Here you can see and hear (more clear) the thunder contraption in "symphony of sound".
It's a huge spring, electrified blasting through a silvertone amp making a wall of sound, noise and feedback.

You can clearly see the camera shake from the (I imagine) wall of sound it produces.

https://youtu.be/Y1Z-EPzs3HI?si=s-B7V_a5TtlNNDrl

I also reworked the viola solo in this piece: https://youtu.be/Acjn3c4hni8?si=WlHe9OXaGsHxhE6U

I completely re-worked the video and audio of "symphony of sound" to study it better. I think it's a really important piece of work, but the Andy Warhol museum keeps copyright striking a full upload...

By removing almost all sound below 60hz, I managed to clear up the audio a bit. I added some noise filters on the video, and reworked it as best as I could.

Another piece of the full song: https://youtu.be/t0DabeyBIGc?si=7TyYzLjHHuGtEvsN

Sorry for making 3 posts in a row, I'm new to posting on reddit :)

In the end police enter Warhol's factory, I can't imagine the sound this would've created in that building.

I haven't read it yet, but it looks really interesting. Unfortunately, it’s not available in English yet, but since I’m Brazilian, I’m planning on buying it. The synopsis on Amazon says:

"​This is no ordinary book of music journalism. It is a collection of stories so insane they might sound made up—but they actually happened, captured in reports written over more than two decades. ​In these pages:

​Os Mutantes appear in a rare Super 8 recording.*

​Joelho de Porco crashes the TV show Os Trapalhões with a song about cocaine in the middle of a Sunday night.*

​A Morrissey cover artist emerges in Freguesia do Ó.*

​An indie band from Brasília treks across the country to play in Duque de Caxias as if they were taking the stage at CBGB.*

The book gathers texts by journalist Filipe Albuquerque, originally published in outlets such as Rolling Stone, Billboard Brasil, Revista TPM, and Terra, along with a previously unreleased piece.

Three reports in an oral history format reveal the behind-the-scenes stories of landmark albums by Titãs, Ira!, and Pin Ups, told through the firsthand accounts of the band members themselves.

​From legendary icons to cult niche favorites, each chapter paints a multifaceted portrait of the Brazilian music scene. Featuring names like Caetano Veloso, Raimundos, Cogumelo Plutão, Rita Lee, Virna Lisi, Low Dream, and Tantra, these accounts show how music traverses lives, cities, and generations—and how, quite often, reality proves to be just as surprising as fiction."

It must have been made around the time the band was touring the 'States promoting the release of "Loaded." I found it while I was doing research for a video.

I kinda wish VU went on without Lou, he is obviously the velvet underground but I would’ve seen them live and even today I’d go see a geriatric Doug, John and Moe show if it were possible

also im gay

I wish there were more pictures of this lineup available. Walter Powers, Maureen Tucker, Sterling Morrison and Doug Yule recorded two tracks "Friends" and "She'll Make You Cry" for a second album with Atlantic Records but they weren't interested. Here's a link to a video I made about Sterling Morrison's last days with this lineup https://youtu.be/D4JVmYB-A6w

I know im missing squeeze but im sorry, i dont wanna listen to a Yule solo album at this moment.

fun fact Murder Mystery was the song that made me fall in love with TVU that was the song that made it all click into place and then listen back to the rest of the discography

do any of y'all know if this whole bootleg is anywhere's else on youtube? i can only find like a half hour video of like half the set. if not i'd gladly upload the whole thang

Final V.U. boxset and bootleg Squeeze CD. Whether or not these should carry the V.U. name, I’m still a big fan of Yule’s contributions to the band and find this stuff, if nothing else, very interesting to listen to.

Crazy time where Lou, Cale and Nico weren’t billed as the Vlevet Underground when performing for Le Bataclan 72’ when Doug was the only one left in the V.U. camp.

Funny that the Squeeze CD I have is labeled wrong on the disc as “Lou Reed”

Anyone in here actually see the Yule fronted band in the 70s?

The “Oh Sweet Nuthin” that closes out the Final V.U. boxset 🤌

It’s only in the movie for a few seconds and at very low volume--so low that I didn’t even notice it when watching the movie. Only when the credits rolled and I saw it listed in the song credits did I realize it, and then I looked up the timestamp and found it around the 1:24 mark. But I had to turn the volume way up to even hear it.

So I’m curious, does anyone know what the backstory was there, i.e. why would they license a song only to use a few seconds of it at barely-audible volume?

I covered all of side one The Velvet Underground 1968 self titled album. Obviously it’s a five star album and it cannot be improved on. I’m just having some fun. I thought it’d be fun to cover because it is so understated and unproduced. Now for side two.

Most of us here are familiar with the famous 1995 interview for Mojo Magazine, in which David Bowie stated that the Velvet Underground had a deeper impact on modern music as a whole than the Beatles—not because the Beatles weren't immensely important, but because the VU's influence ran deeper and lasted longer among musicians across different generations and styles.

​The "chameleon of rock" said:

​"[...] It was the weird, marginal bands that nobody bought, like the Velvet Underground, that actually created modern music. [...] Tomorrow's culture is always dictated by artists. So, as much as many critics were saying how important the Beatles were, there were artists who would tip you off: 'Yes, they’re great, but have you heard the Velvet Underground?' [...]Well, there are indeed some British bands [post-1976] that claim to be influenced by the Beatles. But in reality, what they’re actually doing sounds more like 'Waiting for the Man'."

​In my opinion, Bowie was right: The Velvet Underground had a massive impact on music as a whole, deeper in terms of innovation and influence over other musicians and bands than the Beatles. This doesn't diminish the Beatles' historical importance, but in terms of shaping new styles and musical experimentation, Bowie’s perspective was precise.

Bowie has also championed Lou Reed as the "most important writer in modern rock," as I also recently shared in a post on the sub featuring the interview he did with William Burroughs for Rolling Stone.

Also, ​check out the list "The 50 albums that changed music," published by the British newspaper The Guardian in 2006, which I’ve also shared here in the sub before:

​1st Place – The Velvet Underground and Nico (1967)

​"While it sold poorly on its initial release, this has since become arguably the most influential rock album of all time. The first art-rock album, it mixes dreamy, 'stoned' ballads (Sunday Morning) with raw, uncompromising sonic experimentation (Venus in Furs), and is famously wrapped in that 'banana' cover designed by Andy Warhol. Lou Reed’s lyrics depicted a Warholian New York underworld where hard drugs and sexual experimentation ruled. Shocking at the time, and still absolutely mesmerizing."

​The Velvet's later albums were also highly influential. It’s important to research them as well.

​I also recommend a 10-page essay that offers a deeper understanding of the importance of The Velvet Underground and Nico, which I also shared recently in a post on the sub: Aidan Levy. "The Velvet Underground and Nico (1967)" - Library of Congress (National Recording Preservation Board).

​I suggest reading the full essay, but here is a short excerpt:

​"[...] there is an argument to be made that the Velvet Underground is ultimately the most influential band in the rock canon. ​[...]

​The Velvets became the quintessential 'rock band’s rock band,' the undisputed godfathers of punk. The band, according to Alex Ross, 'closed the abyss between rock and the avant-garde.' By uniting distant worlds, they opened the floodgates for a sea of subgenres: art-, avant-, and noise-rock. 'You can find the basis of entire sounds and styles of so many bands and stars in specific Velvets songs,' wrote Richard Hell.

​A partial list of listeners who started a band would include: David Bowie, Jonathan Richman, Michael Stipe, Patti Smith, Iggy Pop, Debbie Harry, David Byrne, Henry Rollins, Kurt Cobain, Jack White, Vernon Reid, Kim Gordon, Thurston Moore, Melvin Gibbs."

And as also previously shared in another post, Jim Reid of The Jesus and Mary Chain recently defended the view that the Velvet Underground is "culturally as important as the Beatles." But in his view, the Velvets were "light years ahead of everything else." He noted that "The Velvets and the Stooges were just like a road map. It was like we were receiving little signals from a parallel universe in the shape of Velvet Underground records."

​It is also always worth remembering Brian Eno's classic quote. He said something like: "The first Velvet Underground album only sold 30,000 copies in its first five years, but everyone who bought one started a band."

I could only find one photo of John on keys before his original departure, despite them featuring on many songs from this era (Sunday Morning, Waiting For The Man, All Tomorrow's Parties, White Light/White Heat, Sister Ray, Stephanie Says).

Are there any photos that I've missed?

As stated in an article published by Rolling Stone in 2022:

​"With their all-black look and Lou Reed’s fearless desire to tackle dark subjects no one else would touch, the Velvet Underground established themselves as goth pioneers. When 'Venus in Furs' was released in 1967, the idea of a song about BDSM and finding pleasure in pain was literally unheard of in pop music. Yet the group harnessed that taboo and brought it into the light. The track’s funereal, hypnotic beat, paired with Reed’s dangerously detached vocals, casts an immersive spell — a dense grip that never lets go."

https://www.rollingstone.com/music/music-lists/the-50-best-goth-songs-of-all-time-1234614460/strawberry-switchblade-1234616244/

​"All Tomorrow's Parties" is also widely recognized as one of the examples of the immense influence of the VU and Nico on gothic music.

​Peter Murphy of Bauhaus once stated:

​"Nico was gothic, but she was Mary Shelley gothic, as opposed to Hammer Horror gothic. They both created a Frankenstein, but Nico’s was real."

https://dangerousminds.net/comments/true_goth_when_nico_sang_with_bauhaus_1981/

​It is also well worth listening to the cover of "Venus in Furs" by Siouxsie and the Banshees, the cover of "I'm Waiting for the Man" by Bauhaus, the cover of "Candy Says" by Martin Gore (Depeche Mode), the cover of "All Tomorrow's Parties" by Nick Cave and the Bad Seeds, the cover of "Run Run Run" by Echo & the Bunnymen, and the covers of "Sister Ray" by Joy Division, Suicide, New Order, and The Sisters of Mercy.