The Velvet Underground
From Wikipedia, the free encyclopedia
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 With Nico in 1966, from left-to-right by row:
Lou Reed, Sterling Morrison, John Cale, Nico, Maureen Tucker photo by David Horvitz and Adam Dower |
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| Background information | ||
| Origin | New York City, New York, USA | |
| Genre(s) | Rock Experimental rock Art rock Protopunk (as influencers) |
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| Years active | 1965–1973, 1992–1994 (reunion) |
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| Label(s) | Verve, MGM, Atlantic, Polydor, Mercury, Sire | |
| Former members | ||
| Lou Reed John Cale Sterling Morrison Angus Maclise Maureen Tucker Doug Yule Walter Powers Willie Alexander Christa Päffgen |
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The Velvet Underground (sometimes abbreviated as The Velvets or VU) was an American rock band first active from 1965 to 1973. Its best-known alumni are Lou Reed and John Cale.
Although never commercially successful, The Velvet Underground have been regarded as one of the most important and influential groups of their era.[1] A famous remark, often attributed to Brian Eno, is that while only a few thousand people bought a Velvet Underground record upon their initial release, almost every single one of them was inspired to start a band.[citation needed]
The group was one of the first to experiment with rock structures, and their often raw, sometimes difficult sound influenced many later punk, noise rock, and post-punk performers. Sandy Pearlman, writing a record review of their first LP, first coined the term heavy metal to describe their sound.[2]
[edit] Career
[edit] Pre-history (1964–1965)
The foundations for what would become The Velvet Underground were laid in late 1964. Singer/guitarist 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."[3]. Reed met John Cale, a Welshman who had moved to the United States to study classical music. Cale had worked with experimental composers John Cage and La Monte Young, but was also interested in rock music. (Young's use of extended drones would be a profound influence on the early Velvets' sound). Cale was pleasantly surprised to discover Reed's experimentalist tendencies were similar to his own: Reed sometimes tuned all his guitar's strings to the same note, to create a droning sound. The pair rehearsed and performed together, and their partnership and shared interests steered the early direction of what would become the Velvet Underground.
Reed's first group with Cale was The Primitives, a short-lived group assembled to support a Reed-penned single, "The Ostrich." Reed and Cale recruited Sterling Morrison – a college classmate of Reed's who had already played with him a few times – to play guitar, and Angus MacLise joined on percussion. This quartet was first called The Warlocks, then The Falling Spikes.
The Velvet Underground was a book about sadomasochism by Michael Leigh that Reed found when he moved into his New York City apartment (left by previous tenant Tony Conrad). Reed and Morrison have 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 band immediately and unanimously adopted the book's title for its new name.
[edit] Early stages (1965–1966)
The newly named Velvet Underground rehearsed and performed in New York City. 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"[3].
In July of 1965, Reed, Cale and Morrison recorded a demo tape. When he briefly returned to Britain, Cale gave a copy of the tape to Marianne Faithfull, hoping she'd pass it on to Mick Jagger. Nothing ever came of the demo, and it was released on the 1995 box set Peel Slowly and See.
When the group accepted an offer of $75 for their first paying performance at Summit High School, in Summit, NJ, MacLise left the group, protesting what he considered a sell out. "Angus was in it for art", Morrison reported[3].
MacLise was replaced by Maureen "Mo" Tucker, the younger sister of Jim Tucker, Sterling Morrison's college mate. Tucker's abbreviated drum kit was rather unusual: She generally played on tom toms and an upturned bass drum, using mallets as often as drumsticks, and she rarely used cymbals. (The band having asked her to do something unusual, she turned her bass drum on its side, and played standing up. When her drums were stolen from one club, she replaced them with garbage cans, brought in from outside.) Her rhythms, at once simple and exotic (influenced by the likes of Babatunde Olatunji and Bo Diddley records) became a vital part of the group's music. The group earned a regular paying gig at a club, and gained an early reputation as a promising ensemble.
[edit] Andy Warhol and the Exploding. Plastic. Inevitable. (1966–1967)
Andy Warhol became the band's manager in 1965, and suggested they feature the German-born singer Nico on several songs. Warhol's reputation certainly helped the band gain a higher profile. Warhol helped the band land a coveted recording contract with MGM's Verve Records, with himself as nominal 'producer', and gave the Velvets free rein over the sound they created.
During their stay with Andy Warhol, the band became part of his multimedia roadshow Exploding. Plastic. Inevitable., for which they provided the musical part. This show played a couple of months in New York City, then took to the road all over the United States and Canada until its last installment in May 1967. The show included 16mm film projections and colors by Warhol.
In 1966, MacLise temporarily rejoined the Velvet Underground for a few E.P.I. shows when Reed was suffering from hepatitis and unable to perform. For these appearances, Cale sang and played organ and Tucker switched to bass guitar. Also at these appearances, the band often played an extended jam they had dubbed "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. Some of these performances have been released as a bootleg; they remain the only record of MacLise with the Velvet Underground. MacLise was said to be eager to rejoin the group now that they'd found some fame, but Reed specifically prohibited this.
In December of 1966, Warhol and David Dalton designed issue 3 of the multi-media Aspen (magazine) [1]. Included in this issue of the "magazine", which retailed at $4 per copy and was packaged in a hinged box designed to look like Fab laundry detergent, were various leaflets and booklets, one of which was a commentary on rock & roll by Lou Reed, another an E.P.I. promotional newspaper. Also enclosed was a 2-sided flexi disk, side one produced by Peter Walker, a musical associate of Timothy Leary, and side two titled "Loop", credited to the Velvet Underground but actually recorded by Cale alone. "Loop", a recording solely of pulsating audio feedback culminating in a locked groove, is "a precursor to (Reed's) Metal Machine Music", says Velvets archivists M. C. Kostek and Phil Milstein, in the book "The Velvet Underground Companion" [2]. Indeed, "Loop" predates Reed's identical concept (and industrial music as well) by nearly 10 years. More significantly, from a retail standpoint, "Loop" was the group's first commercially available recording as the Velvet Underground.
[edit] The Velvet Underground and Nico (1967)
At Warhol's insistence, Nico sang with the V.U. on three songs off their debut album, The Velvet Underground and Nico. The album was recorded in one or two days — there is some uncertainty between the band members' memories — at TT&G Studios during the November of 1966, and released by MGM Records in March of 1967.
The album cover was famous for its Warhol design: a bright yellow banana with "Peel Slowly and See" printed near a perforated tab. Those who did remove the banana skin found a pink, peeled banana beneath. This would later be used as the cover to one of several Velvets boxed sets, also titled "Peel Slowly and See," released in 1995.
Eleven songs showcased their dynamic 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".
The overall sound was propelled by Reed's deadpan vocals, Cale's droning viola, Morrison's often rhythm and blues or country-influenced guitar, and Tucker's simple but steady beat.
The Velvet Underground and Nico peaked at # 171 on Billboard Magazine's top 200 charts, but the promising commercial debut was dampened somewhat by legal complications: The album's back cover featured a still from a Warhol motion picture, Chelsea Girls. The film's cinematographer, Eric Emerson, had been arrested for drug possession and, desperate for money, claimed the still had been included on the album without his permission. MGM Records pulled all copies of the album until the legal problems were settled (by which time the record had lost its modest commercial momentum), and the still was airbrushed out.
[edit] White Light/White Heat (1968)
The Velvet Underground performed live often, and their performances became louder, harsher and often featured extended improvisations. Cale reports that at about this time, The Velvet Underground were one of the first groups to receive an endorsement from Vox. The company pioneered a number of special effects, which the Velvet Underground utilized on White Light/White Heat.
After the VU severed its relationship with Andy Warhol and Nico, they recorded their second album in September 1967, White Light/White Heat, with Tom Wilson as producer. It was released January 1968.
The recording was raw and oversaturated. Cale has stated that while the debut had some moments of fragility and beauty, White Light/White Heat was "consciously anti-beauty". Isler and Robbins suggest that the record "is almost unbearably intense."
The title track and first song starts things off with John Cale pounding on piano like Jerry Lee Lewis. The eerie, hallucinatory "Lady Godiva's Operation" remains Reed's favorite track on the album.
Despite the dominance of noisefests like "Sister Ray", and "I Heard Her Call My Name", there was room for the darkly comic "The Gift", a short story written by Reed and narrated by Cale in his deadpan Welsh accent. The meditative "Here She Comes Now" was later covered by Galaxie 500, R.E.M., Cabaret Voltaire, and Nirvana.
The second album's cover was a subtle black-on-black picture of a tattooed arm photographed and enlarged/ distorted by Billy Name, one of Warhol's "Factory" members. White Light/White Heat entered the Billboard top 200 chart for 2 weeks, at number 199.
However, tensions were growing: the group was tired of receiving little recognition for their work, and Reed and Cale were pulling the Velvet Underground in different directions. The differences showed in the last recording session the band had with John Cale in February 1968: two pop-like songs in Reed's direction ("Temptation Inside Your Heart" and "Stephanie Says"), and a viola-driven drone in Cale's direction ("Hey Mr Rain"). (None of these songs were released until they were included on the VU and Another View compilation albums.) Further, some songs the band had performed with Cale in concert, or that he had co-written, were not recorded until after he left the group (such as "Walk It and Talk It", "Guess I'm Falling In Love", "Ride Into the Sun", and "Countess from Hong Kong").
[edit] The Velvet Underground (1969)
Before work on their third album started, Cale was eased out of the band, and was replaced by Doug Yule of Boston group the Glass Managerie, who had opened several VU shows. The Velvet Underground was recorded in late 1968, and released in March of 1969. The cover photograph was taken by Billy Name.
It has often been reported that the early edition of the Velvet Underground was a struggle between Reed and Cale's creative impulses: Reed's rather conventional approach contrasted with Cale's experimentalist tendencies; Morrison has reported[4] that there was creative tension between Reed and Cale, but that its impact has been exaggerated over the years.
In any case, the harsh, abrasive tendencies on the first two records were almost entirely absent on their third platter, The Velvet Underground. This resulted in a gentler sound influenced by folk music, prescient of the songwriting style that would form Reed's solo career. Another factor in the change of sound was the band's Vox amplifiers being stolen from an airport while they were on tour; they obtained replacements by signing a new endorsement deal with Sunn. In addition, Reed and Morrison had purchased matching Fender 12-string electric guitars.
Morrison's ringing guitar parts and Yule's melodic bass guitar and harmony vocals are featured prominently on the album. Reed's songs and singing are subdued and confessional, and he shared lead vocals with Yule, particularly when his own voice would fail under stress. Doug Yule sang the lead vocal on "Candy Says" which opens the LP, and a rare Maureen Tucker vocal is featured on "After Hours," a song that Reed said was so innocent and pure he couldn't possibly sing it himself. The album's influence can be heard in many later indie rock and lo-fi recordings.
[edit] A year on the road and the "lost" fourth album (1969)
The Velvet Underground spent much of 1969 on the road, feeling they were not accepted in their hometown of New York City and not making much headway commercially. The live album 1969: The Velvet Underground Live was recorded in 1969 and released in 1974 on Mercury Records at the urging of rock critic Paul Nelson who worked in A&R for Mercury at the time. Nelson asked singer-songwriter Elliott Murphy to write liner notes for the double album which began: "I wish it was a hundred years from today ..."
During the same year, the band recorded on and off in the studio, creating a lot of material that was never officially released due to disputes with their record label. What many consider the prime of these sessions was released many years later as VU. This album has a transitional sound between the whisper-soft third album and the pop-rock songs of their final record, Loaded.
The rest of the recordings, as well as some alternate takes, were bundled on Another View. 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", "She's My Best Friend"). Indeed, most of Reed's early solo career's more successful hits were reworked Velvet Underground tracks, released for the first time in their original version on VU, Another View, and later on Peel Slowly and See.
[edit] Loaded (1970)
In 1969, MGM Records president Mike Curb wanted to purge any drug- or hippie-related bands from MGM, and the V.U. were on his list, along with Frank Zappa's Mothers of Invention. (Nonetheless, MGM insisted on keeping the tapes of their unissued recordings.)
Atlantic Records signed the Velvet Underground for what would be its final studio album, Loaded, released on Atlantic's subsidiary label Cotillion. The album's title refers to Atlantic's request that the band produce an album "loaded with hits." Though the record was not the smash hit the company had anticipated, it contains the most accessible pop the V.U. had performed, and several of Reed's best-known songs, including "Sweet Jane" and "Rock and Roll".
Though Tucker had temporarily retired from the group due to her pregnancy, she received a performance credit on Loaded. Drums were actually played by several people, including Yule, engineer Adrian Barber, sessioneer Tommy Castanaro, and Doug Yule's brother Billy, who was still in high school.
Disillusioned with the lack of progress the band was making and pressured by manager Steve Sesnick, Reed decided to quit the band in August 1970. The band essentially dissolved while recording the album, and Reed walked off just before it was finished. Lou Reed has often said he was completely surprised when he saw Loaded in stores. He also said, bitterly, "I left them to their album full of hits that I made."
Reed was particularly bitter about the truncation of a verse from "Sweet Jane". "New Age" was changed as well: as originally recorded, its closing line ("It's the beginning of a new age") was repeated many more times. A brief interlude in "Rock and Roll" was also removed. (Years later, the album would be reissued with the edits restored.) On the other hand, Yule has pointed that the album was to all intents and purposes finished when Reed left the band and that Reed had been aware of most if not all of the edits. The few weeks between Reed's departure in late August and Loaded’s arrival in the shops in September of the same year also would have left little room for the whole process of editing, reviewing, mastering and pressing.
[edit] 1970 onwards
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. radio favourites, and the band, featuring Walter Powers on bass and Doug Yule promoted to lead vocals and guitar, went on the road once more, playing the East Coast of the U.S. and Europe. By that time, however, Sterling Morrison had obtained a B.A. degree in English, and left the group for an academic career with the University of Texas at Austin. His replacement was singer/keyboard player Willie Alexander. The band played shows in England, Wales, and the Netherlands, some of which are collected on the 2001 box set Final V.U.. Certain fans began mocking the new lineup as the "Velveteen Underground." This was perhaps unfair: Yule has expressed discomfort with the group being promoted as the V.U., and extant recording show that the group performed plenty of newly-written material, rather than relying solely on the earlier songs written by Reed.
In 1972 Atlantic released Live at Max's Kansas City, a live bootleg of one of the Velvet Underground's final performances with Reed, recorded by fan Brigid Polk. By this time Doug Yule was once again touring the United Kingdom, this time backed with hired hands as Sesnick had sent home Tucker, Powers and Alexander, effectively ending their time with the band. Later that year, Sesnick managed to secure a recording contract with Polydor Records in England, and Yule recorded Squeeze (1973) under the Velvet Underground name with Deep Purple drummer Ian Paice.
Squeeze is a controversial item among Velvet fans, generally held in low regard by fans and critics: Stephen Thomas Erlewine notes that the album received "uniformly terrible reviews" upon initial release, and was often "deleted" from official V.U. discographies.[5] Due to perceived middle of the road content, Squeeze is sometimes dismissed out of hand by Velvet Underground fans. However, with the advent of Internet audio file sharing, the previously obscure record has gained some supporters, who speculate that Squeeze might have fared far better if it had been promoted not as a V.U. album, but as Yule's solo debut, with some arguing that some of the songs would not have been out of place on Loaded.
Reed, Cale and Nico teamed up at the beginning of 1972 to play two concerts in London and Paris. The Paris concert performed at the Bataclan club was bootlegged, but finally received an official release as "Le Bataclan '72" in 2003.
[edit] Post-VU developments (1973–1990)
Reed and Cale, in the meantime, developed solo careers. Sterling Morrison was a professor for some time, teaching Medieval Literature at the University of Texas at Austin, then became a tugboat captain for several years. Maureen Tucker raised a family before returning to small-scale gigging and recording in the 1980s; Morrison was in a number of touring bands, among others with Tucker's band. In 1988, erstwhile singer Nico died of a brain hemorrhage while cycling on the island of Ibiza.
The band was name-dropped in the 1982 Fleetwood Mac song "Gypsy" [3]. "So I'm back to the velvet underground, back to the floor, that I love. To a room with some lace and paper flowers." A reference to songwriter Stevie Nicks returning to her childhood home where she listened to The Velvet Underground as a teenager. Nico was clearly an influence on the very young Nicks who was just 19 and starting to open for Janis Joplin with Fritz in the Bay Area in 1967 when The Velvet Underground and Nico was released.
[edit] Reunions (1990 and 1992–1994)
In 1990, Reed and Cale released Songs for Drella, dedicated to the recently deceased Andy Warhol. ("Drella" was a nickname Warhol had adopted, a combination of "Dracula" and "Cinderella".) Though Morrison and Tucker had each worked with Reed and Cale since the V.U. broke up, Songs for Drella was the first time the mercurial pair had worked together in decades, and rumors of a reunion began to circulate, fuelled by the one-off appearance by Reed, Cale, Morrison and Tucker to play "Heroin" as the encore to a brief Songs for Drella set in Jouy-en-Josas, France.
The Reed-Cale-Morrison-Tucker lineup reunited in 1992, commencing activities with a European tour beginning in Edinburgh on June 1 1993 and featuring a performance at Glastonbury which garnered an NME front cover. Cale sang most of the songs Nico had originally performed. As well as headlining, the Velvets performed as support act for five dates of U2's Zoo TV Tour.
Before the band could tour the U.S. or record — an MTV Unplugged broadcast and album were proposed and there were vague plans to record a studio album — Cale and Reed fell out again, breaking up the band once more.
The band seemed to reach their definitive end as a performing unit when Sterling Morrison died of cancer in 1995. However, this prospect would change when the band was inducted into the Rock and Roll Hall of Fame in 1996. Lou Reed and John Cale decided to put their differences aside reform The Velvet Underground for the last time, with Maureen Tucker in tow. At the ceremony, the band performed "Last Night I Said Goodbye to My Friend," written in tribute to Sterling Morrison.
The Velvet Underground continues to exist as a New York-based partnership managing the financial and back catalogue aspects for the band members, but no performances will be forthcoming. In 2004, Rolling Stone Magazine ranked the band #19 on their list of the 100 Greatest Artists of All Time.[6].
[edit] Discography
- Main article: The Velvet Underground discography
[edit] Albums
- The Velvet Underground and Nico (recorded 1966, released 1967)
- White Light/White Heat (recorded 1967, released 1968)
- The Velvet Underground (recorded 1968, released 1969)
- Loaded (recorded and released 1970)
- Squeeze (recorded 1972, released 1973)
[edit] Line-ups
| Year | Band | Recordings | |||
|---|---|---|---|---|---|
| Vocals, guitar |
Multiple instruments | Guitar | Percussion | ||
| April–November 1965 | Lou Reed | John Cale | Sterling Morrison | Angus MacLise | Disc 1 of Peel Slowly and See (1995; minus MacLise) |
| December 1965–September 1968 | Lou Reed | John Cale | Sterling Morrison | Maureen Tucker | The Velvet Underground and Nico (1967), White Light/White Heat (1968), two tracks on VU (1985), three tracks on Another View (1986), discs 2–3 of Peel Slowly and See (1995) |
| September 1968–August 1970 | Lou Reed | Doug Yule | Sterling Morrison | Maureen Tucker | The Velvet Underground (1969), Loaded (1970; minus Tucker), Live at Max's Kansas City (1972; minus Tucker), 1969: The Velvet Underground Live (1974), eight tracks on VU (1985), six tracks on Another View (1986), discs 4–5 of Peel Slowly and See (1995), Bootleg Series Volume 1: The Quine Tapes (2001) |
| Vocals, guitar | Bass guitar | Guitar | Drums | ||
| November 1970–August 1971 | Doug Yule | Walter Powers | Sterling Morrison | Maureen Tucker | Studio demo of two songs, "She'll Make You Cry" and "Friends" (as yet unreleased) |
| Vocals, guitar | Bass guitar | Keyboards, vocals | Drums | ||
| October 1971–December 1971 | Doug Yule | Walter Powers | Willie Alexander | Maureen Tucker | Discs 1–2 and part of disc 4 of Final V.U. 1971-1973 (2001) |
| Multiple instruments | |||||
| January 1972–February 1973 | Doug Yule | --- | --- | --- | Squeeze (1973), discs 3–4 of Final V.U. (2001; both with hired hands) |
| Vocals, guitar | Multiple instruments | Guitar | Percussion | ||
| June 1990; November 1992–July 1993 | Lou Reed | John Cale | Sterling Morrison | Maureen Tucker | Live MCMXCIII (1993) |
| 1996 | Lou Reed | John Cale | Maureen Tucker | Rock and Roll Hall of Fame induction ceremony | |
[edit] Temporary live and studio members
- Angus MacLise - sat in on percussion with Tucker switching to bass guitar and Cale and Morrison to lead vocals during a Chicago engagement when Reed was taken ill with hepatitis, June-July 1966.
- Nico - collaborator on vocals with the band on four tracks off The Velvet Underground and Nico and several Exploding Plastic Inevitable engagements, 1966–1967.
- Billy Yule - stand-in on drums for a pregnant Tucker on three tracks off Loaded and the Max's Kansas City 1970 engagement, including Live at Max's Kansas City; and the 1973 Boston engagement.
- Tommy Castanaro - stand-in on drums for a pregnant Tucker on two tracks off Loaded.
- Adrian Barber - stand-in on drums for a pregnant Tucker on a number of tracks off Loaded.
- Larry Estridge - tour stand-in (bass guitar) for Walter Powers, June 1971.
- Rob Norris - tour member (guitar) for the 1972 UK Squeeze tour.
- George Kay - tour member (bass guitar) for the 1972 UK Squeeze tour and the 1973 Boston engagement.
- Don Silverman - tour member (guitar) for the 1972 UK Squeeze tour.
- Mark Nauseef - tour member (drums) for the 1972 UK Squeeze tour.
- Ian Paice - session musician (drums) for Squeeze (1973).
[edit] References
- ^ The Velvet Underground by Richie Unterberger
- ^ http://black2com.blogspot.com/2005/05/book-review-all-yesterdays-parties.html
- ^ a b c Quoted by David Fricke in his liner notes for the Peel Slowly and See box set (Polydor, 1995)
- ^ Mitchell, Tim Sedition and Alchemy : A Biography of John Cale, 2003, ISBN 0720611326
- ^ Stephen Thomas Erlewine in the All Music Guide website article on Squeeze
- ^ The Immortals: The First Fifty. Rolling Stone Issue 946. Rolling Stone.
[edit] External links
- "The Velvet Underground Web Page" - The Velvet Underground Web Page
- "What Goes On" - The official website of the Velvet Underground Appreciation Society.
- "The Velvet Forum" - A Velvet Underground discussion forum
- "Foggy Notion" - a Velvet Underground web corner featuring extensive bio, annotated discography, articles, and related listening tips
- "Lou Reed Guitar Archive" - Velvet Underground and Lou Reed solo gear, chords and lyrics pages
- "Velvet Underground Squeeze" - essay entirely devoted to the Velvet Underground's last album
- "The Velvet Underground" at George Starostin's Classic Rock and Pop Album Reviews - A page including a description of the band, reviews of their albums, and reviews of albums from the members' solo careers
- The Velvet Underground - Lost Album
- "Velvet Underground" at Piero Scaruffi's history of rock page - a long and informative essay/review on the band
- Review of the 3rd Velvet Underground LP(by Dennis Tyhacz/Pop Matters.com)
- The Velvet Underground at lala.com
- Living with Legends: Hotel Chelsea blog
[edit] Listening
- John Cale on Studio 360 radio program (December 10, 2005)
- Listen to "Loop" from issue 3 of Aspen Magazine (December, 1966)
| The Velvet Underground |
|---|
| John Cale | Sterling Morrison | Lou Reed | Maureen Tucker | Doug Yule |
| Willie Alexander | Angus MacLise | Walter Powers | Billy Yule |
| Discography |
| Studio albums: The Velvet Underground and Nico | White Light/White Heat | The Velvet Underground | Loaded | Squeeze |
| Live albums: Live at Max's Kansas City | 1969 | Live MCMXCIII | Final V.U. | The Quine Tapes |
| Box sets and outtake compilations: VU | Another View | What Goes On | Peel Slowly and See |
| Selected best-of compilations: Rock and Roll | The Very Best of The Velvet Underground | Gold |
| See also |
| Chelsea Girl | Exploding Plastic Inevitable | Lou Reed | Nico | Steve Sesnick | Songs for Drella | Andy Warhol |
