The Velvet Underground - an alternate career

IBC Studios, London, August 1967

The members of the Velvet Underground set around the control room listening intently to the playback of their latest track. Lou Reed's guitar wailed loudly in the mix, drowning out just about everything else as he yelped about a "long dead and gone" woman. As the final screech stopped, silence filled the room.

"What the hell have you done?" John Cale forcefully said to their producer. "It's all Lou. There's no bass, no rhythm, I can't even hear Moe's drums!"

"*I* did that mix," Lou replied. "And if you don't like it, tough - I think it works. That's the one for the album."

"Since when were you the Velvet Underground?" interjected Stirling Morrison, "I was in that room - we all played well Lou, can't we all be heard on the track? You can't put that out, can you?" The producer remained silent, wisely choosing not to enter this arguement.

"Look Lou, we have a chance here" said Maureen 'Moe' Tucker, "Back home they either don't care or want us dead, but here we have an audience - look at the response we've been getting since we left Warhol & signed to Epstein. Do this for the band."

Lou looked at the three others. Moe had a point, the European audiences had been very receptive - right from the first few UK shows in June playing mostly debut-album songs, right through to the German dates in July road-testing new songs before the new album sessions.

"OK! OK! We use the balanced mix. I gotta say John's bass at the end is fierce."


to be continued.....

Sessions continued for the 2nd Velvet Underground album, with a couple of tunes that had been demo'ed earlier that year in New York - what seemed like a lifetime ago.

To recap, in March 1967 after much delay the Velvet Underground & Nico was released. The album had sat completed since Late November 1966, but gaining clearance to use a photo of actor Eric Emerson on the back cover proved to be a sticking point - Emerson demanded payment, which meant copies had to have his likeness spray painted out before distribution to avoid paying him.

The whole band fumed that an artist of the calibre of Warhol could make such a mistake with their album cover - rightly or wrongly they figured that surely he knew how to execute a design with no complications?

Their beef with Warhol didn't stop there. The light and sound show that accompanied their concerts - the Exploding Plastic Inevitable - was proving to be a distraction to the music - not an enhancement. Sure it was a perverse joy to confront those West Coast audiences, but the shock stopped them from really listening to the music - and the messages in the music. The decision by Warhol to add fashion model Nico to the group still stung - they accepted it as part of his plan, but where did it take them?

By now they were wondering if Warhol even had a strategy for the band. It wasn't like the album was threatening the charts.

However, the album had at least one fan. Danny Fields - an editor of music magazine Datebook, who was a regular at Warhol events. So much of a fan that he lent the album to Beatles manager Brian Epstein before Epstein went on a brief holiday to Mexico that March with Richard Luger, a room-mate of Danny's at the time.

The music intrigued Brian. It was a million miles from what the Beatles were recording, for sure - but he suspected they might make an impact in the UK. After all.. the Rolling Stones had been wild, The Who had used feedback, and there were all manner of bands playing crazy music at venues like UFO. Jimi Hendrix was having success as an American in the UK - maybe these New Yorkers could be the next big thing?

Watching this.

Will be interesting to see where you take it.

The Velvet Underground and Brian Epstein? A strange but intriguing mix.
I'll be following this too.

Jazz_Singing_Apple said:

Watching this.

Will be interesting to see where you take it.

Click to expand...

All I can say right now is that this is likely to give Epstein a renewed sense of purpose.

I won't go further than that just yet..

flippikat said:

likely to give Epstein a renewed sense of purpose.

Click to expand...

That could mean many things, haha.

I wonder how Lennon, specifically, would deal with Epsteins attention being 'divided'.

https://www.alternatehistory.com//uk.pinterest.com/pin/create/extension/

You do realise that Lou's motto was:

apologies for the late update.. but back on track now, looking to accelerate things from here.
--------

Max's Kansas City, Early May 1967.

Another Saturday night for Danny Fields, checking out what's happening at Max's Kansas City was interrupted by a firm tap on his shoulder - it was Brian Epstein back from holiday. After a surprised hello, Brian cut to the chase. "That album Danny. That album! Would they be keen to come to England for some shows? I could book them a good tour, and I'm sure it'll be worth their while.."

Out the corner of his eye, Danny spotted Lou Reed. "Just wait there Brian, I can see Lou, the main songwriter - maybe you can talk to him?"

Danny moved quickly to Lou. "Lou, you need to come over here with me - I have Brian Epstein here, and he wants to bring the Velvets to England."
"Yeah, and I'm Mr Ed," sneered Lou without battling an eyelid.
"No, SERIOUSLY. This could be your chance." said Danny, with no idea what else to say.
"Ok, I'll go - but you owe me if it's nothing." replied Lou

The conversation between Lou & Brian was short, but productive. Brian offered a residency at the Saville Theatre for a weekend, with the option of more - plus a few dates around England - Manchester, Liverpool, Leeds & Birmingham. Lou said he couldn't say yes right away, but he'd take the idea back to the band and their current management, and see what they could accept.

The first point of business was to brief the band. A band meeting was called at John Cale's apartment.

"Right, Lou - what's going on?", asked Stirling Morrison. "Usually we'd have our gear and start a rehearsal."
"Big news. I just talked to Brian Epstein at Max's last night" replied Lou.
"You're fulla shit!", mocked John Cale with a jokey grin.
"Lou was it really Epstein or the drugs?" added Mo, twisting the comedy knife.
"No, really - he's offered us some shows in England. Says he can book the venues, sort out flights, hell even work visas. All we have to do is say yes."
"Great," said Cale "What does Andy think?".
"I haven't told him. I'm telling you." Lou fired back, "Andy's had a year with us, and what has he done?"
The room remained silent for a few seconds after Lou finished. The idea was crystal clear.
"We sign with Epstein?" said Moe
"Yes", replied Lou.
"We call the shots, right? He doesn't make us wear suits or write 'She Loves You', right?" John added.
"Gees.. It's not 1964 John.. but I'll make it clear, we do the music our way. I think he kinda likes it" replied Lou, "So we all agree?"
A unanimous "Yes." sounded through the room.

It was left to Lou to break the news to Andy Warhol - in an act of caution, he called Brian first to see if he'd take over the management if they severed ties with Warhol. Brian was surprised that they were so keen to jump ships, but assured them that he'd take over management if they end their existing management contracts.

The exchange with Warhol was surprisingly brief. Andy just sat there listening to Lou's reasons, before sighing "okay", in a wistful voice - as if he was resigned to them leaving anyway.

Meanwhile Brian was busy making plans. The Beatles had an established career, recently renewing their EMI recording contracts & had no desire to play live - so he figured their career would pretty much take care of itself, so long as they kept writing & recording great songs. With the Velvets, he had to start again - and he relished the challenge. Dates in England were organised for June 1967, and a brief European tour in early July - with a plan to record their second album in August.

Epstein had his management team talk to Verve Records, to assure them that he had no intention of trying to break their contract - but he did ask to be given freedom to record sessions in England to produce their second album. Verve agreed, after insisting that recording be done at his cost - and reserving the right to call shots over the third album if this venture failed.

Brian next had to secure a producer - he asked George Martin his opinion on who should run these sessions.

"Well, I'd be keen.. but I've got my hands full with the Beatles this year - EMI want an album for Christmas - if it's anything like Pepper that's a solid 3 months there"

"Well, who else?" asked Epstein.

"Hmm.. well Norman Smith is working with the Pink Floyd.. Andrew & Kit are tied to the Rolling Stones & The Who.. what about Shel Talmy?"

"No," replied Epstein, remembering a long tirade from Pete Townshend about the Who's contractual scuffles with the American hit-maker.

"Well, there's one other chap I can think of. He's doing interesting work with microphones - capturing a live sound in the studio. He could be just the man you need."

On landing in England, the Velvet Underground made their debut in England with a concert on Friday night at the Saville Theatre - owned by Brian Epstein. The music was a mix of debut-album tunes, familiar to those few who knew the album, and new songs that had been played earlier in 1967 during their residency at the Gymnasium. Unknown to them, in the audience alongside Brian Epstein was a figure that would finally be able to capture the full roar of their live sound on vinyl.

"What do you think?", said Brian to the recording engineer.
"YES!", replied Glyn Johns nodding his head to Moe's relentless beat. Never mind flower power, this was the rock'n'roll he wanted to record.

Sessions for the 2nd Velvet Underground got off to an awkward start, when the band arrived at IBC studios to find the drums surrounded with microphones. It certainly was different to what they were used to!

After quick introductions by Brian Epstein, Glyn asked the band if they'd like to play a song to test the recording levels & get used to the studio - something short & straightforward. When asked about all those misrophones, he just replied "Trust me. It'll get everything"

The Velvets knew what song to choose.

"I got my fever in my pocket.." Even though there was no vocal microphone, Lou led the band in a solid run-through of 'Guess I'm Falling in Love' - a song they had played in just about every gig since March. Glyn called the band in to the control-room for a playback.

"Sounds great!" said John Cale, "You can certainly hear everything with power". "That's what good miking does," replied Johns. "Can we do it again?" asked Stirling Morrison. "I think we can go a little faster".

Sessions continued from there with good progress, and the album was released in November 1967. It was a shift away from their debut with a focus on hard rocking songs, with driving beats - inspired by the clarity of their new production.

One idea that was tried & dropped during production was setting a short story of Lou's to an instrumental backing. ("The backing went nowhere, and the story was just silly" Maureen would later recall in an interview)

The Velvet Underground - White Light/White Heat
Side 1
White Light/White Heat
Lady Godiva's Operation
I Guess I'm Falling in Love
Here She Comes Now
I Heard Her Call My Name

Side 2
There is No Reason (Single guitar performance, similar to OTL's 'Peel Slowly & See' box set demo, with extra roaring guitar solo & a feedback noise-filled fade-out that segues into...)
Sister Ray

I heard her call my name - superb track. Can't imagine it produced differently but that's just me. Keep going!

BTW, does this mean Zappa gets the NY residency earlier?

steve_wilson said:

I heard her call my name - superb track. Can't imagine it produced differently but that's just me. Keep going!

BTW, does this mean Zappa gets the NY residency earlier?

Click to expand...

My thinking is that with a better producer, the Velvets are now closer to the cutting edge of hard rock in 1967, rather than a spectacular "near miss" of OTL. Despite White Light/White Heat's non-production being it's charm, at the time the band were disappointed that Tom Wilson didn't (or couldn't) capture the power of their sound clearly.

It's a victory for band morale at a critical stage to get capable production.

In OTL there was an alternate mix of I heard her call my name - where more of the drums, bass & rhythm guitar can be heard (albeit still full of distortion & leakage), but it was vetoed by Lou Reed.
The scene in part 1 was inspired after hearing OTL's balanced mix when it was finally released on the Deluxe Edition in 2013 - it's well worth seeking out.

As for other bands, even though the focus will be on the Velvets in this timeline, I still have some ideas for the next update about what else is going on..

Excerpt from The Beatles "Long & Winding Road" documentary, 1990.

George Harrison: So we'd just finished recording Sgt Pepper. It wasn't even out yet, and Paul was already thinking about the next thing..

Paul McCartney: It was an idea I had when I was in America, just after Pepper. I heard all these stories about Ken Kesey and his bus, and I thought.. hey what about a crazy little day trip out sightseeing? Cause as a kid you'd always go out on a bus, a cheap getaway to Blackpool or somewhere, why don't we do a psychedelic version of that?

John Lennon: ..and Paul was saying "We can have comedians, and circus freaks, and I dunno.. dancing poodles on the bus, and it'll be this big mystery trip", and while he was describing it you could see Brian just shaking his head.

Brian Epstein: I remember the meeting - it was just after Paul flew in, and just before I flew out to America. It wasn't a strong idea. He wanted to do a movie with no script, no idea for a story, and all those people to marshall. It could go horribly wrong or be horribly tedious. I didn't say no right away, but I did ask them to think about it while I headed out to America.

Ringo: So we just made some tracks, kept recording some songs. Then Brian came back with a compromise.

Paul McCartney: So the original idea was to take a bus of people out and see what happens, and there'd be musical bits along the way. Brian arranged suggested we keep the musical scenes, but make it a "clip show" with some new songs, some old songs and a few interviews with each of us one-on-one with David Frost in between.

George: It was a relief. We didn't have to be "actor-Beatles" We could just be The Beatles. Magical Mystery Tour was a great song but I didn't want to be with a circus on wheels filming a movie about it.

---

"The Beatles Present" was screened in colour on BBC2 on Thursday 30 November 1967, featuring a couple of video clips from earlier in the year (Penny Lane, and All You Need is Love), and new films for songs such as Magical Mystery Tour, I Am the Walrus, Your Mother Should Know & Blue Jay Way).

One notable addition to the show was a film clip made for A Day in the Life - a bizarre compilation of filming from the song's recording session, home movies & stock footage. Although the song had been banned by the BBC due to drug references, it was added due to a special dispensation granted from BBC2 chief Controller David Attenborough after an interview segment with Paul & John discussing the song's meaning was recorded as an introduction.

A companion album was released the following week, assembling all of the new songs along with the Beatle's 1967 singles A-sides and B-sides.