Thunderpuss

Cox also found solo success for himself with his own 2000 single, "Phuture 2000". It proved to be the definitive end to the band's checkered career when Sterling Morrison died of cancer in 1995. Harris mashed up songs by Billy Squier and Fischerspooner to create the song "Everybody Wants You To Emerge" for the Queer Eye For The Straight Guy soundtrack, and Cox recently remixed the Michelle Branch single "Breathe". or record — an MTV Unplugged album was proposed — Cale and Reed fell out again, breaking up the band once more. They split up in late 2003 and both men are pursuing DJ/remix/production work on their own. Before the band could tour the U.S. Thunderpuss also put out several singles themselves as artists, including "Papa's Got A Brand New Pigbag", a fully electronic dance cover of the "Pigbag" song, "Stand Up" (with Latanza Waters), and "FMH" (under the artist name Harris & Cox). Cale sang the songs Nico had performed with the group.

They also produced original songs for various artists, including Abigail ("Let The Joy Rise And If It Don't Fit"), Amber ("Taste The Tears"), and Soluna. There was a brief reunion of the original lineup in 1993, resulting in a European tour — opening a few concerts for U2 — and a live album, Live MCMXCIII. Blige ("No More Drama" & "Rainy Dayz", with Ja Rule), Céline Dion ("I Want You To Need Me"), Stacie Orrico ("Stuck"), and Kim English ("Higher Things"), among others. broke up, Songs for Drella was the first time the pair had worked together in decades, and rumors of a reunion began to circulate. They also produced hit remixes of songs by Mary J. Though Morrison and Tucker had each worked with Reed or Cale since the V.U. Their biggest remix success was a hit remix of "It's Not Right But It's Okay" by Whitney Houston. In 1990, Reed and Cale released Songs for Drella, dedicated to the recently deceased Warhol.

Over the course of almost six years, Thunderpuss had a very successful career as remixers and producers. In 1988, Nico died of a brain hemorrhage on the island of Ibiza. They also produced Engelbert Humperdinck's 1998 album The Dance Album, but did not use the name Thunderpuss. Maureen Tucker raised a family before returning to small-scale gigging and recording in the 1980s. Their first project as Thunderpuss was a cover of the song "I Just Wanna Be Your Everything", with Thea Austin, formerly of Snap! performing vocals. Lou Reed and John Cale, in the meantime, enjoyed long and winded solo careers. They didn't start working together as a production team until late 1997, though. Some have regarded Squeeze as a travesty, but others have argued the album — while certainly not up to the standards established on the previous Velvet Underground albums — is a respectable, if not especially noteworthy effort.

Harris & Cox originally met in the late '80s and remained friends for years, with Harris eventually joining Cox at Interhit. Sesnick managed to secure a recording contract with Polydor and so Yule recorded Squeeze under the Velvet Underground name with Deep Purple drummer Ian Paice and some unknown session players. Cox, an openly straight musician and DJ, had also worked for years as a DJ and producer, producing a megamix of Paula Abdul songs, among other things, and started his own record label, Interhit Records, with Jeff Johnson. When Atlantic decided to release a live recording from 1970, Live at Max's Kansas City instead of letting the current band record a new album, its members drifted apart, leaving Yule and manager Steven Sesnick alone with the brand name. Harris, an openly gay musician and DJ, had worked previously as part of several music groups, including Kon Kan, Top Kat, Killer Bunnies and Outta Control, and had also released several singles himself. The band played shows in England, Wales, and the Netherlands, some of which end up on the 2001 box set Final V.U.. Thunderpuss is the (mainly dance) remix/production team of music producers Barry Harris and Carl Cox. His replacement was singer/keyboard player Willie Alexander.

in English, and left the group for an academic career with the University of Texas at Austin. before doing a tour of Europe. By that time, however, Sterling Morrison has finally obtained his B.A. radio favourites, and the band, now featuring Walter Powers III on bass with Doug Yule promoted to lead vocals and guitar, went on the road once more, playing the East Coast of the U.S. Although Loaded's spin-off single "Who Loves the Sun" did nothing, the album itself is something of a muted triumph. "Sweet Jane" and "Rock and Roll" became U.S.

Disillusioned with the lack of progress the band was making and feeling pressured by manager Sesnick, Reed decided to quit the band and did so in August 1970, just prior to the release of Loaded. Drums were actually played by several people, including Yule, engineer Adrian Barber, sessioneer Tommy Castanaro, and Doug Yule's brother Billy. Though Tucker had retired from the group due to her pregnancy, she received a performance credit on Loaded. He was particularly bitter about the truncation of "Sweet Jane".

The album was remixed without Reed's approval. had performed. Atlantic Records signed the Velvet Underground for what would be their final studio album, Loaded. The album's title refers to Atlantic's request that the band produce an album "loaded with hits." The album contained "Sweet Jane", one of Reed's best known songs and the most accessible pop songs the V.U. were on his list, along with Frank Zappa's Mothers of Invention.

In 1969, MGM Records president Mike Curb wanted to purge any drug- or hippie-related bands from MGM, and the V.U. Indeed, most of Reed's early solo career's more successful hits were reworked old Velvet Underground tracks, released for the first time in their original version on VU, Another View, and later on Peel Slowly and See and The Quine Tapes. After Reed's departure, he later reworked a number of these songs for his solo records ("Stephanie Says", "Ocean", "I Can't Stand It", "Lisa Says", "Coney Island Baby"). The rest of the recordings, as well as some alternate takes, were bundled on Another View.

John Cale rejoined, briefly, for a few of these recording sessions. This album had a transitional sound between the whisper-soft third album and the pop-rock anthems of their final record, Loaded. The Velvet Underground recorded a lot of material that was never officially released due to disputes with their record label. What many consider the prime of these sessions were released many years later as VU. The album's influence can be heard in many later indie rock and lo-fi recordings. The album also features Maureen Tucker's only featured vocal performances, "After Hours", a song that Reed said was so innocent and pure he couldn't possibly sing it himself.

Reed's songs and singing were generally quiet, and almost confessional in places. The Velvet Underground was recorded in late 1968, and released in March of 1969. Morrison's ringing guitar parts and Yule's melodic bass guitar and harmony vocals are featured prominently. This resulted in a gentler, more folk music-influenced sound for their third record which showcased the songwriting styles that would inform Reed's later solo career.

Before the release of their third album Reed fired the classically trained Cale, replacing him with Doug Yule. A play on the title "White Light/White heat" was used for the punk rock band Social Distortion's Album "White light/White heat/White trash". Tensions were growing: the group was tired of receiving little recognition for their hard work, and Reed and Cale were pulling the Velvet Underground in different directions. White Light/White Heat entered the Billboard top 200 chart for exactly one week, at number 199.

The second album cover was a subtle black on black picture of the tattoo of one of Warhol's "Factory" members. The meditative "Here She Comes Now" was later covered by Galaxie 500 and Nirvana. Despite the dominance of noisefests like "Sister Ray", the title track (later covered by David Bowie, and also by Joy Division), and "I Heard Her Call My Name", there was room for the darkly comic "The Gift", a Reed-penned short story narrated in Cale's deadpan Welsh accent. The eerie, hallucinatory "Lady Godiva's Operation" remains Reed's favorite track on the album.

The title track and first song starts things off with Cale pounding on piano like a demented Jerry Lee Lewis. Cale has stated that while the debut had some moments of fragility and beauty, White Light/White Heat was "consciously anti-beauty". The recording was raw and oversaturated, one of the harshest, loudest records yet released. It was released January, 1968.

In September, 1967, the VU recorded what would become their second album, White Light/White Heat. Reed fired Warhol as manager, and Nico was jettisoned, partly due to her unreliability. Cale reports that at about this time, The Velvet Underground were one of the first groups to receive an endorsement from Vox Guitars. The Velvet Underground performed live often, and their performances became louder, harsher and often featured extended improvisations.

MGM Records pulled all copies of the album until the legal problems were settled. The film's cinematographer had been arrested for drug possession, and, desperate for money, claimed the still had been included on the album without his permission. The Velvet Underground and Nico peaked at number 171 on Billboard Magazine's top 200 charts, but the promising debut was muted somewhat by legal complications: The album's back cover featured a still from a Warhol motion picture, Chelsea Girls. Tucker's drum kit was rather abreviated: She usually played on tom toms and an upturned bass drum, using mallets rather than drumsticks, and she rarely used cymbals.

The overall sound was propelled by Reed's strong deadpan vocals, Cale's droning or shrieking viola, Morrison's often R&B or country-influenced guitar, and Tucker's hypnotically simple but steady, propulssive beat. Eleven songs showcased their stylistic range, veering from the pounding attacks of "I'm Waiting For The Man" and "Run Run Run," the droning "Venus In Furs" and "Heroin" to the quiet "Femme Fatale" and the tender "I'll Be Your Mirror". Those who did remove the banana skin found a pink, phallic, peeled banana beneath. The album cover was famous for its simple, suggestive Warhol design: a bright yellow banana with "Peel Slowly and See" printed near a perforated tab.

The album was recorded in one or two days — there is some disagreement in the band members' memories — and released by MGM Records in March of 1967. on their debut album, The Velvet Underground and Nico. Nico joined the V.U. Some of these performances have been released as a bootleg; they remain the only record of MacLise with the Velvet Underground.

Also at these appearances, the band often played an extended jam they had dubbed "The Booker T", after the leader of the musical group Booker T & the MG's; the jam later became the music for "The Gift" on White Light/White Heat. For these appearances, Cale sang and played organ and Tucker switched to bass guitar. In 1966, MacLise temporarily rejoined the Velvet Underground for a few weeks when Reed was suffering from hepatitis and unable to perform at a number of scheduled concerts. Producers of the day were frequently very restrictive in the studio, leaving little room for experimentation with new techniques, and Warhol gave the Velvets uprecedented free reign over the sound they produced.

Though Reed eventually fired Warhol, he has praised Warhol's integrity and early efforts with the group. Andy Warhol became the band's manager after seeing them play in 1965, and it was at his suggestion that they featured German chanteuse Nico singing several songs. Warhol's reputation certainly helped the band gain a higher profile. Also setting them apart from their contemporaries was their use of feedback and amplifier noise in a musical context, exemplified by the seventeen minute track "Sister Ray" from their second album. While the American west coast was undergoing the Summer of Love, psychedelia and flower power, the typically east coast Velvets concerned themselves with darker subject matter: transvestites, heroin addiction, and sadomasochism.

The group earned a regular paying gig at a club, and gained an early reputation. Her driving rhythms became an essential part of the group's music. MacLise was replaced by Maureen "Mo" Tucker, an acquaintance of Morrison's. "Angus was in it for art", Morrison reported.

When the group accepted an offer of $75 for their first paying performance at a high school, MacLise left the group, protesting what he considered commercialization. Nothing ever came of the demo, and it was released on the 1995 box set Peel Slowly And See. When he briefly returned to England, Cale gave a copy of the tape to Marianne Faithful, hoping she'd pass it on to Mick Jagger. In July of 1965, Reed, Cale and Morrison recorded a demo tape.

Their music was generally much more relaxed than it would later become: Cale described this era as reminiscent of beatnik poetry, with MacLise playing gentle "pitter and patter rhythms behind the drone". The newly named Velvet Underground rehearsed and performed in New York City. Morrison has reported the group liked the name, considering it evocative of "underground cinema," and fitting, due to Reed's already having written "Venus In Furs", inspired by Leopold von Sacher-Masoch's book of the same name, also dealing with sadomasochism. The Velvet Underground was a book about sadomasochism by Michael Leigh the group found left in the street.

This quartet was first called The Warlocks, then The Falling Spikes. Reed and Cale recruited Sterling Morrison — who'd already played with Reed a few times — to play guitar, and Angus MacLise joined on percussion. (Reed's first group with Cale was the short-lived The Primatives, assembled to support a Reed-penned single, "The Ostrich".) [1] (http://www.theonionavclub.com/feature/index.php?issue=4036). The pair rehearsed and performed together, and their partnership and shared interests steered the early direction of what would become the Velvet Underground.

(Young's use of extended drones would be a profound influence on the early Velvet's sound). Cale had worked with John Cage and LaMonte Young, but was also interested in rock music. Reed met John Cale, a Welshman who had moved to the United States to study classical music. Lou Reed had performed with a few short-lived garage bands and had worked as a songwriter for Pickwick Records, a job Reed described as "a poor man's Carole King".

The Velvet Underground formed in late 1964. Bands heavily influenced by the Velvets include the Modern Lovers, Big Star, and Galaxie 500. Credited with establishing a genre known as 'anti-pop', the group's often raw sound would influence many later punk, noise rock, and alternative music performers, and singer Lou Reed's lyrics brought new levels of poetic sophistication and social realism to rock. The Velvet Underground were one of the first rock music groups to experiment with the form, and to incorporate avant-garde influences.

This is certainly an overstatement, but it does demonstrate their massive influence and cult following that has outlasted the group's five-year existence. Although never commercially successful, The Velvet Underground remain one of the most influential bands of their time: a famous remark, often attributed to Brian Eno, is that while only a few thousand people bought a Velvet Underground record, almost every single one of them was inspired to start a band. for short) was an American rock and roll band of the late 1960s. The Velvet Underground (Affectionately known as The Velvets, or V.U.

Untitled essay by David Fricke from Peel Slowly and See. The Very Best of the Velvet Underground (recorded 1966-1970, released 2003). 1: The Quine Tapes (live, recorded 1969, released 2001). Bootleg Series, Vol.