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The Velvet Underground A SYMPHONY OF SOUND LP
2005 Japan World Youth Records WY 038
 
***DRONE ETERNAL***
Rare early 1966 re-cordings.

In 1965, after being introduced to the Velvet Underground by filmmaker Barbara Rubin,[23] Andy Warhol became the band's manager and suggested they use the German-born singer Nico (born Christa Päffgen) on several songs. Warhol's reputation helped the band gain a higher profile. He helped the band secure a recording contract with MGM's Verve Records, with himself as nominal "producer", and gave the Velvets free rein over the sound they created.

During their stay with Andy Warhol, the band became part of his multimedia roadshow, Exploding Plastic Inevitable, which combined Warhol's films with the band's music, which made use of minimalist devices, such as drones. Warhol included the band with his show in an effort to "use rock as a part of a larger, interdisciplinary-art work based around performance" (McDonald).[full citation needed] They played shows for several months in New York City, then traveled throughout the United States and Canada until its last installment in May 1967.[24] During a short period in September 1966, when Cale was ill, the avant-garde musician Henry Flynt, and Richard Mishkin, who had played in Reed's first group at university,[25] took turns to cover for him.[26]

The show included 16 mm film projections by Warhol, combined with a stroboscopic-light show designed by Danny Williams. Because of the punishing lights, the band took to wearing sunglasses onstage.[27] Early promo posters referred to the group as the "erupting plastic inevitable". This soon changed to "the exploding plastic inevitable".

In 1966, MacLise temporarily rejoined the Velvet Underground for a few EPI shows when Reed was suffering from hepatitis and unable to perform. For these appearances, Cale sang and played organ, Tucker switched to bass guitar and MacLise was on drums. 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 specifically prohibited this and made it clear that this stint was only temporary. It should be noted, however, that MacLise still behaved eccentrically with time and commerce and went by his own clock: for instance, he showed up half an hour late to one show and carried on with a half-hour of drumming to compensate for his late arrival, long after the set had finished.[17]

In December 1966, Warhol and David Dalton designed Issue 3 of the multimedia Aspen.[28] Included in this issue of the "magazine", which retailed at $4 ($30 in 2017 dollars[20]) per copy and was packaged in a hinged box designed to look like Fab laundry detergent, were various leaflets 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 flexi 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 [Reed's] Metal Machine Music", say Velvets archivists M.C. Kostek and Phil Milstein in the book The Velvet Underground Companion.[29] "Loop" also predates much industrial music.

Tracklist

Companies, etc.

• Recorded At – Andy Warhol's Factory

Credits

• Drums – Moe Tucker
• Guitar – Lou Reed, Sterling Morrison
• Maracas, Tambourine, Guitar – Nico (3)
• Viola, Bass, Other [Electronic Noise] – John Cale

Notes