The early LP edition with the banana-skin sticker peeled off.The Velvet Underground & Nico is the debut album by American band, released in March 1967. It was recorded in 1966 while the band were featured on 's tour, which gained attention for its performance sensibilities and controversial lyrical topics, including, and sexual deviancy. It sold poorly and was mostly ignored by contemporary critics, but later became regarded as one of the most influential albums in the history of.Many subgenres of and forms of were significantly informed by the album, including,. In 1982, musician stated that while the album initially only sold approximately 30,000 copies, 'everyone who bought one of those 30,000 copies started a band.' In 2003, it ranked 13th on magazine's list of the ', and in 2006, it was inducted into the by the Library of Congress. Sang lead vocals on three tracks, including the '.The Velvet Underground & Nico was recorded with the first professional line-up of the Velvet Underground:,.

At the instigation of their and manager, and his collaborator, singer was also featured; she had occasionally performed lead vocals for the band. She sang lead on three of the album's tracks—', ' and '—and back-up on '. In 1966, as the album was being recorded, this was also the line-up for their live performances as a part of Warhol's.The bulk of the songs that would become The Velvet Underground & Nico were recorded in mid-April 1966, during a four-day stint at, a decrepit in. This recording session was financed by Warhol and ' sales executive Norman Dolph, who also acted as an with John Licata. Though the exact total cost of the project is unknown, estimates vary from 1,500 (US$11,820 in 2019 dollars ) to $3,000 (US$23,640 in 2019 dollars ).Soon after recording, Dolph sent an of the recordings to Columbia in an attempt to interest them in distributing the album, but they declined, as did and —according to Morrison, Atlantic objected to the references to drugs in Reed's songs, while Elektra disliked Cale's viola. Eventually, the -owned accepted the recordings, with the help of Verve staff producer who had recently moved from a job at Columbia.With the affirmation of a label, three of the songs, ', ' and ', were re-recorded in two days at during a stay in, one month later in May 1966. When the record's release date was postponed, Wilson brought the band into in in November 1966, to add a final song to the track listing: the single '.

The Velvet Underground are alive and well (which in itself may surprise some people) and ever-changing. How do you define a group like this, who moved from “Heroin” to “Jesus” in two short.

Production. Artist designed the album's cover and played a major role in its production.Although is the only formally credited producer, he had little direct influence beyond paying for the recording sessions. Several others who worked on the album are often mentioned as the technical producer.Norman Dolph and John Licata are sometimes attributed to producing the Scepter Studios sessions, as they were responsible for recording and engineering, though neither is credited.

Dolph said Cale was the creative producer, as he handled the majority of the. However Cale recalled that Tom Wilson produced nearly all the tracks, and said that Warhol 'didn't do anything'. Reed also said the 'real producer' of the album was Wilson. Reed claimed it was MGM who decided to bring in Wilson, and credited him for producing songs such as 'Sunday Morning': 'Andy absorbed all the flak. Then MGM said they wanted to bring in a real producer, Tom Wilson. So that’s how you got 'Sunday Morning', with all those overdubs – the viola in the back, Nico chanting.

But he couldn’t undo what had already been done.' Sterling Morrison and Lou Reed would further cite Warhol's lack of manipulation as a legitimate means of production. Morrison described Warhol as the producer 'in the sense of producing a film'. Reed said:He just made it possible for us to be ourselves and go right ahead with it because he was Andy Warhol. In a sense, he really did produce it, because he was this umbrella that absorbed all the attacks when we weren't large enough to be attacked. And as a consequence of him being the producer, we'd just walk in and set up and do what we always did and no one would stop it because Andy was the producer.

Of course he didn't know anything about record production—but he didn't have to. He just sat there and said 'Oooh, that's fantastic,' and the engineer would say, 'Oh yeah!

It is fantastic, isn't it?' Music and lyrics. The fourth track from The Velvet Underground & Nico. The droning electric viola accompanies the 'ostrich'-tuned guitar. This sample contains the second verse.Problems playing this file? See.Themes The Velvet Underground & Nico was notable for its overt descriptions of topics such as,. ' describes a man's efforts to obtain, while ' is a nearly literal interpretation of (which itself prominently features accounts of ).

' details an individual's use of the drug and the experience of feeling its effects., who wrote the majority of the album's lyrics, never intended to write about such topics for shock value. Reed, a fan of poets and authors such as, and, saw no reason the content in their works couldn't translate well to music. An English major who studied for a at, Reed said in an interview that he thought joining the two (gritty subject matter and music) was 'obvious'. 'That's the kind of stuff you might read.

Why wouldn't you listen to it? You have the fun of reading that, and you get the fun of rock on top of it.' Though the album's dark subject matter is today considered revolutionary, several of the album's songs are centered on themes more typical of popular music.

Certain songs were written by Reed as observations of the members of Andy Warhol's ' '. ' in particular was written about at Warhol's request. ', inspired by, is a tender and affectionate song; in stark contrast to a song like 'Heroin'. A common misperception is that ' was written by Reed at Warhol's request (as stated in and 's Velvet Underground biography Up-Tight: The Velvet Underground Story).

While the song does seem to be another observation of Factory denizens, Reed wrote the song before meeting Warhol, having recorded a demo in July 1965 at Ludlow Street. It had sounds, which were possibly inspired. Instrumentation and performance. The seventh track from The Velvet Underground & Nico. As the song nears its final crescendo, the percussion quickens and the electric viola produces feedback.Problems playing this file? See.Much of the album's sound was conceived by, who stressed the experimental qualities of the band. He was influenced greatly by his work with, and the early movement, and encouraged the use of alternative ways of producing sound in music.

Cale thought his sensibilities meshed well with Lou Reed's, who was already experimenting with alternate tunings. For instance, Reed had 'invented' the tuning for a song he wrote called 'The Ostrich' for the short-lived band the Primitives. Ostrich guitar tuning consists of all strings being tuned to the same note. This method was utilized on the songs 'Venus in Furs' and 'All Tomorrow's Parties'.

Often, the guitars were also tuned down a whole step, which produced a lower, fuller sound that Cale considered 'sexy'.Cale's viola was used on several of the album's songs, notably 'Venus in Furs' and 'Black Angel's Death Song'. The viola used guitar and mandolin strings, and when played loudly, Cale would liken its sound to that of an airplane engine. Cale's technique usually involved,. According to, the 'narcotic drone' not only sustains the -themed 'Venus in Furs', but it also 'identifies and unifies the album musically'.

Of the vocal performances, he believed 'Nico's contained sexuality' complemented 'the dispassionate abandon of Reed's chant singing'. Artwork The for The Velvet Underground & Nico is recognizable for featuring a Warhol print of a banana. Early copies of the album invited the owner to 'Peel slowly and see', and peeling back the banana skin revealed a flesh-colored banana underneath. A special machine was needed to manufacture these covers (one of the causes of the album's delayed release), but paid for costs figuring that any ties to Warhol would boost sales of the album.

Most reissued vinyl editions of the album do not feature the peel-off sticker; original copies of the album with the peel-sticker feature are now rare collector's items. A Japanese re-issue LP in the early 1980s was the only re-issue version to include the banana sticker for many years. On the 1996 reissue, the banana image is on the front cover while the image of the peeled banana is on the inside of the, beneath the CD itself.

The album was re-pressed onto heavyweight vinyl in 2008, featuring a banana sticker. Back cover lawsuit. Reproduction of original back coverWhen the album was first issued, the main back cover photo (taken at a performance of Warhol's event ) contained an image of actor projected upside-down on the wall behind the band.

Having recently been arrested for and desperate for money, Emerson threatened to sue over this unauthorized use of his image, unless he was paid. Rather than complying, MGM recalled copies of the album and halted its distribution until Emerson's image could be airbrushed from the photo on subsequent pressings. Copies that had already been printed were sold with a large black sticker covering the actor's image. Front cover lawsuit In January 2012, the (of which John Cale and Lou Reed were ) sued in the after the Foundation licensed the cover's banana design to Incase Designs for use on a line of and cases. The complaint involved, and.Alleging that the Foundation had earlier claimed it 'may' own the design's copyright, the partnership asked the court for a that the Foundation did not have such rights. In response, the Foundation gave the partnership a 'Covenant Not to Sue'—a written and binding promise that, even if the partnership and certain other parties continued to use the design commercially, the Foundation would never invoke its professed copyright ownership against them in court.On the Foundation's motion, severed and dismissed from the lawsuit the partnership's copyright claim. According to Judge Nathan, the allows to decide only, which means ongoing or imminent disputes over legal rights, involving concrete facts and specific acts, that require court intervention in order to shield the from harm or interference with its rights.

The judge held that the partnership's complaint fell short of that standard because even if the Foundation continued to claim ownership of the design's copyright—and even if its claim was invalid—that claim would not legally harm the partnership or prevent it from making its own lawful uses of the design. The partnership did not claim that it owned the design's copyright, only that the Foundation did not.

Since, according to the court, the Foundation promised not to sue the partnership for any 'potentially copyright-infringing uses of the Banana Design', the partnership could continue using the design and there would be no legal action that the Foundation could take (under copyright law ) to stop it. And if, the court concluded, the partnership could continue with business as usual (as far as copyright was concerned) regardless of whether the Foundation actually owned the design's copyright, a court decision would have no practical consequences for the partnership; it would be a purely academic (or ') opinion, which federal courts may not issue. The court therefore 'dismissed without prejudice' the partnership's request that it resolve whether the Foundation owned the design's copyright. The remaining trademark claims were settled out of court with a confidential agreement, and the partnership's suit was dismissed in late May 2013. Reception and sales Contemporary reception Upon release, The Velvet Underground & Nico was largely unsuccessful and a financial failure.

The album's controversial content led to its almost instantaneous ban from various record stores, many radio stations refused to play it, and magazines refused to carry advertisements for it. Its lack of success can also be attributed to, who failed to promote or distribute the album with anything but modest attention. However, of also notes that.the music was simply too daring to fit onto commercial radio; 'underground' rock radio was barely getting started at this point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak.The album first entered the Billboard album charts on May 13, 1967, at number 199 and left the charts on June 10, 1967, at number 195. When Verve recalled the album in June due to Eric Emerson's lawsuit, it disappeared from the charts for five months. It then re-entered the charts on November 18, 1967, at number 182, peaked at number 171 on December 16, 1967, and finally left the charts on January 6, 1968, at number 193.The critical world initially took little notice of the album. One of the few print reviews of the album in 1967 was a mostly positive review in the second issue of Vibrations, a small rock music magazine.

The review described the music as 'a full-fledged attack on the ears and on the brain' and noted the dark lyrics. Reappraisal Retrospective professional ratingsReview scoresSourceRating10/1010/10AA decade after its release, The Velvet Underground & Nico began to attract wide praise from rock critics. Christgau wrote in his 1977 retrospective review for that the record had been difficult to understand in 1967, 'which is probably why people are still learning from it. It sounds intermittently crude, thin, and pretentious at first, but it never stops getting better.' He later included it in his 'Basic Record Library' of 1950s and 1960s recordings, published in (1981). In 1982, musician stated that while the album initially only sold approximately 30,000 copies, 'everyone who bought one of those 30,000 copies started a band.' In (1998), called it a 'powerful collection' that 'introduced Reed's decidedly urban infatuations, a fascination for street culture and amorality bordering on voyeurism.'

In April 2003, led their 'Top Fifteen Most Influential Albums of All Time' list with the album. On November 12, 2000, included it in their 'NPR 100' series of 'the most important American musical works of the 20th century'. In 2003, placed it at number 13 on their list of the 500 Greatest Albums Of All Time, maintaining the rating in a 2012 revised list, calling it the 'most prophetic rock album ever made'.In his 1995 book, The Alternative Music Almanac, placed the album in the number 1 spot on the list of '10 Classic Alternative Albums'. In 1997, The Velvet Underground & Nico was named the 22nd greatest album of all time in a 'Music of the Millennium' poll conducted in the by,. In 2006, readers voted it into 42nd place in the '2006 Q Magazine Readers' 100 Greatest Albums Ever' poll, while placed it at number 1 in a list of '50 Albums That Changed Music' in July of that year.

Also in 2006, the album was chosen by magazine as one of the 100 best albums of all time. In 2017, placed the album at number 1 on its list of 'The 200 Best Albums of the 1960s'.

It was voted number 13 in 's 3rd Edition (2000). Cover versions In April 1967, one month after the album's release, a band called the Electrical Banana may have recorded the first cover version of 'There She Goes Again'. According to bandmember Dean Ellis Kohler, they recorded it in a tent in Vietnam in April 1967 and sent the master tape to a company in California to have 45 RPM records pressed.In 2009, the American musician recorded a track-for-track cover of The Velvet Underground & Nico and released it online in video form on his website, as part of a project called. Musicians involved in the recording include Beck plus, Bram Inscore, Yo, Chris Holmes, and.Also in 2009, various artists from Argentina collaborated to produce a track-for-track cover of the record.

They played a number of concerts in Buenos Aires to celebrate the release of the album, which was made available online for free. Aftermath Frustrated by the album's year-long delay and unsuccessful release, 's relationship with grew tense. Reed fired Warhol as manager in favor of, who convinced the group to move towards a more commercial direction. Nico was forced out of the group, and began a career as a solo artist.

Her debut solo album, was released in October 1967, featuring some songs written by Velvet Underground members.continued working with the Velvet Underground, producing their 1968 album and Nico's Chelsea Girl. Track listing All tracks are written by except where noted. Side ANo.TitleLength1.'

' (Reed, )2: 542.' '6: 00Total length:25:45Side BNo.TitleLength1.' ' (Reed, Cale)3: 115.' ' (Reed, Cale, )7: 46Total length:23:04.

Sides one and two were combined as tracks 1–11 on CD reissues.Reissues and deluxe editions Compact disc The first edition of the album was released in 1986 and featured slight changes. The title of the album was featured on the cover, unlike the original LP release. In addition, the album contained an alternate mix of 'All Tomorrow's Parties' which featured a single track of lead vocals as opposed to the double-tracked vocal version on the original LP. Apparently, the decision to use the double-tracked version on the original LP was made at the last minute.

Bill Levenson, who was overseeing the initial CD issues of the VU's Verve/MGM catalog, wanted to keep the single-voice version a secret as a surprise to fans, but was dismayed to find out that the alternate version was revealed as such on the CD's back cover (and noted as 'previously unreleased').The subsequent 1996 remastered CD reissue removed these changes, keeping the original album art and double-tracked mix of 'All Tomorrow's Parties' found on the LP.Peel Slowly and See box set The Velvet Underground & Nico was released in its entirety on the five-year spanning, in 1995. The album was featured on the second disc of the set along with the version of 'All Tomorrow's Parties', two Nico tracks from and a ten-minute excerpt of the 45-minute 'Melody Laughter' performance.

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Also included in the set (on the first disc) are the band's 1965 Ludlow Street loft demos. Among these demos are early versions of 'Venus in Furs', 'Heroin', 'I'm Waiting for the Man' and 'All Tomorrow's Parties'.Deluxe edition In 2002, released a two-disc 'Deluxe Edition' set containing the version of the album along with the five tracks from Nico's written by members of the band on disc one, and the version of the album along with the mono single mixes of 'All Tomorrow's Parties' and 'Sunday Morning' and their 'I'll Be Your Mirror' and 'Femme Fatale' on disc two. A studio demo of the unreleased track 'Miss Joanie Lee' had been planned for inclusion on the set, but a dispute over royalties between the band and Universal canceled these plans. This contractual dispute apparently also led to the cancellation of further installments of the band's official Bootleg Series. However, this track was included in the subsequent re-release, 45th Anniversary Super Deluxe Edition. In April 2010, re-released the second disc of the 'Deluxe Edition' as a single CD 'Rarities Edition'.Disc 1 additional tracksNo.TitleWriter(s)Length12.'

Little Sister',4:2713.' Winter Song'Cale3:2314.' It Was a Pleasure Then'Reed, Cale,8:0915.' Chelsea Girls'Reed,7:2916.' Wrap Your Troubles in Dreams'Reed5:09Total length:28:37Disc 2 additional tracksNo.TitleLength12.' All Tomorrow's Parties' (Verve single VE 10427)2:5313.'

I'll Be Your Mirror' (Verve single VE 10427 B-side)2:1814.' Sunday Morning' (Verve single VE 10466)3:0015.' Femme Fatale' (Verve single VE 10466 B-side)2:38Total length:10:4945th Anniversary Super Deluxe edition On October 1, 2012, released a 6-CD box set of the album. It features the previously available mono and stereo mixes as discs one and two respectively.

Disc one contains as bonus tracks additional alternate versions of 'All Tomorrow's Parties', 'European Son', 'Heroin', 'All Tomorrow's Parties' (alternate instrumental version), and 'I'll Be Your Mirror'. Disc two contains the same bonus tracks as the prior deluxe version's second disc. Disc three is Nico's in its entirety and the Scepter Studios acetate (see below) in its entirety occupies disc 4. Discs 5 and 6 contain a previously unreleased live performance from 1966. According to the essay by music critic and historian contained within the set, the source for the show is the only audio tape of acceptable quality recording during singer Nico's tenure in the band. The essay also clarifies that the absence of any DVD materials in the box set is due to the fact that none of the band's shows were filmed, in spite of their heavy reliance on multimedia visuals.

Disc 5: Live at Valleydale Ballroom, Columbus, Ohio, November 4, 1966 (Part 1)No.TitleLength1.' Melody Laughter' (Instrumental jam)28:262.' Femme Fatale'2:373.' Venus in Furs'4:454.' The Black Angel's Death Song'4:455.'

All Tomorrow's Parties'5:03Total length:45:36Disc 6: Live at Valleydale Ballroom, Columbus, Ohio, November 4, 1966 (Part 2)No.TitleLength1.' I'm Waiting for the Man'4:502.' Run Run Run'8:434.'

The Nothing Song' (Instrumental jam)27:56Total length:48:11Scepter Studios acetate version. Label of the Norman Dolph acetateNorman Dolph's original recording of the Scepter Studios material contains several recordings that would make it onto the final album, though many are different mixes of those recordings and three are different takes entirely. The acetate was cut on April 25, 1966, shortly after the recording sessions. It would resurface decades later when it was bought by collector Warren Hill of, Canada in September 2002 at a flea market in the neighborhood of New York City for $0.75.

Hill put the album up for auction on in November. On December 8, 2006, a winning bid for $155,401 was placed, but not honored. The album was again placed for auction on eBay and was successfully sold on December 16, 2006, for $25,200.Although ten songs were recorded during the Scepter sessions, only nine appear on the acetate cut. Dolph recalls 'There She Goes Again' being the missing song (and, indeed, the version of 'There She Goes Again' that appears on the final LP is attributed to the Scepter Studios session). In 2012, the acetate was officially released as disc 4 of the omnicomprehensive '45th Anniversary Super Deluxe Edition' box set of the album (see above). The disc also includes six previously unreleased bonus tracks, recorded during the band's rehearsals at on January 3, 1966. However, a version of the acetate began circulating the internet in January 2007.

Bootleg versions of the acetate tracks have also become available on vinyl and CD. The acetate was issued on vinyl in 2013 as a limited edition for. (February 14, 2003).

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