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The Velvet Underground The Verve & MGM Albums (5-LP Deluxe Box Set)

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  • SLP4003
  • 1.5
At a time when the Rolling Stones were forbidden from singing about spending the night together... more

The Velvet Underground: The Verve & MGM Albums (5-LP Deluxe Box Set)

At a time when the Rolling Stones were forbidden from singing about spending the night together on national television, the Velvet Underground was crafting songs about such taboo subjects as illegal drugs, sadomasochism and black angels of death. And that was just on their debut. Throughout their first three albums, VU continued to challenge societal norms through their lyrics and rock music itself through their unorthodox instrumental approach. Their sound was theirs alone, which proved to be an obstacle when it came to sales. The majority of popular music fans simply weren't ready for the bleakly beautiful vision of VU. But for those who were, this LP trilogy was a clarion call, drawing together the outsiders who felt disenfranchised and unfulfilled by Top Forty fodder. Like time release capsules, these LPs became catalysts for change as they spread from city to city and were consumed by adventurous listeners. Bands formed, scenes coalesced and new musical paths emerged which would eventually branch off into punk, alternative, indie and more. Take a sample from any underground music genre and you're likely to find VU DNA pulsing through its core.

As the alternative scene grew, so did the legend of the Velvet Underground. However, with relatively few of the original LPs in circulation, finding them could be difficult and, as a result, more people had probably heard OF the band than had actually heard their music. The emergence of compact discs in the mid-80s, along with a groundswell of VU-influenced bands singing their praises, finally got their music into wider distribution. Yet, for vinyl enthusiasts who longed to place those precious albums on their turntables, that thrill remained elusive.

Until now. With tremendous pride, Sundazed presents The Velvet Underground: The MGM/Verve Albums. This beautiful, deluxe boxed set gathers the rare mono versions of the band's first three studio albums along with the superior mono version of Nico's Chelsea Girl and a definitive edition of the band's unfinished fourth album! Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin, this collection is an essential purchase for the discerning vinyl devotee. For all tomorrow's parties, this is your soundtrack.
The ultimate collection of underground rock's big bang!

Includes the rare mono versions of the VU's first three albums, the superior mono version of Nico's Chelsea Girl (featuring Reed, Cale & Morrison) and a definitive edition of the band's unfinished fourth album!
Housed in a beautiful deluxe box with all original LP artwork along with two bonus poster inserts!

Introduction by Rolling Stone senior editor/MOJO contributor David Fricke.
Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin

Article properties: The Velvet Underground: The Verve & MGM Albums (5-LP Deluxe Box Set)

  • Interpret: The Velvet Underground

  • Album titlle: The Verve & MGM Albums (5-LP Deluxe Box Set)

  • Genre Beat

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Mint (M)
  • Sleeve Grading Mint (M)
  • Deluxe Edition
  • Price code VL22
  • Year of publication 2018
  • Label Sundazed Records

  • Artikelart LP

  • EAN: 0090771400314

  • weight in Kg 1.5
The Velvet Underground The Velvet Underground were arguably more popular in Boston than... more
"The Velvet Underground"

The Velvet Underground

The Velvet Underground were arguably more popular in Boston than anywhere else, and their home from home in the city was the famed Boston Tea Party, located at 53 Berkeley Street. "My personal favorite was The Velvet Underground," commented the club's manager Steve Nelson in 2011. "The Tea Party was essentially their home club from '67 to '70, a period when they did not play in New York. People came up from the City to see the Velvets, and onstage at the Tea Party Lou Reed called it their favorite place to play." Having played a well-received three-night stand there on Thursday 12th, Friday 13th and Saturday 14th December 1968 (their final shows of the year), it seemed obvious that they should return in the New Year. As such, they performed at the club on January 9th-11th, and again on January 22nd. Coinciding with their third visit of the year, between March 13th and 15th, came the release of their self-titled third album. With Cale having departed the preceding September, the band had gelled impressively with his replacement, Doug Yule, and entered a more contemplative phase, incorporating ballads heard on this CD such as Candy Says, I'm Set Free and Jesus.

Nonetheless, as Jonathan Richman has written of their act at this time: 'Doug had only been in the band a few months. You can hear the difference in the way he plays bass and organ compared to the style of John Cale. But Doug hadn't put his stamp on the band yet, so with Sterling and Lou playing guitars together with their own brand of double-rhythm and those tones they got, this band still sounds sorta like the one that recorded the album White Light/White Heat." Opening for the Velvets was Long Island hard rock trio Wilkinson Tri-Cycle (misnamed on the handbill as 'Wilkinson's Tricycle'). The VU's performance on the first night was taped by an audience member, and demonstrates their ever-evolving approach to their setlist.

They play what might have been the premiere of the oddball Ferryboat Bill (which is introduced as a new composition), and then follow it with a furious rendition of their staple I'm Waiting For The Man. Thereafter there's an intense White Light / White Heat and a fine Sister Ray, prefaced by some comments from Reed as to what the song is about (Richman: "I had no idea what the hell they were singing about most of the time, so any light shed on the subject was always a big help"). Reed proceeds to incorporate some of the lyrics to The Murder Mystery into this epic 22-minute rendition.

All in all, it's a superb document, and certainly preferable to the fascinating but frustrating recording of the March 15th show (which predominantly captured only Reed's guitar). As Steve Nelson later put it: "To me, if you try to figure out when they were really at their height, I think it's really '68, '69, after John had left... I don't think they really found themselves as a band, where they were really on top of what they were doing and really had that confidence in what they were doing. That really happened while Doug was with them."

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