The Velvet Underground的艺人档案.docx
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TheVelvetUnderground的艺人档案
TheVelvetUnderground的艺人档案
小简介
VelvetUnderground对美国的Rock&Roll有深远的影响。
往后十几年的摇滚艺人无不跟随他们的脚步，承袭他们的意识，在那个花与和平的嬉皮年代，V.U.却提出反时代潮流的意识，讲出社会的无力感，使摇滚乐不再只是单纯的音乐，而是充满自省及急呼社会不平的音乐。
当时只要是听V.U.的，无不自己搞起乐队，可见他们对当时及后世的摇滚极具影响。
"LifeWasSavedByRock&Roll"这句由LouReed的"Rock&Roll"中所唱出的名言，至今让我确信不已!
听过VelvetUnderground（以下简称V.U.）的人，总会迷失在那简单的4/4小节，3、4个和弦即可完成的作品。
但是在粗糙的White-Noise、呢喃自虐式的演唱以及波谱艺术大师AndyWarhol的华丽包装下，使V.U.在当时的乐队中的确与众不同。
JohnCale在纽约结识LouReed，Cale是古典理论作曲家及小提琴手，而Reed是古典钢琴手（在V.U.&Nico中的SundayMorning就是二人坐在钢琴前Jam出来的），后来加入了SteringMorrison（Guitar，Bass，因患淋巴癌病逝于纽约），AngusNaclise（Drums），后来鼓手更替为MaureenTucker.
1966年，他们在CafeBizarre驻唱时认识了AndyWarhol，这位以享乐主义为目标的波谱艺术大师，他肯定商业文明所带给人们的便利与舒适，强调艺术不应以曲高和寡为晃子，而将之商业化，使更多的人能欣赏到艺术的华丽与美妙。
他不认为如此会贬低艺术的价值，这些观念不但影响了V.U.，也影响了LouReed。
同时他也引荐Nico，使这位美丽的德国模特能表现她另一面的才华；第一张专辑TheVelvetUnderground&Nico在1966年完成，也成为地下乐队的经典，其中的歌词也反应出当时社会的脱节与失序及对社会的疏离感（由"SundayMorning"、"RunRunRun"中可看出端倪），对药物滥用（"Heroin"、"WaitingForTheMan"）、享乐主义的（"VenusInFurs"）、性泛滥（"FemmeFatal"）及LouReed对Nico的爱慕所作的"I'llBeYourMirror"）。
这些歌词不但反应了当时的社会，也隐约可看出AndyWarhol的思想潜伏于V.U.的歌词中。
LouReed在Loaded专辑后单飞，相形之下，JohnCale单飞后的前卫摇滚事业似乎叫好不叫座，或许是Cale没有承袭到Warhol的波谱精神吧。
不过Reed的摇滚精神不曾落于俗套，从第2张专辑的Transformer来看，Reed已脱离了V.U.的WhiteNoise的影子，但其呢喃式的唱法，简单精辟嘲讽的歌词，及永远都猜不出下一个音符落点的唱法，这些独特的地方都再次的显示了LouReed的地位是如此的伟大。
一点点干净、一点点悲伤、一点点粗糙、一点点不满、一点点……这些一点点足以造就一连串动听的专辑。
AndyWarhol曾说V.U.将会比Beatles更有成就。
照目前看来也不算过分，受V.U.影响的乐队不计其数，像SonicYouth、DavidBowie、PattiSmith、JesusAndMaryChain.....以及无数个Punk、PostPunk乐队。
在这流行的社会里，每个人都有机会流行15分钟。
这句Warhol的名言在现今的演艺圈偶像歌手林立，在讲求包装的宝岛，AndyWarhol的话似乎有极高的可信度。
Thisarticleisabouttheband.Fortheirself-titledalbum,seeTheVelvetUnderground（album）;forthebook,seeTheVelvetUnderground（book）
TheVelvetUnderground
WithNicoin1966,fromlefttorightbyrow:
LouReed,SterlingMorrison,JohnCale,
Nico,MaureenTucker
photobyDavidHorvitzandAdamDower
Backgroundinformation
AlsoknownasTheWarlocks,TheFallingSpikes
OriginNewYorkCity,NewYork,USA
Genre（s）Experimentalrock,artrock,protopunk
Yearsactive1965–1973
1990
1992–1994
1996
Label（s）Verve,MGM,Atlantic,Polydor,Mercury,Sire
AssociatedactsNico
TheaterofEternalMusic
Formermembers
LouReed
JohnCale
SterlingMorrison
AngusMaclise
MaureenTucker
DougYule
WalterPowers
WillieAlexander
TheVelvetUndergroundwasanAmericanrockbandfirstactivefrom1965to1970（and1970to1973inadifferentincarnation）.Itsbest-knownmemberswereLouReedandJohnCale.Althoughnevercommerciallysuccessfulwhiletogether,theVelvetUndergroundareoftencitedbycriticsasoneofthemostimportantandinfluentialgroupsoftheirera.[1]Afamousremark,oftenattributedtoBritishmusicianBrianEno,isthatwhileonlyafewthousandpeopleboughtthefirstVelvetUndergroundrecorduponitsrelease,almosteverysingleoneofthemwasinspiredtostartaband.
Career
Pre-history（1964–1965）
ThefoundationsforwhatwouldbecometheVelvetUndergroundwerelaidinlate1964.Singer/guitaristLouReedhadperformedwithafewshort-livedgaragebandsandhadworkedasasongwriterforPickwickRecords（Reeddescribedhistenurethereasbeing“apoorman’sCaroleKing”）.[3]ReedmetJohnCale,aWelshmanwhohadmovedtotheUnitedStatestostudyclassicalmusic.CalehadworkedwithexperimentalcomposersJohnCageandLaMonteYoung,butwasalsointerestedinrockmusic.Young’suseofextendeddroneswouldbeaprofoundinfluenceontheearlyVelvets’sound.CalewaspleasantlysurprisedtodiscoverReed’sexperimentalisttendenciesweresimilartohisown:
Reedsometimesusedalternateguitartuningstocreateadroningsound.Thepairrehearsedandperformedtogether,andtheirpartnershipandsharedinterestssteeredtheearlydirectionofwhatwouldbecometheVelvetUnderground.
Reed’sfirstgroupwithCalewasthePrimitives,ashort-livedgroupassembledtosupportaReed-pennedsingle,“TheOstrich.”ReedandCalerecruitedSterlingMorrison—acollegeclassmateofReed’swhohadalreadyplayedwithhimafewtimes—toplayguitar,andAngusMacLisejoinedonpercussion.ThisquartetwasfirstcalledtheWarlocks,thentheFallingSpikes.
TheVelvetUndergroundwasabookaboutthesexualundergroundoftheearly'60sbyMichaelLeighthatCalefoundwhenhemovedintohisNewYorkCityapartment（leftbyprevioustenantTonyConrad）.ReedandMorrisonhavereportedthegrouplikedthename,consideringitevocativeof“undergroundcinema,”andfitting,duetoReed’salreadyhavingwritten“VenusinFurs,”inspiredbyLeopoldvonSacher-Masoch’sbookofthesamename,dealingwithmasochism.Thebandimmediatelyandunanimouslyadoptedthebook'stitleforitsnewname.
Earlystages（1965–1966）
ThenewlynamedVelvetUndergroundrehearsedandperformedinNewYorkCity.Theirmusicwasgenerallymuchmorerelaxedthanitwouldlaterbecome:
Caledescribedthiseraasreminiscentofbeatpoetry,withMacLiseplayinggentle“pitterandpatterrhythmsbehindthedrone.”
InJuly1965,Reed,CaleandMorrisonrecordedademotapeattheirLudlowStreetloft.WhenhebrieflyreturnedtoBritain,CalegaveacopyofthetapetoMarianneFaithfull,hopingshe’dpassitontoMickJagger.Nothingevercameofthedemo,butitwaseventuallyreleasedonthe1995boxsetPeelSlowlyandSee.
ManagerandmusicjournalistAlAronowitzarrangedforthegroup'sfirstpayinggig-$75toplayatSummitHighSchool,inSummit,NewJersey.Whenthegroupdecidedtotakethegig,MacLiseleftthegroup,protestingwhatheconsideredasellout.“Anguswasinitforart,”Morrisonreported
MacLisewasreplacedbyMaureen“Moe”Tucker,theyoungersisterofJimTucker,afriendofMorrison.Tucker’sabbreviateddrumkitwasratherunusual:
shegenerallyplayedontomtomsandanupturnedbassdrum,usingmalletsasoftenasdrumsticks,andsherarelyusedcymbals.（Thebandhavingaskedhertodosomethingunusual,sheturnedherbassdrumonitssideandplayedstandingup.Whenherdrumswerestolenfromoneclub,shereplacedthemwithgarbagecans,broughtinfromoutside.）Herrhythms,atoncesimpleandexotic（influencedbythelikesofBabatundeOlatunjiandBoDiddleyrecords）,becameavitalpartofthegroup’smusic.Thegroupearnedaregularpayinggigataclubandgainedanearlyreputationasapromisingensemble.
AndyWarholandtheExplodingPlasticInevitable（1966–1967）
AndyWarholbecametheband’smanagerin1965andsuggestedtheyfeaturetheGerman-bornsingerNicoonseveralsongs.Warhol’sreputationhelpedthebandgainahigherprofile.WarholhelpedthebandsecureacovetedrecordingcontractwithMGM’sVerveRecords,withhimselfasnominal“producer,”andgavetheVelvetsfreereinoverthesoundtheycreated.
DuringtheirstaywithAndyWarhol,thebandbecamepartofhismultimediaroadshow,ExplodingPlasticInevitable,forwhichtheyprovidedthemusic.TheyplayedshowsforseveralmonthsinNewYorkCity,thentraveledthroughouttheUnitedStatesandCanadauntilitslastinstallmentinMay1967.Theshowincluded16mmfilmprojectionsandcolorsbyWarhol.
In1966MacLisetemporarilyrejoinedtheVelvetUndergroundforafewEPIshowswhenReedwassufferingfromhepatitisandunabletoperform.Fortheseappearances,CalesangandplayedorganandTuckerswitchedtobassguitar.Alsoattheseappearances,thebandoftenplayedanextendedjamtheyhaddubbed“BookerT,”aftertheleaderofthemusicalgroupBookerT.andtheMG’s;thejamlaterbecamethemusicfor“TheGift”onWhiteLight/WhiteHeat.Someoftheseperformanceshavebeenreleasedasabootleg;theyremaintheonlyrecordofMacLisewiththeVelvetUnderground.MacLisewassaidtobeeagertorejointhegroupnowthatthey’dfoundsomefame,butReedspecificallyprohibitedthis.
InDecember1966,WarholandDavidDaltondesignedIssue3ofthemultimediaAspen.[4]Includedinthisissueofthe"magazine,"whichretailedat$4percopyandwaspackagedinahingedboxdesignedtolooklikeFablaundrydetergent,werevariousleafletsandbooklets,oneofwhichwasacommentaryonrockandrollbyLouReed,anotheranEPIpromotionalnewspaper.Alsoenclosedwasa2-sidedflexidisk,sideoneproducedbyPeterWalker,amusicalassociateofTimothyLeary,andsidetwotitled“Loop,”creditedtotheVelvetUndergroundbutactuallyrecordedbyCalealone.“Loop,”arecordingsolelyofpulsatingaudiofeedbackculminatinginalockedgroove,was“aprecursorto[Reed’s]MetalMachineMusic,”sayVelvetsarchivistsM.C.KostekandPhilMilsteininthebookTheVelvetUndergroundCompanion.[5]Indeed,“Loop”predatesReed’salmostidenticalconcept（MetalMachineMusicbeingadoublealbum,obviouslywithdifferentfeedback,alsoconcludingsidefourwithalockedgroove）bynearlytenyears（"Loop"alsopredatesmuchindustrialmusicaswell）.Moresignificantly,fromaretailstandpoint,“Loop”wasthegroup’sfirstcommerciallyavailablerecordingastheVelvetUnderground.
TheVelvetUndergroundandNico（1967）
Mainarticle:
TheVelvetUndergroundandNico
AtWarhol'sinsistence,Nicosangwiththebandonthreesongsoftheirdebutalbum,TheVelvetUndergroundandNico.ThealbumwasrecordedprimarilyinScepterStudiosinNewYorkCityduringApril.ItwasreleasedbyVerveRecordsinMarch1967.
ThealbumcoverwasfamousforitsWarholdesign:
abrightyellowbananawith“Peelslowlyandsee”printednearaperforatedtab.Thosewhodidremovethebananaskinfoundapink,peeledbananabeneath.ThisgimmickwouldlaterberepeatedonthecoverofoneofseveralVelvetUndergroundboxedsets,alsotitledPeelSlowlyandSee,releasedin1995.
Elevensongsshowcasedtheirdyna
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