The Velvet Underground's The Velvet Underground and Nico (33 1/3 Series)

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Overview

The Velvet Underground and Nico has influenced the sound of more bands than any other album. And remarkably, it still sounds as fresh and challenging today as it did upon its release in 1967. In this book, Joe Harvard covers everything from Lou Reed's lyrical genius to John Cale's groundbreaking instrumentation, and from the creative input of Andy Warhol to the fine details of the recording process. With input from co-producer Norman Dolph and Velvets fan Jonathan Richman, Harvard documents the creation of a record which - in the eyes of many - has never been matched.

EXCERPT In 1966, some studios, like Abbey Road, had technicians in white lab coats, and...

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Overview

The Velvet Underground and Nico has influenced the sound of more bands than any other album. And remarkably, it still sounds as fresh and challenging today as it did upon its release in 1967. In this book, Joe Harvard covers everything from Lou Reed's lyrical genius to John Cale's groundbreaking instrumentation, and from the creative input of Andy Warhol to the fine details of the recording process. With input from co-producer Norman Dolph and Velvets fan Jonathan Richman, Harvard documents the creation of a record which - in the eyes of many - has never been matched.

EXCERPT In 1966, some studios, like Abbey Road, had technicians in white lab coats, and even the less formal studios usually had actual engineering graduates behind the consoles. Studios were still more about science than art. Clients who dared make technical suggestions were treated with bemusement, derision, or hostility. The Velvets were a young band under constant critical attack, and the pressure to conform in order to gain acceptance must have been tremendous. Most bands of that era compromised with their record companies, through wholesale revamping of their image from wardrobe to musical style, changing or omitting lyrics, creating drastically edited versions for radio airplay, or eliminating songs entirely from their sets and records. With Andy Warhol in the band's corner, such threats were minimized.

Editorial Reviews

Library Journal
Music fans love to trumpet their favorite recordings to a sympathetic audience. Continuum has given fans that chance with its quaintly titled "331/3" series, in which the authors wax poetic on the greatness of their favorite LPs from the past 40 years. Though it's unclear how Continuum selected the authors, the musicians and music writers chosen do their subjects proud. Their articulate, well-researched, and passionate cases are a welcome change from the capsule reviews found in most music magazines, which seem intended to show off the reviewers' pithy witticisms rather than to illuminate the merits of the work in question. Interestingly, the authors here take on the qualities one would expect of fans for each artist. For instance, Perry, former guitarist for the Only Ones, gamely tries to explain the technical details of Jimi Hendrix's brilliant playing; Ott, a regular contributor to Pitchforkmedia.com, is serious and dramatic in telling Joy Division's tragic tale; and Vincentelli (music editor, Time Out New York) is a bit defensive in her self-conscious apology of Abba, resorting to tearing down other artists to make her faves look better. While the series is refreshing in its decision to sidestep the usual suspects (e.g., the Beatles' Revolver, the Beach Boys' Pet Sounds), its focus on lesser-known, more cultish albums limits the series' appeal to larger public libraries. Also potentially problematic: the artists' names are not always included in the book titles. Though written for lay readers, "331/3" may get better use, as a whole, in academic libraries.-Lloyd Jansen, Stockton-San Joaquin Cty. P.L., CA Copyright 2004 Reed Business Information.

Product Details

  • ISBN-13: 9780826415509
  • Publisher: Continuum International Publishing Group
  • Publication date: 3/31/2004
  • Pages: 168
  • Sales rank: 229,306
  • Series: 33 1/3 Series
  • Product dimensions: 4.77 (w) x 6.61 (h) x 0.40 (d)

Meet the Author

Joe Harvard became an Ivy-trained archaeologist before settling into a long career as a musician, producer-engineer, promoter and indie pioneer. Co-founder of Fort Apache Recording [1985], Helldorado Productions (originators of Music at the Middle East Restaurant, Cambridge) [1988] , NYC's Tribal Soundz [1999], &Asbury's Cranial Mass Productions [2008], winner of the WFNX/Boston Phoenix Best Local Producer title [1989] and NYC's prestigious Moth StorySLAM Championship [2001], his most recent accolades include Asbury Music Awards for Top Americana Band [2009], Top Multi-Instrumentalist [2010] and Top Avant-Garde Act [2010].

He continues to play regular live shows with Velveeta [the Velvet Underground tribute band], the Cockwalkers [Boston Garage at its best], solo as the Human Slinky, and with the Joe Harvard Band. He is currently working on a second book of true stories from the world of rock, and his travel experiences in the U.S., U.K., Saudi Arabia, Greece and Pakistan, and adapting the once-online Boston Rock Storybook for print.

Table of Contents

Introduction 1
Part 1 The Setting 21
Part 2 The Songs 93
Part 3 Aftermath 137

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