COVER CONDITION.
RECORD CONDITION.
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ALL USA ORDERS WILL BE SENT VIA MEDIA MAIL. ALL USA ORDERS WILL INCLUDE DELIVERY CONFIRMATION AND ONLINE TRACKING FOR YOUR CONVENIENCE . ________________________________________________________________________________ Mint (M)   Absolutely perfect in every way. Certainly never been played, possibly even still sealed.(More on still sealed under "Other Considerations"). Should be used sparingly as a grade, If at all.
Near Mint (NM)   A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect. 
The record should show no obvious signs of wear. Covers should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. 
An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like. 
Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap. 
Near Mint is the highest price listed in all Goldmine price guides. Anything that exceeds this grade, in the opinion of both buyer and seller, is worth significantly more than the highest Goldmine book value.
Excellent (EX)  A Excellent (EX) record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. 
Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Very Slight warps that do not affect the sound are "OK". 
The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. 
Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Excellent (EX) record highly acceptable. Excellent Minus (EX-) An LP or cover that just has a little more pronounced flaws than the EX grade but not quiet VG+ Very Good+ (VG+)  Many of the defects found in a EX record will be more pronounced in a VG+ disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches 
Covers may have a small amount of writing, Slight seam splits and tears to the spine edges.The same will be true of inner sleeves. However, it will not have all of these problems at the same time, only two or three of them. 
Very Good (VG) Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be much more evident upon playing, Groove wear and lose of gloss, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. 
Covers may of writing, Large seam splits and tears to the spine edges.Ring Wear will be very visible.The same will be true of inner sleeves.  
Good (G), Good Plus (G+)   Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). 
A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. 
It is a common item, you'll probably find another copy in better shape eventually. Pass it up. But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.

Poor (P), Fair (F)   The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon  __________________________________________________________________________________ Here is some wiki artist info for you!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

The Velvet Underground & Nico

From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2015) (Learn how and when to remove this template message) The Velvet Underground & Nico Studio album by The Velvet Undergroundand Nico Released March 12, 1967 Recorded April–May and November 1966 Studio

• Scepter Studios, Manhattan
• T.T.G. Studios, Hollywood
• Mayfair Recording Studios, Manhattan

Genre

• Art rock[1][2]
• proto-punk[3]
• psychedelic rock[4]

Length 48:51 Label Verve Producer

• Andy Warhol
• Tom Wilson

The Velvet Underground chronology The Velvet Underground & Nico
(1967) White Light/White Heat
(1968) Nico chronology The Velvet Underground & Nico
(1967) Chelsea Girl
(1967) 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 and vocal collaborator Nico, released in March 1967 by Verve Records. Recorded in 1966 during Andy Warhol's Exploding Plastic Inevitable multimedia event tour, The Velvet Underground & Nico would gain attention for its experimental performance sensibilities, as well as the focus on controversial subject matter expressed in many of its songs including drug abuse, prostitution, sadism and masochism and sexual deviancy.

Though it was a commercial failure upon release and was almost completely ignored by critics at the time, the record has since become one of the most influential and critically acclaimed rock albums in history, appearing at number thirteen on Rolling Stonemagazine's list of the 500 Greatest Albums of All Time[5] as well as being added to the 2006 National Recording Registry by the Library of Congress.[6] In 1982, musician Brian Eno famously stated that while The Velvet Underground & Nico initially only sold 30,000 copies, "everyone who bought one of those 30,000 copies started a band."[7][8][9]

Contents

  [hide] 

• 1Recording
  • 1.1Production
• 2Music and lyrics
  • 2.1Subject matter
  • 2.2Instrumentation and performance
• 3Cover artwork
  • 3.1Back cover lawsuit
  • 3.2Front cover lawsuit
• 4Reception and sales
  • 4.1Reappraisal
  • 4.2Tributes
• 5Aftermath
• 6Track listing
• 7Reissues
  • 7.1Compact disc
  • 7.2Peel Slowly and See box set
  • 7.3Deluxe Edition
  • 7.445th Anniversary Super Deluxe Edition
• 8Scepter Studios acetate version
• 9Charts and certifications
• 10Personnel
• 11References
• 12Bibliography
• 13External links

Recording[edit]

Collaborator Nico sang lead vocals on three tracks, including thesingle "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. German singerNico was also featured, having occasionally performed lead vocals for the band at the instigation of their mentor and manager, Andy Warhol.[citation needed] Nico 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.[citation needed]

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 to $3,000.[10]

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.[11] 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.[citation needed]

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 T.T.G. Studios during a stay inHollywood, 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".[citation needed]

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