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White Light  /  White Heat The Velvet Underground Day By Day Lou Reed zum Gedenken
White Light / White Heat
The Velvet Underground Day By Day


Lou Reed zum Gedenken

Richie Unterberger

Edition Olms
EAN: 9783283012045 (ISBN: 3-283-01204-0)
368 Seiten, paperback, 22 x 27cm, 2014

EUR 29,99
alle Angaben ohne Gewähr

Umschlagtext
WHITE LIGHT / WHITE HEAT

Smart Books for musical Minds! Bigger sized series.

By turns fiercely confrontational, literate, primitive and sweetly melodic, The Velvet Underground remain one of the most influential bands in the history of rock.

The ultimate cult band and the ultimate art rock experience, the VU’s music and style have served as a blueprint for everyone from David Bowie to The Jesus And Mary Chain. Yet for all their enduring importance, they were unsuccessful in their day, selling minute numbers of records, their monochrome look and photo-realist lyrics at odds with the garish colours and peace fantasies of the hippy era. It was only when David Bowie started to champion the band in the early 70s, after they had split up, that the VU’s reputation started to spread.

In White Light/White Heat, noted rock writer and historian Richie Unterberger analyses the band’s career and influence in forensic detail, drawing on many new interviews with band members and associates, previously undiscovered archive sources and a vast knowledge of the music of the times. The result is a comprehensive, articulate, immensely detailed history, the most thorough work on the band yet published.

Richie Unterberger is an acclaimed author and music historian, renowned for his meticulous research. A regular contributor to the All Music website, Mojo, Record Collector and many other publications, he has also written dozens of liner notes for CD reissues of classic 60s and 70s albums. His previous books include Unknown Legends of Rock’n’Roll, Eight Miles High and Turn! Turn! Turn!
Rezension
Die Schweizerische Edition Olms bringt immer wieder original-sprachliche, englische Titel zur Rock- und Popgeschichte auf den deutschsprachigen Buchmarkt, so auch diese Chronik zur frühen experimentellen und (anfangs) kommerziell recht erfolglosen Rockband aus den 1960er und frühen 1970er Jahren "The Velvet Underground" (VU), die zunächst aus Lou Reed (Gitarre, Gesang), John Cale (Bass, Viola, Keyboard und Gesang), Angus MacLise (Bongos, Handtrommeln) und Sterling Morrison (Gitarre) bestand. Die von Andy Warhol unterstützte Band wird heute als einflussreicher Vorreiter experimenteller Rockmusik angesehen, als eine der einflussreichsten Untergrund-Bands aller Zeiten und als Wegbereiterin der späteren Independent- und Punk-Musik. Auf der dem Buch den Namen gebenden LP White Light/White Heat wurde u.a. mit atonalen Rückkopplungen gearbeitet. Der US-amerikanische Singer-Songwriter und Gitarrist Lou Reed, geb. 1942 in Brooklyn, ist 2013 verstorben. Lou Reed startete später eine erfolgreiche Solokarriere.

Jens Walter, lehrerbibliothek.de
Inhaltsverzeichnis
Introduction 6

Background 8

1958-64

The pre-history of The Velvet Underground: Lou Reed's early rock'n'roll records, John Cale's rote in the New York avant-garde scene of the mid 60s, and Nico's parallel career as an actress and model. Plus the origins of Reed and Cale's brief stint as The Primitives.
Page 10

1965

Reed and Cale set about forming the core axis on which The Velvet Underground's sound is built. Cale continues to perform with La Monte Young and Reed carries on churning out cheapo rock'n'roll at Pickwick Records, but the new group gains momentum with the addition of guitarist Sterling Morrison and Brummer Angus MacLise. By the end of the year MacLise is replaced by
Maureen Tucker; waiting in the wings are management duo Andy Warhol an( Paul Morrissey, and vocalist Nico, who records her first solo single in London this year.
Page 38

1966

Nico joins The Velvet Underground, who have started touring as part of Andy Warhol's Exploding Plastic Inevitable — a groundbreaking mix of musi( film, projections, dance, and theater. By the spring the Velvets are attractinc national press coverage and recording for MGM Records, but their momentur is derailed by the muted response to their first Californian tour and by the inexplicable delays to the release of their debut LP.
Page 70

1967

The Velvet Underground & Nico is released in March, complete with a jacket designed by Andy Warhol. By the middle of the year, the Velvets are finally touring as a standalone rock band, having lost Nico (who has already recorded her own Chelsea Girl) and managers Andy Warhol and Paul Morrissey (who are replaced by Steve Sesnick). They stop playing in New York, but are starting to build a cult following elsewhere, and are soon working on a second album, the uncompromising White Light/White Heat.
Page 128

1968

White Light/White Heat is released in January. Like its predecessor, it is not a commercial success, but the Velvets are continuing to develop as a live act and are building a strong grassroots following in cities such as Boston and Philadelphiaia. A major rift between the
co-founders culminates in the sacking of John Cale in September. His relanement is the multi-instrumentalist Doug Yule, who heads straight into the sessions for the group's eponymous
third album, which once again sounds very different to what came before it.
Page 176

1969

The Velvet Underground is well received the critics, but fails to chart. While Velvets are finally gaining respect as a band — and not just some weird manifestation of the sleazy New York art scene — their relationship with MGM is beginning to deteriorate. At least an album's worth of material is recorded for the labe) this year but not released. The Velvets continue to tour nationally, reaching their peak as a live band, as documented on 1969 Velvet Underground Live — which, in typically perverse fashion, won't be released until some time after the band have Split up.
Page 220

1970

The Velvets leave MGM and record their fourth album, Loaded, for Atlantic Records. They also finally return to playing in New York City with a twomonth residency at Max's Kansas City. Maureen Tucker's pregnancy forces her to take a leave of absente from both the album sessions and the Max's engagement, however, and by the time Loaded is released, Lou Reed has quit the band. His last night with the Velvets is recorded, and will subsequently be issued as Live At Max's Kansas City The remaining band-members carry on without him, but are really The Velvet Underground in name only.
Page 266

1971-73

The Velvet Underground continue to perform and record, but with Doug Yule as the only constant member. Sterling Morrison and Maureen Tucker are still around for some of the time, but the band can't hope to match their former glories, and eventually peter out
unnoticed in mid 1973. Lou Reed carries on the Velvets' legacy by using leftovers from his time with the group on his first two solo albums, and reunites briefly but memorably with John Cale and Nico for a concert in Paris in January 1972.
Page 300

1973-2007

Apart from a one-off performance in 1990 and a brief reunion tour of Europe in 1993, The Velvet Underground don't play or record together again after 1973, yet they seem to receive more attention than ever with each passing decade. After years of neglect, the Velvets'
core catalog is made available again, bolstered by numerous releases from the archives. Critics belatedly recognize the Velvets as one of the best and most important bands of all time, culminating in the group's induction into the Rock And Roll Hall Of Fame in 1996.
Page 322

Selected discography 359
VU concerts by location 360
Bibliography 361
Index 362