Podcast appearances and mentions of maureen tucker

Label: Sundazed 201Year: 2009Condition: MPrice: $75.00Here's a beautiful, limited-edition box set honoring New York's legendary Velvet Underground. This new, sealed set includes all of the group's very rare 7" vinyl output in their original mono versions, featuring exact reproductions of the labels and, in two cases, with their original picture sleeves. The box set includes rare vintage photos and new liner notes by Rolling Stone's David Fricke. The Velvet Underground whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, "Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles, the original seven-inch masterpieces inside this box." Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7" single format. "The Velvet Underground were a great singles band," David Fricke notes, adding that the Velvets "invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songs�compact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes." The seven singles included in The Velvet Underground Singles 1966�69 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single "All Tomorrow's Parties" appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single "Sunday Morning" emphasizes the song's haunting quality. Meanwhile, the mono single version of "White Light/White Heat" exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of "What Goes On" accentuates that song's inherent pop jangle. Here is a listing of the included singles: All Tomorrow's Parties / I'll Be Your Mirror—Verve VK-10427 Sunday Morning / Femme Fatale—Verve VK-10466 White Light/White Heat / Here She Comes Now—Verve VK-10560 White Light/White Heat / I Heard Her Call My Name—Cancelled single Temptation Inside Your Heart / Stephanie Says—Cancelled single What Goes On / Jesus—MGM K-14057 VU Radio Spot / VU Radio Spot—MGM VU-1

En este episodio conversamos sobre “White Light/White Heat”, el segundo álbum de The Velvet Underground, lanzado el año 1968.

En este episodio de El Álbum Esencial conversamos sobre “Loaded”, el cuarto álbum de The Velvet Underground, lanzado el año 1970.

Todd Haynes tells the story of this influential New York rock band in the cinematic style of the man who discovered them: Andy Warhol. I'm always interested when a film about a favorite rock band comes out. The Velvet Underground, a documentary about the group that enjoyed brief but unprofitable fame in the 1960s, has the added advantage of coming from a favorite director, Todd Haynes. And, I was not disappointed. The story begins with two musical artists toiling in relative obscurity. Lou Reed, a Jewish kid from Long Island who played in a doo-wop band in high school, and wrote songs while at college in Syracuse, had started taking drugs in his teens. He'd been in a psych hospital at one point, and his songs reflected dark themes of alienation, addiction, and bisexuality. Then there was John Cale, a young composer and multi-instrumentalist from Wales, who traveled to New York City to be part of the downtown music scene, and met Reed when the latter was working as a songwriter for a recording company. Cale's experimental style mixed well with Reed's dark songwriting. They added Reed's college friend Sterling Morrison on guitar, and Maureen Tucker, the sister of another Syracuse friend, on drums, and called themselves The Velvet Underground. They were playing in a bar when someone who knew Andy Warhol saw them. Warhol came himself to listen, and put some of his cultural weight in to give them more attention. Later, when a beautiful singer and model from Germany with the stage name “Nico” showed up at Warhol's art factory, he persuaded the Velvet Underground to make her a part of the group. They recorded an album on Verve Records, with Warhol's painting of a banana on the cover, and then Warhol had them tour with a light show in 1966 and '67, these shows becoming legendary as the “Exploding Plastic Inevitable.” This was the beginning. The film covers the entire eight years of their career. There are excerpts from interviews, including some from group members who are now deceased, and those accompany a lot of historical footage of the group. And all this is quite standard for a documentary, but Haynes presents the film in a style that simulates the New York avant-garde cinema of the 60s, and especially that of Andy Warhol. Haynes uses lots of split screen, sometimes with footage in one section and interview material on the other, but often with more than two sections in the split, and a constant swirling visual effect, mixing painting, sound, photographs, and talk, which strongly evokes the period of the 1960s and early ‘70s, in which the story took place. We learn a lot about Warhol's methods and the people in his orbit. We learn about Nico walking away to do other things eventually. We learn how the chemistry between Reed and Cale went badleading to Cale's exit and Reed's refashioning of the group. And all this is conveyed by Haynes' uncompromisingly flamboyant style. Any movie about the group with this material would be good, but this wild aesthetic form adds immeasurably, I think, to the film's power. At the time, the Velvet Underground only had a cult following. In the era of peace, love, hippies, and pot, their songs about the underclass and urban angst, and harder drugs like heroin, were not a best-seller. But years later, after Reed had made a successful solo career, these early albums became enormously influential in rock music, and remain so to this day. Now we have the film The Velvet Underground, and it gives us a satisfying taste of what it was really like to be there.

Continuamos con nuestra semana dedicada a The Velvet Underground. Si estos días te hemos ofrecido en Muzikalia un especial en el que repasábamos sus mejores canciones, hoy regresamos a ellas, pero en las voces de otros artistas. Hace poco se ha editado el disco tributo I’ll Be Your Mirror: A Tribute to The Velvet Underground & Nico (Verve), nosotros viajaremos a las últimas cinco décadas para recuperar nuestras versiones favoritas. Durante la próxima hora y media os invitamos a celebrar la música del combo formado originalmente pr Lou Reed, John Cale, Sterling Morrison, Maureen Tucker y compañía. Dirige Manuel Pinazo

Our latest guest on Soundtracking has been on twice before, and returns for a third time to discuss his documentary about one of the most influential bands of all time. The Velvet Underground is Todd Hayne's idiosyncratic love letter to the visionary punk-rockers, featuring beautiful footage and contributions from founding members John Cale and Maureen Tucker, among others. It's available on Apple TV and selected cinemas, and is a treat whether you're a fan of the band or not. 

For my first program for Rocktober 2021, an audio primer for the very first documentary of one of the most important bands of the latter half of the 20th century, The Velvet Underground, directed by Portlander Todd Haynes and broadcasting on October 15th on Apple TV. The Velvet Underground are a band you have heard of, if not exactly heard. When you do hear them, it is usually in passing, or one of two tracks from the catalogue that are favorites of whomever is presenting them. Often, you hear about their their story in terms that have nothing to do with the music or their greatness: Andy Warhol, The 1960's, Avant Garde, banana peel, etc. The Velvet Underground, 1969: (l-r) Doug Yule, Lou Reed, Maureen Tucker and Sterling Morrison. Photographer unknown, courtesy of UMG. Originally calling themselves The Warlocks and The Falling Spikes (the latter a reference to using heroin intravenously), they adopted their now famous name after finding a book in the street by journalist Michael Leigh, which detailed the so-called deviant sexual behaviors of white suburbanites. They were a band that definitely broke the mold on many fronts, even with their line-ups: most of the members, like founder Lou Reed, were from or living in New York. Experimental musician John Cale and former model Nico were the exceptions, from Wales and Germany, respectively. Adding to this was that their "drummer" was a woman, Maureen Tucker; she played a partial kit, and did this standing up. "I wanted to write the great American novel, but I also liked Rock and Roll."Lou Reed The decade they formed in and released most of their material in, the 1960's, saw a seismic shift in demographics that would forever alter their musical style. Thanks to the growth of the suburbs and the Second Great Migration by Blacks, older eastern and Midwestern cities like Chicago and New York started to decay and fall apart, while places like California would flourish. If Brian Wilson of the Beach Boys invented the concept of California as being a magical paradise, then Lou Reed documented the fall of New York just as perfectly. John Cale, 1967, in New York City. Photographer unknown, courtesy of Getty Images. Their sometimes abrasive sound would make them truly fringe artists during their brief lifetime, which initially included just four studio albums (a fifth one called Squeeze in 1973 without Reed is discounted by all involved), and on a great many touring dates they were lucky if 20 people would show up to see them. Much of this was due to the subject matter of their songs, which, even for so-called "progressive" radio, was too much to handle: heroin, methamphetamines, drag queens, transsexuals, prostitutes, fellatio, orgies, etc. Radio refused to play them and only a handful of truly underground stations emerging on the FM dial would, and critics did not know what to make of them. Nico, 1967, in Monterrey, California. Photo by Elaine Mayes. All Music, founded in 1991 and the premier guide to all things music on the internet, ranks them at #5 among all artists in terms of influence. The joke, coined by Brian Eno, goes something like this: The Velvet Underground only sold 100 albums, but those 100 people went on to form bands of their own. These eleven songs were chosen as a representation of the sounds, subject matter and characters that made the Velvet Underground the premier 1960's New York bohemian icons they would indelibly become. First Part Rock & Roll (full-length version), 1970, Loaded ("Fully Loaded" version)Lady Godiva's Operation, 1968, White Light/White HeatI'm Waiting For The Man, 1967, The Velvet Underground and NicoStephanie Says, recorded 1968/released 1985, VUWhite Light/White Heat (live at the Matrix, San Francisco), recorded 1969/released 1974, 1969: The Velvet Underground Live Vol. 2 Second Part What Goes On, 1969, The Velvet UndergroundPale Blue Eyes, 1969, The Velvet UndergroundVenus In Furs, 1967,

Escuchamos a Viola Smith, Menphis Minnie, Sister Rosetta Tharpe, Barbara Mandrel, Elizabeth Cotten, Corki Casey, Velma Williams Smith, Peggy Jones, Carol Kaye, Maureen Tucker, Karen Carpenter, Ace of Cups, Carole King, Bonnie Raitt, Dolly Parton, Suzi Quatro, Kate Bush, Joan Jett & the Blackhearts, The Go-gos, The Bangles, Pretenders y The Centellas.

Actor, writer, photographer, musician, Charlotte, NC native Brian Huskey shares the profound impact The Velvet Undergound’s self-titled third album had on him. Deborah warns us to not first hear “The Murder Mystery” in the In-n-Out drive-thru while your infant daughter is in the back seat. Joel reveals how very very passionate his high school band was about not playing a particular song. They talk about primitive art, the art you make as an undergrad and how accidentally close it is to comedy. They gush about the super-cool, bold, arty, primitive drummer Maureen Tucker and how she’s such a revelation on this album and how she later surprisingly becomes a Tea Party supporter. “Nobody is just one thing” - Deborah Tarica. These particular songs are Wolf Parade’s “I’ll Believe In Anything” and “Sundown” by Gordon Lightfoot. Subscribe, Listen, Enjoy, Rate and Review!

By 1973 very little remained of the influential proto-punk group the Velvet Underground as their final studio album saw release. Long gone were founding members Lou Reed, John Cale, and Sterling Morrison, and backing members Maureen Tucker, Willie Alexander, and Walter Powers had been dismissed by the band's manager. That left only the hapless multi-instrumentalist Doug Yule (Who was originally brought in to replace John Cale's absence) to write and record the album which would bring their contract to a close entirely on his own.Said album was titled Squeeze, which was released to little fanfare, contained no singles, and was roundly rejected both commercially and critically for sounding nothing like a Velvet Underground record. To this day Squeeze is seen as a lone blemish on the legacy of a highly innovative and risky band, and made a pariah out of Doug Yule, whose worst crime was simply wanting to continue having a career in the music industry.On this episode of Jukebox Zeroes, Lilz & Patrick team up with Boston-based sound engineer and performer Joel Simches (Butterscott / Total Mass Retain / Count Zero) to dig into Squeeze, and decide for themselves whether its foul reputation is deserved.Local Music Feature: The Coward flowers - "Scarab Seam"

Every day it’s the same: You walk alone to school, sit alone at school, walk home alone from school. You are hated by all and most intensely by yourself. Then one day Alexandra appears. Alexandra moves into the house up the block and she walks to school alone every day too. At first Alexandra leaves her house well after you leave yours, silently trailing far behind you along the route to school but as the months wear on, Alexandra times her exit to coincide with your passing of her house. You start walking together and a wholly wholesome friendship grows. Love blossoms not long after. She calls you her secret boyfriend. You are happy as a clam. You're on top of the world. You gladly give her your soul and Alexandra laps it up hungrily. Then one day Maureen Tucker sees you and Alexandra together and she blabs it to EVERYONE and your secret affair is a secret no more and Alexandra's so embarrassed she tells her parents you raped her and you’ve been in juvy three years now and still haven’t made a friend in the whole stinking place, rejected even by the rejects now. Thank God for W3 Thr33 Tr0lls, they’re the only friends you need anyway you tell yourself as you slip the earbuds in and the tears slip down your face.

LE CELEBRI RIMEMBRANZE by STILE LIBERO..Nella seconda settimana del mese di Settembre di cinquanta anni fa (nel 1967) The Velvet Underground - ovvero Lou Reed, John Cale, Sterling Morrison e Maureen Tucker - registrarono le canzoni del loro secondo album, White Light/White Heat, prodotto da Tom Wilson...In occasione della sopra citata ricorrenza, questa notte andrà in onda la prima puntata di un 'rumoroso' viaggio nel tempo dedicato a "White Light/White Heat", ai Velvet Underground e a chi li ama (e sempre li amerà)...Oltre ad alcuni brani estrapolati da "White Light/White Heat" e al racconto della loro storia ci saranno pezzi di John Zorn, Anne-Mari Kivimäki ed Endless Boogie.

LE CELEBRI RIMEMBRANZE by STILE LIBERO..Nella seconda settimana del mese di Settembre di cinquanta anni fa (nel 1967) The Velvet Underground - ovvero Lou Reed, John Cale, Sterling Morrison e Maureen Tucker - registrarono le canzoni del loro secondo album, White Light/White Heat, prodotto da Tom Wilson...In occasione della sopra citata ricorrenza, questa notte andrà in onda la prima puntata di un 'rumoroso' viaggio nel tempo dedicato a "White Light/White Heat", ai Velvet Underground e a chi li ama (e sempre li amerà)...Oltre ad alcuni brani estrapolati da "White Light/White Heat" e al racconto della loro storia ci saranno pezzi di John Zorn, Anne-Mari Kivimäki ed Endless Boogie.

LE CELEBRI RIMEMBRANZE by STILE LIBERO..Nella seconda settimana del mese di Settembre di cinquanta anni fa (nel 1967) The Velvet Underground - ovvero Lou Reed, John Cale, Sterling Morrison e Maureen Tucker - registrarono le canzoni del loro secondo album, White Light/White Heat, prodotto da Tom Wilson...In occasione della sopra citata ricorrenza, questa notte andrà in onda la prima puntata di un 'rumoroso' viaggio nel tempo dedicato a "White Light/White Heat", ai Velvet Underground e a chi li ama (e sempre li amerà)...Oltre ad alcuni brani estrapolati da "White Light/White Heat" e al racconto della loro storia ci saranno pezzi di John Zorn, Anne-Mari Kivimäki ed Endless Boogie.

一个关于“地下丝绒”(The Velvet Undergruond)的老笑话：当年几乎没有多少人买乐队的第一张唱片，但这些买了唱片的人在后来都组建了他们自己的乐队。而真正的妙语是“每一位朋克、后朋克和先锋流行艺术家在过去的30年中都欠下了地下丝绒乐队一笔灵感的债务，哪怕只是受到了间接的影响。”在20世纪60年代末期乐队存在的日子里，他们经常被误解、经常被谩骂，但更多的是受到冷遇。不过，“地下丝绒”还是有争议地被认为是美国1965年之后最重要的摇滚乐队，它是70年代和80年代所有白人艺术噪音音乐的源泉，并且为摇滚创作中的暴戾的吉他弹奏以及带刺的现实主义的叙事歌词创作手法定下了一个普遍的标准。 你可以随意列出一大堆受其影响的著名人物的名字：David Bowie、Brian Eno、Patti Smith以及那些全部从CBGB俱乐部毕业的70年代的朋克乐手，还有The Cars、The Pretenders、Joy Division-New Order、U2、REM、Sonic Youth等等。但是“地下丝绒”传之于世的口碑不仅仅在于什么歌迷组成了什么乐队以及谁翻唱了多少的歌曲。1965年组成的“地下丝绒”正好处于“披头士热”和普遍使用迷幻剂的年代。最初的阵容是主唱兼吉他手Lou Reed(卢・里德)，贝司手、键盘手兼中提琴手John Cale(约翰・凯尔)，主音吉他手Sterling Morrison(斯特尔・莫里森)和鼓手Maureen Tucker(莫林・塔克)。他们用自己激进的原始尖叫和流行灵歌的黑色效果的混合物打开了通往摇滚乐各个发展方向的大门。在倡导探索精神的那个摇滚年代，“地下丝绒”坚持大胆、富于攻击性的极端手段，从自由爵士、经典的先锋艺术、浪漫主义的民谣以及最主要的商业R＆B之中脱离出来，找到了属于他们自身的领域。 作为乐队的创作者，Lou Reed毫无困难地使他锋芒毕露的才能在禁忌、高价的爱和城市人的心智等方面的题材上得以展现。凭着他的对摇滚歌曲的天赋以及John Cale的实验性才能，他们演绎了许多惊世骇俗的作品。

一个关于“地下丝绒”(The Velvet Undergruond)的老笑话：当年几乎没有多少人买乐队的第一张唱片，但这些买了唱片的人在后来都组建了他们自己的乐队。而真正的妙语是“每一位朋克、后朋克和先锋流行艺术家在过去的30年中都欠下了地下丝绒乐队一笔灵感的债务，哪怕只是受到了间接的影响。”在20世纪60年代末期乐队存在的日子里，他们经常被误解、经常被谩骂，但更多的是受到冷遇。不过，“地下丝绒”还是有争议地被认为是美国1965年之后最重要的摇滚乐队，它是70年代和80年代所有白人艺术噪音音乐的源泉，并且为摇滚创作中的暴戾的吉他弹奏以及带刺的现实主义的叙事歌词创作手法定下了一个普遍的标准。 你可以随意列出一大堆受其影响的著名人物的名字：David Bowie、Brian Eno、Patti Smith以及那些全部从CBGB俱乐部毕业的70年代的朋克乐手，还有The Cars、The Pretenders、Joy Division-New Order、U2、REM、Sonic Youth等等。但是“地下丝绒”传之于世的口碑不仅仅在于什么歌迷组成了什么乐队以及谁翻唱了多少的歌曲。1965年组成的“地下丝绒”正好处于“披头士热”和普遍使用迷幻剂的年代。最初的阵容是主唱兼吉他手Lou Reed(卢・里德)，贝司手、键盘手兼中提琴手John Cale(约翰・凯尔)，主音吉他手Sterling Morrison(斯特尔・莫里森)和鼓手Maureen Tucker(莫林・塔克)。他们用自己激进的原始尖叫和流行灵歌的黑色效果的混合物打开了通往摇滚乐各个发展方向的大门。在倡导探索精神的那个摇滚年代，“地下丝绒”坚持大胆、富于攻击性的极端手段，从自由爵士、经典的先锋艺术、浪漫主义的民谣以及最主要的商业R＆B之中脱离出来，找到了属于他们自身的领域。 作为乐队的创作者，Lou Reed毫无困难地使他锋芒毕露的才能在禁忌、高价的爱和城市人的心智等方面的题材上得以展现。凭着他的对摇滚歌曲的天赋以及John Cale的实验性才能，他们演绎了许多惊世骇俗的作品。

Hello! This week I just thought I'd play lots of new music that I've had on a lot lately, plus some OLD GEMS as well. New Charlotte Gainsbourg, new Feist, new Ty Segall (pictured), new Eleanor Friedberger, less new Black Lips, Purling Hiss, Yellow Ostrich, Lana Del Rey plus Maureen Tucker and Laurie Anderson. Remember when I wanted to make Sounds Ace t-shirts? :( That's all! I'll be back with a special at SOME POINT during the next two weeks. Feel free to submit ideas! Or whatever!  xo Esther C. Werdiger

When we swing, we hang past right and wrong. We are made out of glue on Week Eight on Kristorm-O-Rama.