Velvet Underground Trainspotting Question

It’s like a magic trick - they show it to you, then convince you it doesn’t exist, then bring it back

Yes.

They give you a bit of isolated “Heroin” viola solo at the very beginning too.

Really also amazing to hear old friends and girlfriends speaking- Allan, Richard, Shelley - and Delmore, proud and regal.

https://recordmecca.com/products-page/museum-quality-collectibles/sterling-morrison-velvet-underground-ultra-rare-absolutely-cd-with-hudson-valley-philharmonic-orchestra-1-of-10/

wow

O_O

more trainspotting: https://www.ebay.com/itm/374503734097

This is a series of 5 minute Public Service Announcements, disguised as radio shows in the 1960's. They were sent out to radio stations. The format was usually the same. It would begin with the artist or member of the group being featured doing an intro for VISTA (Volunteers In Service To America). Then a story about the program and finally, a song from the featured artists. Each album usually contained 6 segments and were youth oriented, as they were trying to recruit young people.

Now, the Voices Of Vista LP we are offering are shows #76 A, B & C and #77 A, B & C. Featured are Lenny Welch (singing The Right To Cry), Gary Lewis (singing Ice Melts In The Sun), Simon & Garfunkel (singing At The Zoo), The Critters (singing Marryin' Kind Of Love), Tommy Roe (singing Sing Along With Me) AND The Intimates (singing ???-it sounds like it would be called Summer Fun).

If you search for Voices Of Vista shows 76 & 77, you'll find a show with Leon Bibb and Pic Temple.

The show we have doesn't seem to exist and is presumed UNRELEASED!

NOW it gets interesting!

Lou Reed, in his pre-Velvet Underground days was in a group called The Intimates. They released one single on Epic.

The song on this LP is NOT either side of that single.

SO, you may say that it must be ANOTHER group with the same name.

BUT, at the beginning of their segment was the introduction. "Hi. This is Bob Motta for Vista". Bob Motta WAS in Lou Reed's Intimates!

SO, could we have an UNRELEASED early Lou Reed track surfacing?

they're asking $999.99, lol

R.A. Lafferty is laughing all the way to his Ktistec Machine.

Both of those things seem like they’re priced pretty cheap, considering people pay hundreds of $ for a minty OG Dark Side or whatever

agreed

Recommend that VU trainspotters clock in to Andrew Hickey’s epic podcast “A History of Rock Music in 500 Songs” wherein the latest episode tells the story of the VU in a way I’ve never heard it told before.

And for real trainspotters, Ugly Things issue #60 has a very in-depth look at Lou’s Pickwick years and how it led directly, implausibly, to the formation of the VU. And when you’ve read that article, supplement it with the 2-part Ugly Things podcast interview with the article’s author — lots of song clips and fun connective tissue, so well worth it.

didn't Cale work at Pickwick with Reed? iirc that's how they met?

I thought the story was that, after Reed had recorded and released "The Ostrich" (as the Primitives) either Reed himself or someone at Pickwick hired Cale, Tony Conrad and Walter De Maria to play some gigs as the Primitives? I'm not sure if Reed knew Cale before that though.

According to the Anthony DeCurtis bio, Terry Phillips, Reed’s cowriter was asked to form a band as The Primitives were asked to appear on a TV show.

As Tom D said, these were Tony Conrad, Walter De Maria and Cale. Phillips thought Cale was a pop musician because of his long hair and his accent was close enough to cash in on the British Invasion at the time.

No idea of Conrad and De Maria’s hair styles.

https://pbs.twimg.com/media/C8RKIqGUAAARZwq?format=jpg

Shoe polish obviously in short supply in NYC in 1965.

Also, with this being the de facto rolling VU thread, I missed this excellent bit of esoterica.

From Hickey:

Cale and Conrad … had been invited to a party on the Lower East Side, and there they’d been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they’d answered “yes”. He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes.

By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick’s studios the next day, he had a job for them.

The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record:

[Excerpt: The Primitives, “The Ostrich”]

It was explained to them that Pickwick made knock-off records — soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by “the Primitives”, they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives?

It sounded fun, but of course they weren’t actually guitarists. But as it turned out, that wasn’t going to be a problem. They were told that the guitars on the track had all been tuned to one note — not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note.

Cale and Conrad were astonished — that was exactly the kind of thing they’d been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs?

And that was how they met Lou Reed

There's not actually anything new in that account, to be honest, but LOL at Pickwick thinking "The Ostrich" could be a hit. Also it doesn't actually sound like the guitars are all tuned to one note. It's a good story though.

Maybe one guitar was and somebody embellished, which is maybe what you mean.

A dance where someone stomps on someone else’s head seems a very VU thing to do.

By now everybody's seem the video of Lou's sister, Merrill, dancing along, I hope. No heads were stomped in the making, iirc.

has this month's mojo been mentioned yet? cover-mounted cd with vu-related stuff on it, and another 'best 50 songs' list (am sure they do this every year)

https://www.discogs.com/release/26766839-Various-The-Worlds-Behind-You-A-Velvet-Underground-Companion

Obviously having the Seeds and Iannis Xenakis on the same CD is a great thing but I don't know what either of them are doing on there.

"it's hard not to hear a kinship in this epic garage-rock freak out" is their justification for the seeds, and seemingly because it's nearly as long as sister ray.

and xenakis was "another striking influence on john cale [] who taught him [] at tanglewood"

That "50 best songs" is all of Lou Reed's solo stuff as well as the Velvets songs.

I think (OK I know) there aren't any VU songs that Lou doesn't have credit on, excepting the "Squeeze" album obviously..

As far as fan "remixes" go this is pretty great. Person basically separated all the sections of the WLWH tracks using AI tech and made some stuff ...err.. spiffier. Sounds good to me!

https://www.youtube.com/watch?v=GihCAuHRyeM

against my better judgement ... it does sound pretty good! kind of crazy to hear Moe's drums better on "Sister Ray" — she's actually holding it down (not that much of a surprise when you hear later live versions, but there's always been a bit more chaos on the studio recording).

"it's hard not to hear a kinship in this epic garage-rock freak out" is their justification for the seeds, and seemingly because it's nearly as long as sister ray.

― koogs

the full-length "900 million people daily making love" would be a better fit IMO

Mike McG posted that Sister Ray mix on FB, I love it

kinda makes me wonder if it'd be possible with ai to take the sweetening off _chelsea girl_...

I think you could almost do it yourself using something like the Moises app let's you isolate drum tracks from any song... can we use its power for good?

you are greatly overestimating my level of executive function :), but that's good to know

honestly i'm listening to the title track now and i didn't realize the damn thing was in beatle stereo, it's probably been done already haha

record porn:
https://www.ebay.com/itm/394614756689

The bidding history on that is great. Shout out to bidder e***9 who's all "yeah, I'll bid a dollar on that but nothing more" and then the run-up between o***7 and n***6

dang

The final run-up from $3750 to $7600 all takes place in 11 minutes.

here's one. in the new Keith Richards cover of "I'm Waiting for the Man," he sings "beat up shoes and a big straw hat."

that's not right, i thought. but what does Lou sing? i realized that i had been hearing "Dior shoes" all these years, but didn't have any reason to think that was definitive. but i did google for a pair of vintage Dior shoes that conformed to the image i had in my mind of The Man. something like this:

https://i.imgur.com/kE5GDfH.png

but according to the website genius, what he sings is "PR shoes." this is the gloss:

This is a reference to PR shoes – Puerto Rican shoes – he was wearing what was popular in the height of Harlem for a smack dealer circa 1968. “P.R. shoes” are the type of zapatos associated with hip uptown Puerto Ricans at that time: shiny leather with pointed toe

Lou Reed noted in his book of collected lyrics “Between Thought And Expression” that what’s meant here is “Puerto Rican Fence Climbers”. Which makes sense for a man who may have to make a swift getaway at any time, the ability to climb fences on the run is extremely necessary.

setting aside that the song was recorded in 1966 (and a few other things), this seems like it's legit. but is anybody with access to liner notes from the "Between Thought and Expression" box able to confirm what Lou actually wrote?

google search doesn't turn up much for these, but i did get this. i do feel like i know this shoe.

https://i.imgur.com/S7t3mXc.png

anyway, feel free to post some pics of Puerto Rican Fence Climbers itt

I can do better than that.

https://www.youtube.com/watch?v=PqENMQnbnxw

("PR shoes" is indeed the correct lyric btw)

We had a thing on this here year back… I also had always thought it was “Dior shoes”

Thread needs some David Lee Roth:

Of "The Full Bug", Roth said 'PRFCs' were "great shoes for when the cockroach moves into the corner and you can't get at it with your foot or the broom anymore. You just jam your toe into the corner and hit as hard as you can. And if you did it right you got the full bug. So this slang means — bammm! — you have to give it everything you've got. Make the maximum effort, do everything possible, get the full bug."

Unfortunately the Diver Down wiki has been edited down, taking away more DLR discussion of said shoes, including a detailed explanation of where their name came from.

no way is the man wearing "beat-up shoes," wtf Keef

XP Found the full quote:

Dave: "You know when you have a cockroach and they run round the house and get into a corner? We used to have these shoes called PRFCs - Puerto Rican Fence Climbers, okay? And this was aptly titled because if you were running from the police or what have you, and you were wearing your PRFCs, you could hit the fence at a dead run and your foot would stay in and you could commence climbing immediately, which was the essence of the whole sport anyway. And these were also great shoes for when the cockroach moves into the corner and you get at it with your foot or the broom anymore. You just jam your toe into the corner and hit as hard as you can. And if you did it right you got the full bug. So this slang means bammm! - you have to give it everything you've got. Make the maximum effort, do everything possible, get the full bug."

yeh I always thought it was Dior shoes as well

much amused by this song by 1977 punk jokers The Snivelling Shits, which is Waiting for the Man but the lyrics are about his love for crap UK soap opera Crossroads

https://www.youtube.com/watch?v=MhjWdz541wM

but is anybody with access to liner notes from the "Between Thought and Expression" box able to confirm what Lou actually wrote?

It's not the liner notes to the box, it's in his book of lyrics of the same name. It's literally just an asterisk next to the line "PR shoes" with "* Puerto Rican Fence Climbers" written at the bottom of the page.

thank you!