How The Velvet Underground Impacted Music
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- Опубликовано: 6 авг 2024
- A video essay by Bobby Bellinger. Also a music manifesto for a college assignment.
Songs used:
Ariana Grande - thank u, next
Cole Porter - Anything Goes
The Velvet Underground - "Live at The Boston Tea Party" (Jan. 10, 1969)
The Velvet Underground...
- Sunday Morning
- There She Goes Again
- Heroin
- Sister Ray
- Candy Says
- Pale Blue Eyes
- Beginning To See The Light
- Jesus
- I'm Set Free
- After Hours
Clips Used -
• Ariana Grande - thank ...
• STAR - BROCKHAMPTON
• Video
• Video
/ channel
Sources Used:
Lou Reed - "Between Thought and Expression" (novel)
The Velvet Underground - Under Review (documentary)
Genius (website)
New York Art - The Velvet Underground (novel)
Other Research
All clips and songs are used for educational purposes so they fall under fair use.
Thank you for watching!
I don’t think a band will ever come along with such a consistent and influential discography as the Velvets. They were just so brilliant and diverse.
Wooow! Thanks for what you’ve done, bro! Great and profound analysis about Velvet. I’ve been listen to them for more than 30 years and still discovering new emotions and subtleties. 👏🏻👏🏻👍🏻
Omg thank you for making this
This was wonderful🖤
Great overview! Thanks for the video, just got into the VU and needed something like this. Cheers.
Sexuality doesn't define u as a person. Secondly ever heard of Dirty Blues?? The 1960s like today are just YOUNG ASPIRING COMMUNISTS INDOCTRINATED WITH CULTURAL MARXISM
also the "yes, you heard me right" part killed me
very well spoken and well made, this is quality content 👏👏👏
Thanks Hannah :)
@@BobbyBellinger Sexuality doesn't define u as a person. Secondly ever heard of Dirty Blues?? The 1960s like today are just YOUNG ASPIRING COMMUNISTS INDOCTRINATED WITH CULTURAL MARXISM
Seemingly you haven't understood the role The Velvet Underground had in the shaping of the whole Punk/Alternative universe, which is based on the first two albums. TVU&N and WL/WH set the tone for things to come: be it Bowie, The Stooges, Patti Smith, Modern Lovers, Ramones, Pistols, Joy Division and plenty plenty more. It wasn't those sugar candied melodies of the third album that shook up the world, opening up the doors to totaly new sonic dimensions. It was those sinister and menacing soundscapes, implemented mainly by John Cale, as with his viola drones on Venus In Furs or Heroin, or those repetetive piano clusters (All Tomorrow's Parties, I'm Waiting For The Man) that would be so influentual. Cale had the gift to rearrange Reed's original compositions, giving the songs that unsettling and disturbing atmosphere Reed's lyrics required and should have at least been co-credited for the music. Without Cale's presence on those two albums, the Velvets would have just been another Mamas & Papas, America or Eagles, with slightly off topic lyrics. The VU became a completely different band as with the Syd Barrett Pink Floyd and the post Barrett Floyd. At least the remaining band members of Joy Division had the decency to rename themselves.
P.S.: the Velvets weren't an entirely American band, John Cale is Welsh!
Nah I would say the third album also has its influences. After Hours could be made completely today and the album overall holds together and imo had every right to stay with the Cale albums. Loaded is nowhere near as good though as the first three, but still Lou was an innovator in his own right. Metal Machine Music and Street Hassle is proof of that
@@jackreeder215 MMM was Reed's big f*** you to his record company, he wanted out. Reed had been taught some of the drone techniques by Cale, who used to be educated by Avantgarde luminaries John Cage, Iannis Xenskis and LaMonte Young. Beside being in the Velvets, Cale recorded several DIY tracks, experimenting with drones and other experimental sounds and techniques, creating
Proto-Industrial music, a decade before MMM, Throbbing Gristle, early Cabaret Voltaire or Einstürzende Neubauten.
Here's a playlist: John Cale - New York In The 1960's: ruclips.net/p/PLNINWcxxj9hHMJx4_oFVWNLznPeMWKRVW&feature=sharedruclips.net/p/PLNINWcxxj9hFYurceT-GkVl2VKrjYIibi&feature=shared
Recommended tracks:
- Untiteld (For Piano) 1965
- After The Locust [1968] or
- At About This Time Mozart Was Dead... [1967]
The 3. VU Album had some great songs by Lou Reed, but the menacing and sinister sounds and arrangements Cale created went astray, The Velvets had lost their cutting edge. Songs such as Waiting For The Man, Venus In Furs or Sister Ray would become far more relevant for the upcomming Punk and Alternative scene than After Hours or any other song on that album.
After Cale's departure, he went on to produce and arrange Nico's lp trilogy The Marble Index, Desertshore and The End, both of them laying the foundations for Postpunk and Goth. Furthermore he went on to produce the debuts by The Stooges, Patti Smith and The Modern Lovers, all of them milestone albums for the upcomming Punk revolution.
Lou Reed had a great impact on the lyrical aspects and the Subjekt matter of what Punk was about, but as for the sound, that is mainly John Cale. Cale should have been co-credited for the music on TVU&N and WL/WH, but Reed's enormous ego would have none of that.
I think that none without the other would have eventually been that influential and to a degree that successful.
@jackreeder215 MMM was Reed's big f*** you to his record company, he wanted out. Reed had been taught some of the drone techniques by Cale, who used to be educated by Avantgarde luminaries John Cage, Iannis Xenskis and LaMonte Young. Beside being in the Velvets, Cale recorded several DIY tracks, experimenting with drones and other experimental sounds and techniques, creating
Proto-Industrial music, a decade before MMM, Throbbing Gristle, early Cabaret Voltaire or Einstürzende Neubauten.
Here's a playlist: John Cale - New York In The 1960's: ruclips.net/p/PLNINWcxxj9hHMJx4_oFVWNLznPeMWKRVW&feature=sharedruclips.net/p/PLNINWcxxj9hFYurceT-GkVl2VKrjYIibi&feature=shared
(Recommended tracks:
- Untiteld (For Piano) 1965
- After The Locust [1968] or
- At About This Time Mozart Was Dead... [1967]
The 3. VU Album had some great songs by Lou Reed, but the menacing and sinister sounds and arrangements Cale created went astray, The Velvets had lost their cutting edge. Songs such as Waiting For The Man, Venus In Furs or Sister Ray would become far more relevant For The upcomming Punk and Alternative scene than After Hours or any other song on that album.
After Cale's departure, he went on to produce and arrange Nico's lp trilogy The Marble Index, Desertshore and The End, both of them laying the foundations for Postpunk and Goth. Furthermore he went on to produce the debuts by The Stooges, Patti Smith and The Modern Lovers, all of them milestone albums for the upcomming Punk revolution.
Reed's lyrics set the subject matter of what Punk was to be about, but as for the sound what was to become Punk, that was mainly Cale's achievement. Should have been co-credited for the music, but Reed's enormous ego would have none of that. I think that none without the other would have been so influential, and to a certain extent successful.
Reed and Cale together would pave the way for so many genres and bands, maybe only matched by the Beatles.
Excelente amigo don't give up man you're awesome
What a top notch Bellinger content
Very good video:)
Great review
.. imo their 1st album is my favorite
Love the VU
Great video as a bug VU fan I thought you did a good job
💘
3rd
first 🙏
God Damn it hannah
Nice overview of the band, but one small correction- “Pale Blue Eyes” was about an affair Reed had with a married man. Patti Smith, a New York contemporary/fan of Reed’s, tells the story in the intro to one of her live covers of the song.
No it wasnt, it was about Shelley Albin