused to carry advertisements for it.[11] Its lack of success can also be attributed to Verve, who failed to promote or distribute the album with anything but modest attention.[11][23] However, Richie Unterberger of AllMusic also notes that:

...the music was simply too daring to fit onto commercial radio; "underground" rock radio was barely getting started at this point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak.[32]

The album first entered the Billboard album charts on May 13, 1967, at number 199 and left the charts on June 10, 1967, at number 195. When Verve recalled the album in June due to Eric Emerson's lawsuit, it disappeared from the charts for five months. It then re-entered the charts on November 18, 1967, at number 182, peaked at number 171 on December 16, 1967, and finally left the charts on January 6, 1968, at number 193.[16]

The critical world initially took little notice of the album. One of the few print reviews of the album in 1967 was a mostly positive review in the second issue of Vibrations, a small rock music magazine.[23] The review described the music as "a full-fledged attack on the ears and on the brain" and noted the dark lyrics.[23]

Reappraisal

Retrospective professional ratings
Review scores
SourceRating
AllMusic[33]
Blender[34]
Chicago Tribune[35]
Encyclopedia of Popular Music[36]
Pitchfork10/10[37]
Q[38]
Rolling Stone[39]
The Rolling Stone Album Guide[40]
Spin Alternative Record Guide10/10[41]
The Village VoiceA[26]

A decade after its release, The Velvet Underground & Nico began to attract wide praise from rock critics. Christgau wrote in his 1977 retrospective review for The Village Voice that the record had been difficult to understand in 1967, "which is probably why people are still learning from it. It sounds intermittently crude, thin, and pretentious at first, but it never stops getting better."[26] In 1982, musician Brian Eno stated that while the album initially only sold approximately 30,000 copies, "everyone who bought one of those 30,000 copies started a band."[42]

In The Encyclopedia of Popular Music (1998), Colin Larkin called it a "powerful collection" that "introduced Reed's decidedly urban infatuations, a fascination for street culture and amorality bordering on voyeurism."[36] In April 2003, Spin led their "Top Fifteen Most Influential Albums of All Time" list with the album.[43] On November 12, 2000, NPR included it in their "NPR 100" series of "the most important American musical works of the 20th century".[44] In 2003, Rolling Stone placed it at number 13 on their list of the 500 Greatest Albums Of All Time, calling it the "most prophetic rock album ever made".[45]

In his 1995 book, The Alternative Music Almanac, Alan Cross placed the album in the number 1 spot on the list of "10 Classic Alternative Albums".[46] In 1997, The Velvet Underground & Nico was named the 22nd greatest album of all time in a "Music of the Millennium" poll conducted in the United Kingdom by HMV Group, Channel 4, The Guardian and Classic FM.[47] In 2006, Q magazine readers voted it into 42nd place in the "2006 Q Magazine Readers' 100 Greatest Albums Ever" poll, while The Observer placed it at number 1 in a list of "50 Albums That Changed Music" in July of that year.[48] Also in 2006, the album was chosen by Time magazine as one of the 100 best albums of all time.[49] In 2017, Pitchfork placed the album at number 1 on its list of "The 200 Best Albums of the 1960s".[50]

Cover versions

In April 1967, one month after the album's release, a band called the Electrical Banana may have recorded the first cover version of "There She Goes Again". According to bandmember Dean Ellis Kohler, they recorded it in a tent in Vietnam in April 1967 and sent the master tape to a company in California to have 45 RPM records pressed.[51]

In 2009, the American musician Beck recorded a track-for-track cover of The Velvet Underground & Nico and released it online in video form on his website, as part of a project called Record Club. Musicians involved in the recording include Beck plus Nigel Godrich, Joey Waronker, Brian LeBarton, Bram Inscore, Yo, Giovanni Ribisi, Chris Holmes, and Þórunn Magnúsdóttir.[52]

Also in 2009, various artists from Argentina collaborated to produce a track-for-track cover of the record. They played a number of concerts in Buenos Aires to celebrate the release of the album, which was made available online for free.[53]

Aftermath

Frustrated by the album's year-long delay and unsuccessful release, Lou Reed's relationship with Andy Warhol grew tense. Reed fired Warhol as manager in favor of Steve Sesnick,[54] who convinced the group to move towards a more commercial direction.[55] Nico was forced out of the group, and began a career as a solo artist. Her debut solo album, Chelsea Girl, was released in October 1967, featuring some songs written by Velvet Underground members.[56]

Tom Wilson continued working with the Velvet Underground, producing their 1968 album White Light/White Heat[57] and Nico's Chelsea Girl.[58]

Track listing

All tracks written by Lou Reed except where noted.

Side A
No.TitleWriter(s)Length
1."Sunday Morning"Lou Reed, John Cale2:54
2."I'm Waiting for the Man" 4:39
3."Femme Fatale" 2:38
4."Venus in Furs" 5:12
5."Run Run Run" 4:22
6."All Tomorrow's Parties" 6:00
Total length:25:45
Side B
No.TitleWriter(s)Length
7."Heroin" 7:12
8."There She Goes Again" 2:41
9."I'll Be Your Mirror" 2:14
10."The Black Angel's Death Song"Lou Reed, John Cale3:11
11."European Son"Reed, Cale, Sterling Morrison, Maureen Tucker7:46
Total length:23:04

Reissues

Compact disc

The first CD edition of the album was released in 1986 and featured slight changes. The title of the album was featured on the cover, unlike the original LP release. In addition, the album contained an alternate mix of "All Tomorrow's Parties" which featured a single track of lead vocals as opposed to the double-tracked vocal version on the original LP. Apparently, the decision to use the double-tracked version on the original LP was made at the last minute. Bill Levenson, who was overseeing the initial CD issues of the VU's Verve/MGM catalog, wanted to keep the single-voice version a secret as a surprise to fans, but was dismayed to find out that the alternate version was revealed as such on the CD's back cover (and noted as "previously unreleased").[59]

The subsequent 1996 remastered CD reissue removed these changes, keeping the original album art and double-tracked mix of "All Tomorrow's Parties" found on the LP.

Peel Slowly and See box set

The Velvet Underground & Nico was released in its entirety on the five-year spanning box set, Peel Slowly and See, in 1995. The album was featured on the second disc of the set along with the single version of "All Tomorrow's Parties", two Nico tracks from Chelsea Girl and a ten-minute excerpt of the 45-minute "Melody Laughter" performance. Also included in the set (on the first disc) are the band's 1965 Ludlow Street loft demos. Among these demos are early versions of "Venus in Furs", "Heroin", "I'm Waiting for the Man" and "All Tomorrow's Parties".

Deluxe edition

In 2002, Universal released a two-disc "Deluxe Edition" set containing the stereo version of the album along with the five tracks from Nico's Chelsea Girl written by members of the band on disc one, and the mono version of the album along with the mono single mixes of "All Tomorrow's Parties" and "Sunday Morning" and their B-sides "I'll Be Your Mirror" and "Femme Fatale" on disc two. A studio demo of the unreleased track "Miss Joanie Lee" had been planned for inclusion on the set, but a dispute over royalties between the band and Universal canceled these plans. This contractual dispute apparently also led to the cancellation of further installments of the band's official Bootleg Series. However, this track was included in the subsequent re-release, 45th Anniversary Super Deluxe Edition.[60] In April 2010, Universal re-released the second disc of the "Deluxe Edition" as a single CD "Rarities Edition".

Disc 1 additional tracks
No.TitleWriter(s)Length
12."Little Sister"John Cale, Lou Reed4:27
13."Winter Song"Cale3:23
14."It Was a Pleasure Then"Reed, Cale, Nico Päffgen8:09
15."Chelsea Girls"Reed, Sterling Morrison7:29
16."Wrap Your Troubles in Dreams"Reed5:09
Total length:28:37
Disc 2 additional tracks
No.TitleLength
12."All Tomorrow's Parties" (Verve single VE 10427)2:53
13."I'll Be Your Mirror" (Verve single VE 10427 B-side)2:18
14."Sunday Morning" (Verve single VE 10466)3:00
15."Femme Fatale" (Verve single VE 10466 B-side)2:38
Total length:10:49

45th Anniversary Super Deluxe edition

On October 1, 2012, Universal released a 6-CD box set of the album.[61] It features the previously available mono and stereo mixes as discs one and two. Disc one contains as bonus tracks additional alternate versions of "All Tomorrow's Parties", "European Son", "Heroin", "All Tomorrow's Parties" (alternate instrumental version), and "I'll Be Your Mirror". Disc two contains the same bonus tracks as the prior deluxe version's second disc. Disc three is Nico's Chelsea Girl in its entirety and the Scepter Studios acetate (see below) in its entirety occupies disc 4. Discs 5 and 6 contain a previously unreleased live performance from 1966. According to the essay by music critic and historian Richie Unterberger contained within the set, the source for the show is the only audio tape of acceptable quality recording during singer Nico's tenure in the band. The essay also clarifies that the absence of any DVD materials in the box set is due to the fact that none of the band's shows were filmed, in spite of their heavy reliance on multimedia visuals.[62]

Disc 5: Live at Valleydale Ballroom, Columbus, Ohio, November 4, 1966 (Part 1)
No.TitleLength
1."Melody Laughter" (Instrumental jam)28:26
2."Femme Fatale"2:37
3."Venus in Furs"4:45
4."The Black Angel's Death Song"4:45
5."All Tomorrow's Parties"5:03
Total length:45:36
Disc 6: Live at Valleydale Ballroom, Columbus, Ohio, November 4, 1966 (Part 2)
No.TitleLength
1."I'm Waiting for the Man"4:50
2."Heroin"6:42
3."Run Run Run"8:43
4."The Nothing Song" (Instrumental jam)27:56
Total length:48:11

Scepter Studios acetate version

Label of the Norman Dolph acetate

Norman Dolph's original acetate recording of the Scepter Studios material contains several recordings that would make it onto the final album, though many are different mixes of those recordings and three are different takes entirely. The acetate was cut on April 25, 1966, shortly after the recording sessions. It would resurface decades later when it was bought by collector Warren Hill of Montreal, Quebec, Canada in September 2002 at a flea market in the Chelsea neighborhood of New York City for $0.75.[63] Hill put the album up for auction on eBay in November. On December 8, 2006, a winning bid for $155,401 was placed, but not honored.[64] The album was again placed for auction on eBay and was successfully sold on December 16, 2006, for $25,200.[65][66]

Although ten songs were recorded during the Scepter sessions,[11] only nine appear on the acetate cut. Dolph recalls "There She Goes Again" being the missing song[67] (and, indeed, the version of "There She Goes Again" that appears on the final LP is attributed to the Scepter Studios session). In 2012, the acetate was officially released as disc 4 of the omnicomprehensive "45th Anniversary Super Deluxe Edition" box set of the album (see above). The disc also includes six previously unreleased bonus tracks, recorded during the band's rehearsals at The Factory on January 3, 1966. However, a ripped version of the acetate began circulating the internet in January 2007.[68][69] Bootleg versions of the acetate tracks have also become available on vinyl and CD.[70] The acetate was issued on vinyl in 2013 as a limited edition for Record Store Day. In 2014, it went back to auction.[66]

Box set, disc 4 track listing

  1. "European Son" (Alternate version) – 9:02
  2. "The Black Angel's Death Song" (Alternate mix) – 3:16
  3. "All Tomorrow's Parties" (Alternate version) – 5:53
  4. "I'll Be Your Mirror" (Alternate mix) – 2:11
  5. "Heroin" (Alternate version) – 6:16
  6. "Femme Fatale" (Alternate mix) – 2:36
  7. "Venus in Furs" (Alternate version) – 4:29
  8. "I'm Waiting for the Man" (Alternate version, here titled "Waiting for the Man") – 4:10
  9. "Run Run Run" (Alternate mix) – 4:23
  10. "Walk Alone" – 3:27
  11. "Crackin' Up/Venus in Furs" – 3:52
  12. "Miss Joanie Lee" – 11:49
  13. "Heroin" – 6:14
  14. "There She Goes Again" (with Nico) – 2:09
  15. "There She Goes Again" – 2:56

Notes

  • Tracks 1–9 are the original Scepter Studios acetate. Tracks 1, 2, 3, and 5 are sourced from tape; tracks 4, 6, 7, 8, and 9 are from the actual acetate.
  • Tracks 10–15 are the January 3, 1966 Factory rehearsals, also from tape, previously unreleased.

Personnel

On the original album:

Production

  • Andy Warhol – producer
  • Tom Wilson – post-production supervisor, "Sunday Morning" producer
  • Ami Hadami (credited as Omi Haden) – T.T.G. Studios engineer
  • Gary Kellgren – Scepter Studios engineer (uncredited)
  • Norman Dolph – Scepter Studios engineer (uncredited)
  • John Licata – Scepter Studios engineer (uncredited)
  • Gene Radice – post-production editor, remixer
  • David Greene – post-production editor, remixer

Charts and certifications

According to Nielsen SoundScan, which tracks sales, The Velvet Underground & Nico has sold 560,000 copies since 1991.[77]

Notes

  1. ↑ Note, however, that the language of the covenant covers only copyright lawsuits and claims; it does not cover trademark or unfair competition claims, which, as noted below, the Foundation has indeed filed against the Partnership.
  2. ↑ The album did not reach the UK charts until 1994, when it reached number 59. Shortly after the death of Lou Reed in 2013, it peaked at 43.[73]

References

  1. ↑ DeRogatis, Jim (February 14, 2003). "Gettin' Your Groove On". Chicago Sun-Times. p. 26. Retrieved August 1, 2013. ...this enduring art-rock masterpiece...
  2. ↑ "Classic Albums: The Velvet Underground – The Velvet Underground & Nico". Clash Music. December 11, 2009. Archived from the original on April 2, 2015. Retrieved March 28, 2015. ...the original art-rock record...
  3. ↑ Goodman, William (August 16, 2011). "Listen: Feist & Friends Cover Velvet Underground". Spin. Archived from the original on October 29, 2013. Retrieved October 6, 2013.
  4. ↑ DeRogatis 2003, p. 79
  5. ↑ "Rolling Stone's 500 Greatest Albums of All Time". Rolling Stone (937). December 11, 2003. Archived from the original on January 4, 2009. Retrieved July 18, 2006.
  6. ↑ March 6, 2007 – Recordings by Historical Figures and Musical Legends Added to the 2006 National Recording Registry Archived October 29, 2013, at the Wayback Machine., News from the Library of Congress, 2006 National Recording Registry – The Library Today (Library of Congress).
  7. ↑ Richman, Simmy. "The Velvet Underground: The velvet revolution rocks on". The Independent. Archived from the original on February 13, 2017. Retrieved February 12, 2017. "On that first album alone, the Velvets invented—or at the very least inspired—art rock, punk, garage, grunge, shoegaze, goth, indie and any other alternative music you care to mention."
  8. 1 2 Wilcox, Tyler (March 13, 2017). "The Unlikely Making of The Velvet Underground & Nico". The Pitch. Pitchfork. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  9. ↑ "The Velvet Underground Bio". Rolling Stone. August 18, 2017. Archived from the original on September 23, 2017.
  10. 1 2 Federal Reserve Bank of Minneapolis Community Development Project. "Consumer Price Index (estimate) 1800–". Federal Reserve Bank of Minneapolis. Retrieved January 2, 2018.
  11. 1 2 3 4 5 6 7 8 9 10 11 Harvard 2007
  12. ↑ Irvin & McLear 2007, p. 80
  13. ↑ Browne, David (November 4, 2015). "Remembering Bob Dylan and Velvet Underground's Pioneering Producer". Rolling Stone. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  14. 1 2 Bockris 1994, pp. 106, 135
  15. 1 2 Graves, Wren (March 10, 2017). "The Velvet Underground: How Andy Warhol Was Fired by His Own Art Project". Dusting 'Em Off. Consequence of Sound. Archived from the original on April 8, 2017. Retrieved September 12, 2017.
  16. 1 2 3 4 5 6 Bockris & Malanga 1996
  17. ↑ "An Interview with Sterling Morrison", Fusion, March 6, 1970. Reproduced in Heylin 2009
  18. ↑ Flanagan, Bill (April 1989). "White Light White Heat: Lou Reed and John Cale remember Andy Warhol". Musician Magazine.
  19. ↑ "The Velvet Underground, 'I'm Waiting for the Man'". Rolling Stone. April 7, 2011. Archived from the original on September 12, 2017. Retrieved September 11, 2017.
  20. ↑ Sounes 2015, pp. 40–41
  21. ↑ Sounes 2015, pp. 41–43
  22. ↑ "Heroin - The Velvet Underground | Song Info". AllMusic. All Media Network. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  23. 1 2 3 4 5 Heylin 2009
  24. ↑ Fricke, David (1995). Peel Slowly and See (Box set). The Velvet Underground and Nico. Polydor.
  25. ↑ Pinnock, Tom (September 28, 2012). "John Cale on The Velvet Underground & Nico". Uncut. Archived from the original on August 14, 2017. Retrieved August 18, 2017.
  26. 1 2 3 Christgau, Robert (December 20, 1976). "Christgau's Consumer Guide to 1967". The Village Voice. New York. p. 69. Retrieved June 22, 2013.
  27. ↑ "Copyright Portion of Velvet Underground Banana Lawsuit Dismissed, Trademark Part Goes Forward". Pitchfork. Archived from the original on February 3, 2016. Retrieved January 10, 2016.
  28. 1 2 Runtagh, Jordan (March 12, 2017). "'The Velvet Underground and Nico': 10 Things You Didn't Know". Rolling Stone. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  29. ↑ Perpetua, Matthew (January 11, 2012). "Velvet Underground Sue Andy Warhol Foundation For Copyright Infringement". Rolling Stone. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  30. 1 2 "Opinion & Order". Velvet Underground v. Andy Warhol Found. for the Visual Arts, Inc., 12 Civ. 00201 (AJN) (S.D.N.Y. Sept. 7, 2012). Archived from the original on April 8, 2013. Retrieved September 7, 2012.
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  38. ↑ "The Velvet Underground: The Velvet Underground & Nico". Q (118): 150. July 1996.
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  40. ↑ Sheffield, Rob (2004). "The Velvet Underground". In Brackett, Nathan; Hoard, Christian. The New Rolling Stone Album Guide (4th ed.). London: Fireside Books. pp. 847–848. ISBN 0-7432-0169-8. Retrieved November 22, 2011. Portions posted at "The Velvet Underground > Album Guide". Rolling Stone. Archived from the original on September 27, 2011. Retrieved November 22, 2011.
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  42. ↑ Sources discussing the quote:
    • Schinder 2007, p. 308
    • Gensler, Andy (October 28, 2013). "Lou Reed RIP: What If Everyone Who Bought The First Velvet Underground Album Did Start A Band?". Billboard. New York. Archived from the original on April 5, 2016.
    The quote referenced:
    • McKenna, Kristine (October 1982). "Eno: Voyages in Time & Perception". Musician. Archived from the original on August 5, 2012. Retrieved November 8, 2012. I was talking to Lou Reed the other day and he said that the first Velvet Underground record sold 30,000 copies in the first five 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!
  43. ↑ Klosterman, Chuck; Milner, Greg; Pappademas, Alex (April 2003). "Top Fifteen Most Influential Albums of All Time (... not recorded by the Beatles, Bob Dylan, Elvis and The Rolling Stones)". Spin. 19 (4): 84. Archived from the original on June 27, 2014. Retrieved November 27, 2011.
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  46. ↑ 1962-, Cross, Alan, (1995). The alternative music almanac (1st ed.). Burlington, Ont.: Collector's Guide Pub. ISBN 1896522149. OCLC 34377480.
  47. ↑ "The music of the millennium". January 24, 1998. Archived from the original on June 17, 2012. Retrieved November 21, 2013.
  48. ↑ "The 50 albums that changed music". The Observer. July 15, 2006. Archived from the original on September 26, 2006. Retrieved July 18, 2006.
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  50. ↑ "The 200 Best Albums of the 1960s". Pitchfork. August 22, 2017. Archived from the original on September 3, 2017. Retrieved September 3, 2017.
  51. ↑ Kohler, Dean Ellis; VanHecke, Susan (2009). Rock 'n' Roll Soldier: A Memoir. New York: HarperCollins. ISBN 978-0-06-124255-7.
  52. ↑ Jurgensen, John (August 20, 2009). "Beck Remakes the Classics". The Wall Street Journal. Archived from the original on August 24, 2009. Retrieved April 5, 2016.
  53. ↑ Argentina Artists Cover Velvet Underground & Nico Archived August 15, 2010, at the Wayback Machine. at Sounds and Colours
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  55. ↑ Hogan 1997, p. 50
  56. ↑ Planer, Lindsay. "Chelsea Girl – Nico". AllMusic. Archived from the original on March 21, 2017. Retrieved September 12, 2017.
  57. ↑ Fricke, David (November 2013). "Overloaded: The Story of White Light/White Heat". Mojo. Archived from the original on February 3, 2017. Retrieved September 12, 2017.
  58. ↑ Schinder 2007, pp. 316–317
  59. ↑ The Velvet Underground CDs Archived December 2, 2010, at the Wayback Machine. at The Velvet Underground Web Page
  60. ↑ Hann, Michael (July 26, 2012). "The Velvet Underground's first album gets deluxe reissue". The Guardian. Archived from the original on September 12, 2017. Retrieved September 12, 2017.
  61. ↑ "'The Velvet Underground & Nico' to receive six disc 45th anniversary re-release". Uncut. July 25, 2012. Archived from the original on December 3, 2013. Retrieved September 11, 2017.
  62. ↑ Unterberger, Richie (2012). The Velvet Underground & Nico (booklet). The Velvet Underground and Nico. Universal.
  63. ↑ "Insanely Rare Velvet Underground LP on eBay for $19K". Pitchfork. May 6, 2007. Archived from the original on May 6, 2007. Retrieved August 18, 2017.
  64. ↑ Adams, James (December 11, 2006). "Rare acetate still seeks buyer". The Globe and Mail. Archived from the original on December 14, 2006. Retrieved April 5, 2016.
  65. ↑ "Second auction, ended December 16, 2006" (PDF). Archived (PDF) from the original on March 3, 2016. Retrieved August 18, 2017.
  66. 1 2 "Extremely Rare Velvet Underground Acetate Once Sold for $25,200 Is Going Back to Auction". Pitchfork. May 22, 2014. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  67. ↑ The Velvet Underground – Studio and home recordings Archived February 7, 2009, at the Wayback Machine. at The Velvet Underground Web Page
  68. ↑ "Velvet Underground & Nico – April 1966 (Norman Dolph Acetate)". FM SHADES. January 2, 2007. Archived from the original on March 12, 2007. Retrieved April 5, 2016.
  69. ↑ "Velvet Underground Acetate MP3s - WFMU's Beware of the Blog". blog.wfmu.org. Archived from the original on August 19, 2017. Retrieved August 18, 2017.
  70. ↑ The Velvet Underground – Bootleg LP's Archived March 25, 2011, at the Wayback Machine. at The Velvet Underground Web Page
  71. ↑ "Archivio – Album – Classifica settimanale WK 50 (dal 09-12-2013 al 15-12-2013)" (in Italian). Federation of the Italian Music Industry. Archived from the original on December 19, 2013. Retrieved July 4, 2014.
  72. ↑ "Velvet Underground – Artist". Official Charts Company. Archived from the original on July 9, 2014. Retrieved July 4, 2014.
  73. ↑ "velvet+underground+%26+nico | full Official Chart History | Official Charts Company". Officialcharts.com. Archived from the original on August 26, 2015. Retrieved March 12, 2017.
  74. ↑ "The Velvet Underground Chart History (Billboard 200)". Billboard.
  75. ↑ "Italian album certifications – Velvet Underground – Velvet Underground: Velvet Underground & Nico" (in Italian). Federazione Industria Musicale Italiana. Retrieved September 24, 2018.
  76. ↑ "British album certifications – The Velvet Underground – The Velvet Underground & Nico". British Phonographic Industry. Select albums in the Format field. Select Platinum in the Certification field. Type The Velvet Underground & Nico in the "Search BPI Awards" field and then press Enter.
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