Velvet Underground : 45 years of the release of White Light, White Heat

45 YEARS AGO: THE VELVET UNDERGROUND RELEASE ‘WHITE LIGHT, WHITE HEAT’

Velvet Underground
Lou, Sterling, John and Moe ..

If you look up the phrase ‘glorious racket,’ chances are a picture of the Velvet Underground‘s second album, ‘White Light, White Heat’ will appear. That description fits each and every one of its 40 minutes perfectly. Unlike the haunting beauty of their flawless debut album, ‘White Light,’ which was released on Jan. 30, 1968, drops a bit of the artiness and supplements it with rage and raw power.

From the moment the needle hits the opening burst of the first track, it’s safe to say your speakers may be in danger. “We were intent on recording this album live, because we were so good live at this point,” said John Cale in his autobiography, ‘What’s Welsh For Zen.’ “To keep that animalism there, we insisted on playing at the volume we played on stage.”

One of countless brilliantly simple riffs Lou Reed had a knack for writing, the title cut kicks off this chaos-drenched ride without pretense or disguise, letting loose on the listener’s senses via its amphetamine-laced punch. The song was later covered, very nicely, by David Bowie. ‘The Gift’ is a John Cale narrative set to a motorik groove. The brittle guitars and heartbeat drums of Maureen Tucker pump this along like blood to the heart, while Cale tells the amusingly bloody tale of Waldo Jeffers and how not to use the postal service.

‘Lady Godiva’s Operation’ is almost folk-rock in its framework, with a very Byrds-like, almost jangling riff driving the song. However, in the hands of the Velvets, it takes on a shape all its own. The part where Reed chimes in on ‘Sweetly’ and ‘neatly pump air’ still sounds so odd, as the vocals are mixed so loudly there. Every time it plays, you know it’s coming, but it’s still jarring. ‘Here She Comes Now’ is probably the most mellow moment on the album and a nice way to end Side One. It features an understated vocal from Reed and in some ways, foreshadows album No. 3 in its overall vibe. A real beauty indeed.

Okay, so we’ve flipped the LP over and upon doing so, we are knocked out of our seats. ‘I Heard Her Call My Name’ is a brutal four-minute ride about hearing the voice of a now-deceased love, with some of the most charged feedback ever committed to tape. After Reed sings the line “and then my mind split open,” there is a pregnant pause before the burst of feedback and guitar tears apart the cones of your speakers. The beauty and power of the electric guitar might just be summed up on this track.

And then, we have arrived at our final destination, a little song called ‘Sister Ray.’ 17-plus minutes of raw-as-can-be rock and roll with a riff that just never stops. It’s not so much a proper ‘song’ as it is a riff — a riff that never lets up and by the power of its insistence, becomes a song. And what a song it is. Reed’s lyrics roll out like a stream of consciousness blur of sex, drugs and death. All the while, the guitars and organ fuse together into a sonic overload as Tucker never lets up for a moment. At the end of the 17-minute ride, we’re exhausted! “We were working in a very small studio with no isolation so it was all this noise just smashing into more noise” said Cale, “We never quite realized that there were technical problems in turning everything past nine.”

Recorded in late-1967, the effects of the “Summer of Love” were nowhere to be found here. The New York City that spawned this band and this album was a long was from warm San Franciscan nights and flowers in anyone’s hair. The cover alone is the antithesis of the psychedelic explosion, all black with the band name and LP title very formally sitting at the top. They even managed to beat the Beatles to the punch of the ‘White Album’ artwork with this darker take on a similar motif. It goes without saying that the album sold next to nothing, but would continue to gain notoriety over the years.

Neither the Velvets, Lou Reed, nor John Cale ever made another record like ‘White Light, White Heat’ again. Though its influence guaranteed that many others would try, no one has ever come close. It feels entirely of the moment. Its power so genuine, the emotion so raw, it simply could never be copied, even by those who made it. We’re not saying it’s the best VU album — there may not be a ‘best’ VU album since they are really all very different animals — but it is certainly their most vicious and demanding platter. It’s heavy without being metal, and it’s metal without being heavy. The years has not snuffed out its fire. Someone check back in another 45 and see if it’s still smoldering.


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The Velvet Underground & Edie Sedgwick (Video,fotos e historia)

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Joven Lou Reed con Eddie S

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John Cale con Edie S

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 Andy Warhol, Edie S, G Malanga y los Velvet Underground

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Gran recopilación de fotos y video de los Velvet con Edie y Gerard Malanga


Edie bailando en la Silver Factory  ( Buena calidad de imagen )

Muy buena info de Edie, Warhol y Dylan .. Ciao Edie  R.I.P.

ANDY & EDIE 

When Andy Warhol went to the opening of his exhibit at the Sonnabend Gallery in Paris on April 30, 1965, he took both Edie and Chuck with him (as well as Gerard Malanga). Upon returning to New York, Andy told his scriptwriter, Ron Tavel, that he wanted to make Edie the queen of the factory and asked him to write a script for her: “Something in a kitchen. White and clean and plastic.” The result was Kitchen, with Edie, Rene Ricard and Roger Trudeau. It was shot at soundman Buddy Wirtschafter’s studio apartment. (L&D223/5)

After Kitchen, Chuck Wein replaced Tavel, being credited as writer and assistant director for the filming of Beauty No. 2 which she starred in with “Gino [Piserchio], a hunk in jockey shorts”. Beauty No. 2 premiered at the Cinematheque on July 17th and her onscreen appearance was compared to Marilyn Monroe’s. As a result of her popularity, she was getting a lot of advice from people to leave Andy and become a proper star. One of the people advising Edie was Bobby Neuwirth who has been described as “Bob Dylan’s right-hand man.”(L&D226/8)

BOB DYLAN & BOB NEUWIRTH

Bob Dylan and Bobby Neuwirth first met Edie in December of 1964 – approximately a month before she met Warhol.

Bobby Neuwirth:

Bobby Dylan and I occasionally ventured out into the poppy nightlife world. I think somebody who had met Edie said, ‘You have to meet this terrific girl.’ Dylan called her, and she chartered a limousine and came to see us. We spent an hour or two, all laughing and giggling, having a terrific time. I think we met in the bar upstairs at the Kettle of Fish on MacDougal Street, which was one of the great places of the Sixties. It was just before the Christmas holidays; it was snowing, and I remember we went to look at the display on Houston Street in front of the Catholic church… Edie was fantastic. She was always fantastic.” (EDIE166)

Neuwirth had first met Dylan at the beginning of May 1961 at the Indian Neck Folk Festival in Connecticut. In February 1964 Neuwirth joined Dylan on the road as a go-fer and became his “right-hand man.” At the time that Neuwirth and Dylan met Edie, Dylan was staying in Room 211 at The Chelsea Hotel with his future wife, Sara Lownds, and her 3 year old child from a previous marriage. While Sara stayed in the hotel taking care of her child, Neuwirth and Dylan enjoyed New York’s nightlife. The Kettle of Fish was one of their regular haunts. Dylan was also having an affair with Joan Baez which had begun in May 1963 after both performed at the Monterey Jazz Festival. The relationship with Baez continued until May 1965 when Baez broke up with Dylan after discovering him and Lownds together in Dylan’s hotel room during a concert tour of Great Britain. Dylan had previously neglected to tell Baez about Lownds.

In November 1965, Dylan married Sara in a secret ceremony – something that Edie apparently found out from Warhol during an argument at the Gingerman Restaurant in February 1966.

Paul Morrissey:

“She [Edie] said, ‘They’re [Dylan’s people] going to make a film and I’m supposed to star in it with Bobby [Dylan].’ Suddenly it was Bobby this and Bobby that, and they realized that she had a crush on him. They thought he’d been leading her on, because just that day Andy had heard in his lawyer’s office that Dylan had been secretly married for a few months – he married Sarah Lownds in November 1965… Andy couldn’t resist asking, ‘Did you know Edie that Bob Dylan has gotten married?’ She was trembling. They realized that she really thought of herself as entering a relationship with Dylan, that maybe he hadn’t been truthful.” (UT36/37)

Edie went to make a phone call and when she came back she announced that she was leaving the Factory. Gerard Malanga, who was also there, thought she had rung Dylan. Malanga recalled that “she left and everybody was kind of quiet. It was stormy and dramatic. Edie disappeared and that was the end of it. She never came back.” (UT37)

There is no evidence that Edie ever had a sexual relationship with Bob Dylan. However, she did have one with Bob Neuwirth.

Edie Sedgwick [from the Ciao! Manhattan tapes]:

“It was really sad – Bobby [Neuwirth]’s and my affair. The only true, passionate, and lasting love scene, and I practically ended up in the psychopathic ward. I had really learned about sex from him, making love, loving, giving. It just completely blew my mind – it drove me insane. I was like a sex slave to this man. I could make love for forty-eight hours, forty-eight hours, forty-eight hours, without getting tired. But the minute he left me alone, I felt so empty and lost that I would start popping pills… (EDIE315)

Bob Dylan’s album Blonde on Blonde was released on May 16, 1966. One of the women featured on the inner sleeve was Edie Sedgwick. Some of the songs were rumored to be about Edie. And Andy.

Andy Warhol (via Pat Hackett in Popism):

“I liked Dylan, the way he created a brilliant new style… I even gave him one of my silver Elvis paintings in the days when he was first around. Later on, though, I got paranoid when I heard rumors that he had used the Elvis as a dart board up in the country. When I’d ask, ‘Why did he do that?’ I’d invariably get hearsay answers like ‘I hear he feels you destroyed Edie,’ or ‘Listen to Like a Rolling Stone – I think you’re the ‘diplomat on the chrome horse,’ man.’ I didn’t know exactly what they meant by that – I never listened much to the words of songs – but I got the tenor of what people were saying – that Dylan didn’t like me, that he blamed me for Edie’s drugs.” (POP108)

Nico thought that Dylan might have been referring to Edie in the song, Leopard-Skin Pill-Box Hat, which was included on the album. Some claimed that the phrase “your debutante” referred to Edie on the track, Stuck Inside of Mobile With the Memphis Blues Again. It was also rumored that Just Like a Woman was about Edie. The non-Warhol film that Edie made after she left the Factory, Ciao Manhattan, had Just Like a Woman as part of its soundtrack. Some Dylan biographers, however, think that the song was probably about Dylan’s relationship with Joan Baez.

The supposed film with Dylan never materialized although D.A. Pennebaker, who filmed the documentary Don’t Look Back in 1965, recalled that he also shot “a lot” of footage of Edie who was often at his studio. Don’t Look Back covered Dylan’s concert dates in England from April 30 – May 10, 1965. The following year Pennebaker was also hired by Dylan as the cinematographer for a film for television broadcast that Dylan wanted to produce himself called Eat the Document. Bobby Neuwirth helped Pennebaker edit the 1966 footage.

Andy Warhol had filmed Edie Sedgwick for The Chelsea Girls but when she left the Factory, he edited her out of the film, possibly at Edie’s request. Her footage was replaced with a shot of Nico with colored lights projected on her face with Velvet Underground music in the background.

EDIE’S MODELING CAREER

After leaving Andy’s crowd, Edie, still in a relationship with Bob Neuwirth, tried modeling, appearing in Vogue on March 15, 1966. During her Factory days, she had appeared in Voguein August 1965 as a “youthquaker” and also in a fashion layout for Life magazine in the September 1965 issue.

She never became part of “the family at Vogue” because, according to senior editor Gloria Schiff: “she was identified in the gossip columns with the drug scene, and back then there was a certain apprehension about being involved in that scene… people were really terrified by it… drugs had done so much damage to young, creative, brilliant people that we were just anti that scene as a policy”. (EDIE302).

Edie also auditioned for Norman Mailer’s play The Deer Park, but Mailer thought she “wasn’t very good… She used so much of herself with every line that we knew she’d be immolated after three performances” (EDIE314).

A FAMILY CHRISTMAS

At the end of 1966, Eddie, who had been living in the Chelsea Hotel for a few months, went home for the Christmas holidays. Her brother Jonathan remembered her as: “really weird when she arrived at the ranch… She was an alien. She’d pick up what you were about to say before you’d say it. It made everyone uncomfortable. She wanted to sing, and so she would sing… but it was a drag because it wasn’t in tune. A painted doll, wobbly, languishing around on chairs, trying to look like a vamp.” (EDIE310)

According to tapes she later made for the film Ciao! Manhattan, she attempted to get her mother’s physician to refill a prescription for Eskatrol, a form of speed, and her mother found out about it and talked to the doctor. Later that night her parents gave her some nembutal so that she could sleep. At one point they woke her up and told her she had a temperature of 105 and needed to be taken to the hospital. Although she thought she was just going to a normal hospital, they actually took her in a police car to the County Hospital to have her committed to the psychiatric ward. (EDIE311)

When Edie got out of the hospital, she moved back to Manhattan to the Chelsea Hotel (Room 105) and continued to take drugs. Bob Neuwirth eventually left her in early 1967, unable to deal with her drug taking and erratic behaviour.

T

According to Robert Margouleff, the film’s producer, “Everybody on the set needed a poke [of speed] – first once a day, then twice. We actually set up a charge account at Dr. Roberts office…. Shooting got so unpredictable. There was one scene in which Paul America was supposed to drop off Jane Holzer at the heliport at the Pan Am building. We filmed him driving up up and letting her out and then driving off. He was supposed to drive around the block and be available for more footage to the scene. But he just kept on going. We didn’t hear from Paul again for about eight months until finally David tracked him down in Allegan, Michigan where he was in jail. We had to get permission from the Governor to film him in jail and try to integrate that into the footage.” (EDIE 321/3)

On October 24, 1967. Edie’s father died. Toward the end of his life, one of his brother’s heard him say: “You know, my children all believe that their difficulties stem from me. And I agree. I think they do.” (EDIE356)

Edie was in Gracie Square Hospital at the time of her father’s death. When she came out, she moved in with L.M. Kit Carson who had written a film he wanted Edie to be in. They had an affair and moved into the Warwick hotel posing as man and wife. Unable to cope with her drug addiction and erratic behaviour, Carson moved out. Several days later Edie was committed to Bellevue Hospital. After contacting her private physician she was let out of Bellevue, but was later committed to the Manhattan State Hospital after a drug overdose.(EDIE363)

Her brother, Jonathan, describes her state when Edie’s mother finally took her out of the the hospital and back to the ranch in Santa Barbara in the late fall of 1968: “She couldn’t walk. She’d just fall over… like she had no motor control left at all. The doctor did a dye test of some sort and it showed the blood wasn’t reaching certain parts of the brain… She couldn’t talk. I’d say, “Edie, goddamn it, get your head together… She’d say, ‘I… I… I… know… know… know… I… I… can but it’s ha… ha… hard…’ ” (EDIE370)

Eventually she was well enough to live in town and got an apartment in Isla Vista near U.C. Santa Barbara. She was hospitalized again in August of 1969 in the psychiatric ward of Cottage Hospital after being busted for drugs by the local police. While in hospital she met another patient, Michael Post, who she would later marry. (EDIE371/76)

When Edie got out of the hospital, she hung around with a group of bikers called the Vikings. One of the bikers, Preacher Ewing, remembered her as “a little larger than life in her capacity to hit the depths… I used to call her Princess, because that’s what she thought she was…She’d say her parents were so fantastically upper-class… she was condescending. It was really ludicrous, because she’d ball half the dudes in town for a snort of junk.” (EDIE387)

Edie was in the hospital again in the summer of 1970 but was let out under the supervision of two nurses to finish Ciao! Manhattan. (EDIE388)

For the shock treatment segment in the film, a real clinic was used and Edie knew exactly how the gag should be placed and how the airway went in. The segments of her in her “apartment” were actually filmed at the bottom of an empty swimming pool in Los Angeles. (EDIE390)

Soon afterwards, suffering from the DT’s, Edie was admitted to the same clinic they used to film the shock treatment in Ciao Manhattan, where she had real shock treatments.

Michael Post:

“She was in the clinic from January 17 to June 4… She had shock treatments – I don’t know how many – maybe twenty or more. Dr Mercer told me that she’d had some shock treatments in the East. He authorized the new ones because he thought Edie could be close to suicidal.” (EDIE398)

According to Warhol biographer, David Bourdon, “Between January and June of 1971, she received twenty or more shock treatments.” (DB316)

CIAO! EDIE

Edie married Michael Post on July 24, 1971. She stopped drinking and taking pills until October when pain medication was given to her to treat a physical illness. She remained under the care of Dr. Mercer who prescribed her barbiturates but she would often demand more pills or say she had lost them in order to get more, often combining them with alcohol.

On the night of November 15, 1971, Edie went to fashion show at Santa Barbara Museum, a segment of which was filmed for the television show An American Family, Lance Loud had already met Edie before on a beach in Isla Vista and she spoke to him in the lobby “drawn” by the cameras.

After the fashion show Edie attended a party and was verbally attacked by one of the guests who called her a heroin addict. The guest was so loud that she was asked to leave. Edie rang Michael who arrived at the party and could see that Edie had been drinking.

Eventually, they left the party, went back to their apartment where Michael gave Edie the medication that had been prescribed for her and they both fell asleep. When Michael woke up the following morning at 7:30, Edie was dead. The coroner registered her death as Accident/Suicide due to a Barbiturate overdose.

Saucie (Edie’s sister):

“Edie was buried in the Oak Hill Cemetery in Ballard, up over the San Marcos Pass. It used to be a dingy village so small that if you went through it at fifty miles per hour you’d miss it. It’s in the Valley, but it’s nothing. A few live-oak trees. No one would ever go there except to see the veterinarian.

David Bowie e Iggy Pop : Mejores amigos de toda una vida ( fotos y videos )

Danny Fields de pie : Responsable de que Bowie conociera a Iggy Pop.

 David Bowie quería conquistar el mercado soñado es decir Estados Unidos, haber sido el primero en hablar en Inglaterra de dos bandas de culto norteamericanas como los Velvet Underground (Lou Reed) y The Stooges (Iggy Pop) le servieron para crear puentes a través del atlántico y credibilidad para su ascenso a estrella de Rock en UK.

 Bowie presenta a la prensa Inglesa a Iggy Pop en 1972 (De Fries a la Derecha)

Ya en 1971 cuando sacó el LP Hunky Dory y fue en su primera “austera” gira promocional a U.S.A llegó a conocer a nada menos que Andy Warhol y los personajes de The Factory, él ya comenzaba su transformación en look y sonido para su personaje Ziggy Stardust. El nombre no era casual : Ziggy venía de Iggy, Iggy Pop señores..

Ya Bowie como estrella en UK, se embarca en su primer tour a U.S.A. en 1972, tuvo poca convocatoria en varias ciudades pero con muchos guarda espaladas, mejores restaurantes, hoteles y limosinas : La idea era proyectar que ya era una mega estrella y la prensa de Norteamérica cayó redondita.

Alla por 1972 David Bowie estaba con su manager Tony de Fries en el mítico Max’s Kansas City y estaban hablando con el responsable del contrato discográfico de los Stooges, MC5 y en un futuro de los Ramones. Bowie le pidió conocer a Iggy Pop, Iggy estaba pasando una etapa muy estrecha con las drogas duras y de casualidad estaba quedándose unos días en la casa de Danny Fields en Nueva York. Es decir el gran Danny Fields, recuerden ese nombre que ya viene la película de Danny el próximo  año.

Iggy con Ziggy, Nancy Spungen la de Sid parada detrás y Cyrinda Fox la ex de Steven Taylor y David Johansen (C Fox es la Marilyn del video Jean Genie de Bowie )

David le explicó a Danny el interes por conocer a Iggy Pop, Danny llamó a Iggy para que vaya a conocer a esta nueva estrella inglesa : Iggy llegó se comió 5 platos y les comentó que estaba en un programa de metadona para dejar la heroína.

Tony de Fries dueño de Mainman Productions le dijo no hay problema a Iggy, vamos a Londres te conseguimos un contrato discográfico y te lanzamos de allá por todo lo alto. Iggy insistió en llevar a James Williamson y ya en Londres comenzaron a probar con músicos ingleses pero no había química, se hizo la llamada y los Asheton brothers  Stooges originales se fueron también a vivir a Londres, lo demás es historia : Raw Power , disco angular del Punk y odiado por lggy y los Stooges vía la mezcla hecha por el mismo Bowie.

Con Lou Reed sucedió algo parecido pero Lou era más manso y accedió en una en ir a Londres para que le produzcan su segundo disco solista : Transformer , el cual fue  un éxito a diferencia del pobre Raw Power de Iggy Pop 

Mainman Productions presentó a la prensa inglesa  a Lou e Iggy en el Dorchester Hotel, pero no los dejaba tocar como tal en dicho país : ahí el primer problema con ellos, eso si David Bowie seguía creciendo como estrella a nivel undial y utilizaba de inspiración a Lou e Iggy para el Aladdin Sane.

  Iggy Pop toca fondo, Ron Aseton de nazi en la English Disco de los Angeles

Raw Power fue un fiasco y los Stooges fueron trasladados a Los Angeles en 1973 todavía bajo la manutención de Mainman Productions y les permitieron por fin dar shows por Norteamérica.

Lou Reed por su parte logró un top 10 con Transformer en ambos lados del atlántico y decidió no seguir bajo el ala protectora de Bowie y meterse en el abuso de las anfetaminas……..

Iggy Pop colapsó en Los Angeles en 1974 por el abuso de drogas y alcohol ,comenzó a vivir hasta en la calle y decidió convencer al UCLA Mental Hospital para que lo acepten y lo logró.

David Bowie  ya era una mega estrella millonaria pero con una dieta de Cocaína, leche con vitaminas y pimienta negra. Bowie comenzó a andar mucho en Los Angeles, Nueva York y Philladelphia y grabar sus discos allá hasta con John Lennon.

Iggy Pop había pedido en UCLA que no dejaran pasar a sus amigos por el tema de las drogas, Bowie logró pasar y le propuso irse en el tour Station to Station y de ahí irse a vivir a Berlín para dejar las drogas.

KRAFTWERK said  in Trans-Europe Express 1977  –

From station to station
Back to Dusseldorf City
Meet Iggy Pop and David Bowie 
Trans-Europe Express


Iggy Pop mientras comenzó a salir del UCLA Mental Hospital los fines de semana logró grabar el disaso  Kill City con James Williamson que vería años después la luz vía un sello frances BOMP.

Antes de vivir en Berlín llegaron hasta Moscú por tren, ya instalados en Berlín comenzaron a vivir en un mismo departamento, ahí comenzó el supuesto affair de Iggy /Ziggy negado hasta el día de hoy .

 Esther la novia alemana de Iggy Pop en su estadía en Berlín 

La película Velvet Goldmine es sobre la época glam pero se basa en la relación de Bowie e Iggy Pop,si bien Velvet Goldmine es una canción de Bowie, él no dejó que usen su nombre en el film, le dijo a Todd Haynes y Michael Stipe que se verían en los tribunales si ponían David Bowie al personaje por lo que usaron Slade(Bowie) Wild     (Iggy).

Velvet Goldmine film sobre la relación de Bowie e Iggy pero con otros nombres

Ya en Berlín solo podemos concluir que Bowie e Iggy Pop juntos hicieron grandes discos como Low, Heroes, Lust For Life y The Idiot. 


Bowie decidió salir de gira con Iggy como tecladista y coros por Norteamérica y así le consiguió muchos programas de TV que nunca le hubieran hecho caso a Iggy Pop por ser Iggy Pop.



Ya en 1983 David Bowie que ya se había alejado de Iggy, grabó China Girl ( tema de Iggy Pop del disco Idiot ) y así otra vez le salvó la vida económicamente. Tres años más tarde le produjo el Blah Blah Blah pero la magia se había roto y el disco es solo correcto.

En la actualidad Iggy Pop juntó a los Stooges  viven de gira,Iggy es un hombre muy rico y famoso, Bowie por su lado sufre del corazón y ya no graba discos ni hace giras hace algunos años, veremos como acaban estos dos íconos del Rock n Roll.

               China Girl la canción original por Iggy Pop de 77

Maureen Tucker de los Velvet Underground está de cumpleaños.

LA FOTO MÁS ICÓNICA DE LOS VELVET PERSONALIZADA POR MOE .

Maureen o Moe Tucker siempre será mi percusionista preferida en la historia del rock n roll. Así como los Velvet Undreground estarán en mis top 3 bandas de toda mi vida y asi como Velvet Undreground & Nico será mi disco preferido y piedra angular de la historia de rock, Punto.

Los Velvet Underground  en vivo : Insuperables en su época .

Con Moe Tucker a través de facebook hicimos amistad hace unos tres o cuatro años. Después pasamos a los mensajes (inboxes) los cuales pasaron a llamadas telefónicas, una de sus hijas : Kerry también vía facebook se ha vuelto muy amiga y es una melómana de temer.

Hoy es cumpleaños de Moe y eso me hace muy feliz, ya con 4 hijos y 3 nietos aquella pionera de la percusión (siempre tocó parada–estoíca sus tambores sin perder un compás, ella tiene un reloj en su cerebro que la hace una gran percusionista)

Puedes imaginarte a Maureen embaraza grabando el visceral White Light, White Heat, pues eso fue lo que sucedió.

Moe que desde niña estaba obsesionada por la percusión africana hoy ya está con los Velvet Underground en el salón de la fama del Rock n Roll.

Ella después de que los Velvets se disolvieran allá por 1970 llegó a trabajar de cajera de super mercado para alimentar a sus hijos y no se hizo problema.

Velvet Underground sin John Cale : Totalmente extravíados a punto de colapsar como banda y con look flower power ..

Una bio escrita por ella está por ver la luz el próximo año y conociéndola será la verdadera historia de los Velvet Undreground, ella no maquilla las cosas, simplemente las narra con su memoria prodigiosa.

Que sean muchos años más querida Moe ……

Canción de los V U cantada por Moe que es todo un clásico 

Los R.E.M. cerrando sus giras allá en el 89 con la canción de Moe Tucker.

The Smiths álbum debut : Historia de la foto de la portada …

Magistral disco debut de los Smths  en 1984, vía la disquera independiente Rough Trade. El disco llegó al número dos en las listas de ventas y estaría por 34 semanas en los Ranking británicos . En  Estados Unidos, Japón y Australia también tuvo una muy buena acogida y las revistas especializadas los llenaron en elogios bautizándolos como el  nuevo sonido del rock mundial por ser una banda con muchas guitarras acústicas en una era de música postunk y gótica.

The Smiths es una banda de culto pero a la vez es querida por millones de personas que esperan con ansias el comeback de los 4 de Manchester, aunque sea por un solo tour y sin disco nuevo.

Morrissey  desde muy joven ya había fundado el fan club de los New York Dolls en el Reino Unido y se la pasaba el día pensando en James Dean y Oscar Wilde estaba destinado a la fama y más importante que eso — al legadoMorrissey captó la atención de los medios británicos cuando declaró y lo sostuvo por años que era un hombre célibe, que el sexo no era lo suyo ( algo así como Rafael Rey en Perú ).

Foto que usó Morrisey para la portada de su disco debut de los Smiths, podemos ver el torso de Joe Dallesandro ( little Joe ) en la película  Flesh .

Por otro lado el  mismo Morrissey diseño la portada del primer LP de los Smiths. La carátula está compuesta por una foto de Joe Dallesandro en la película Flesh del cineasta amigo del fallecido Andy Warhol, Paul Morrissey     ( ojo NO es el mismo que  Morrissey el ingles ). 

Paul Morrissey, Andy Warhol y Lou Reed de tour con los Velvet Underground en  1966.

     Modelo y actor del entourage de Warhol : Little Joe en la película Flesh. 

Retrocediendo un poco en la  historia también recordamos a Joe Dallesandro como parte del entourage de la silver Factory de Warhol en los sesentas.

Joe Dallesandro es little Joe en la canción de Lou Reed  Walk on the Wild Side

” Little Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York City is the place where they said:
Hey babe, take a walk on the wild side
I said hey Joe, take a walk on the wild side “

En otras palabras Little Joe era un flete de alto vuelo en la Nueva Yoek decadente que Lou Reed nos presentaba en su primer hit mundial en 1972 producidonada menos que  por David Bowie y Mick Ronson

Por ahí el modelo de Warhol y y aprendiz  de James Dean estaba representado en la portada y por ende los sueños juveniles de Morrissey también. un torso de un hombre desnudo no era algo común para una banda nueva en 1984. Paul Morrissey había tomado dicha fotografía y había dirigió la película Flesh en 1968, acá estuvo el gran truco de Morrissey para alimentar la confusión de las nuevas generaciones. Morrissey al  poner en el disco como crédito de de carátula a : Paul Morrisey  llenaba su ego,y uno  pensaba que la foto pertenecía al torso de Morrissey, hay que recordar que en esa época no teníamos internet y los mitos o medias verdades eras muy fáciles de ser generadas por una lista como la del Moz.

En la actualidad Morrissey se encuenta algo delicado de salud,ha cancelado parte de su actual gira por Estados Unidos pero goza de mucha popularidad a nivel mundial. Hace unos años ofrecieron casi 40 millones de dolares para una gira de los Smiths pero Morrissey fue él que se negó a juntar al mito. Johnny Marr por otro lado está con disco nuevo,es un guitarrista de sesión muy cotizado pero sin éxito comercial hasta el momento.

Kate Moss y Litlle Joe 1996 para Calvin Klein.

 

This Charming Man : Gran single del disco que sonó en Perú vía Doble 9 en 1984.

Nico : La voz femenina del primer Lp de los Velvet Underground y mucho más.

Christa Päffgen, más conocida como Nico ( 1938-1988 ), fue una cantautora, modelo y actriz alemana. Es conocida tanto por su colaboración con The Velvet Underground como por su trabajo como solista.

           Bob Dylan le compuso esta joya, fueron amantes ….

Si bien es más conocida por su trabajo musical con los Velvet Underground, Brian Eno, etc  , también tuvo un  puñado de papeles en el cine, incluyendo una pequeña aparición en la aclamada película de1960, La Dolce Vita

Fue amiga cercana y colaboradora artística de Andy Warhol, por lo que también actuó en varios papeles en sus películas de arte experimental, especialmenteChelsea Girls, lo cual la inspiró después a titular su álbum debut.

   Nico con su amigo Andy Warhol 

Nico tuvo un hijo con Alain Delon antes de llegar por The Factory en Nueva York, el cual nunca fue reconocido por el actor, ambos viviían en Marbella cuando ella sufrió una infarto cerebral montando bicicleta, falleciendo horas después, corría el año 1988.

Con su hijo Ari, producto de un affair con Alain Delon.

Nico será recordada por sus  adicciones, por todas las celebridades de amantes que tuvo pero el disco de 1967 Velvet Underground & Nico por ahí siempre será el disco más importante de último siglo.

Una de las mejores canciones, punto !!!

Nico se reencontró con John Cale y Lou Reed en 1972 en Bataclan, Francia y nos regalaron muy buenas  versiones de su paso por la Velvet. Con Brian Eno y otrosgenios nos regaló en 1974 una versión de ” The End ” de los Doors.

Ya de solista en los setentas se volvió adicta a la heroína este video dice más que mil palabras, cantantes como Siouxie Sioux consideran a Nico como su primera influencia.

Nico toda una diosa, descansa en  paz, acá con Brian Jones fundador de los Rolling Stones en el festival de Monterey 1967.

 

Cantando Femme Fatale, canción que Lou Reed le compuso.