Showing posts with label velvet underground. Show all posts
Showing posts with label velvet underground. Show all posts
Saturday, July 2, 2016
Monday, January 4, 2016
The Velvet Underground - Sister Ray (MONO, Best Sound) + lyrics
The Velvet Underground - Sister Ray
(MONO, Best Sound)
Doug and Sally inside
They cookin' for the Down Pipe
Who's staring at Miss Rayon
Who's busy licking off her Pig Pen
I'm searching for my mainline
I said I couldn't hit it sideways
I said I couldn't hit it sideways
Aw just like Sister Ray said
Whip it on.
Rosie and Miss Rayon
They're busy waiting for her booster
Who just got back from Carolina
She said she didn't like the weather
They're busy waiting for her sailor
Who's big and dressed in pink and leather
He's just here from Alabama
He wants to know a way to earn a dollar
I'm searching for my mainer
I said I couldn't hit it sideways
I couldn't hit it sideways
Aw just like Sister Ray said
Lay it on him.
Cecil's got his new piece
He cocks it shoots it between three and four
He aims it at the sailor
Shoots him down dead on the floor
Oh you shouldn't do that
Don't you know you'll stain the carpet
Now don't you know you'll stain the carpet
And by the way have you got a dollar
On no man I haven't got the time-time
To busy sucking on a ding-dong
She's busy sucking on my ding-dong
Oh she does just like Sister Ray said
I'm searching for my mainline
I said c-c-c-couldn't hit it sideways
I said c-c-c-c-c-c-couldn't hit it sideways
Ah do it do it just su-su-su-suck
That's ju-ju-just excellente
Oh!
Now who is that knocking
Who's knocking at my chamber door
Now could it be the police
They come and take me for a ride-ride
Oh but I haven't got the time-time
Hey hey hey she's busy sucking on my ding-dong
She's busy sucking on my ding-dong
Aw now do it just like Sister Ray said
I'm searching for my mainline
I couldn't hit it sideways
I couldn't hit it sideways
Oh now just like
Oh just like
Ah just like
Ah just like
Oh just like
Oh just like.
Doug and Sally inside
Now move it along
Cookin' for the Down Pipe
Who's staring at Miss Rayon
Do it do it do it do it do it do it
Who's licking off Pig Pen
I'm s-s-s-searching for my mainline
I couldn't hit is sideways
I couldn't hit it sideways
Just like
Oh just like
Do it do it do it
Just like
Just like
Just like.
Now Rosie and Miss Rayon
They busy waiting for her booster
She's just back from Carolina
She said she's bound to beat a sailor
I said she haven't got the time-time
You're busy sucking on my ding-dong
You busy sucking on my ding-dong
Now just like Sister Ray said
I'm searching for my mainline
I said I couldn't hit it sideways
Whip it on me Jim
Whip it on me Jim
Whip it on me Jim
Whip it on me Jim
Said I couldn't hit it sideways
Oh do it now just like
Just like Sister Ray said.
I said now Cecil's got his new piece
He cocks it shoots it bang between three and four
He aims it at the sailor
He shoots him down dead on the floor
Oh you shouldn't do that
Don't you know you'll hit the carpet
Don't you know you'll mess the carpet.
Oh she hasn't got the time-time
Busy sucking on his ding-dong
She's busy sucking on his ding-dong
Now just like Sister Ray said
I'm searching for my mainline
Couldn't hit it sideways
Couldn't hit it sideways
And just like
And just like
And just like
S-Sister Ray said
Now do it to him.
Doug and Sally inside
They're busy cooking for the Down Pipe
Who's staring at Miss Rayon
Busy licking off her Pig Pen
I'm busy searching for my mainline
I said I couldn't hit it sideways
I said I couldn't hit it sideways
Now just like
Now just like
I said ah-uh
Just like
Amph-ph-ph-ph-phetimine.
Monday, October 28, 2013
Wednesday, January 9, 2013
VU: 'Diddling' to 'Booker T.' to 'The Gift'
"The Gift", taken from the White Light White Heat album (not the original master, but the other one). Given the vocals and the instrumentals are completely separate from each other in either speaker, I took the instrumentals from the right speaker and isolated them, turning the sound Mono and stand-alone in both speakers. The instrumental by itself is called "The Booker T." The song itself was performed as an instrumental improvisation live, just months before the recording of the album.
WAV lossless quality. Using Goldwave, I reduced the instrumentals in the right speaker and then made the song into Mono-sound. The result is the song with John Cale's monologue pretty apparent in the mix, with the instrumentals serving as a back-drop underneath them.
EF: "The music for "The Gift" was developed from the "Booker T" jam the band did live."
JM: "The music from The Gift was stolen from Bo Diddley's Diddling. Lou even admitted it to Quine, Bo had two tunes called Diddling, this one is from Bo's A Lover..."
via Philip Todd, Eddie Flowers, Alan Blattberg, & James Marshall.
Sunday, April 15, 2012
Here's A Long Overdue Dose of Few, Good, Borrowed Images Just For You
It's been a long, long time since we threw a batch of these your way & here is a "special" batch of images that the source, the subject, the credits are lost or misplaced. Hell, I gotta clear 'em out sometime... So, here we go...
Saturday, November 6, 2010
ubuweb [MP3s] Psychedelic drone music from early Velvet Underground member Angus MacLise (rec. 1968-1972)
Amplify’d from www.ubu.com
Angus MacLise (1938-1979)
Invasion of Thunderbolt Pagoda (1968)
1.
Invasion of Thunderbolt Pagoda
2.
Shortwave India
3.
Heavenly Blue Pt. 4-5
4.
Blastitude
5.
Humming in the Night Skull
Brain Damage in Oklahoma City (rec. 1968-1972)
1.
Another Druid's Nest
2.
Haight Riot Mind
3.
Epiphany
4.
Loft College
5.
Drum Solo
6.
Dreamweapon Benefit for Oklahoma City Police Dept. Pt.1
7.
Dreamweapon Benefit for Oklahoma City Police Dept. Pt.2
8.
Cembalum
From Aspen No. 9
1.The Joyous Lake (6:34)
Elsen Standlee, Flute; Raja Samyana, Drums; Angus MacLise, Drums; Ziska, Voice; Hetty MacLise, Organ
Read more at www.ubu.com
UbuWeb Sound | UbuWeb
PennSound | GreyLodge | Artmob | EPC | WFMU
See this Amp at http://amplify.com/u/eoln
Sunday, October 24, 2010
BLOG TO COMM: MOE TUCKER, VELVET UNDERGROUND DRUMMER, STUNS FANS WITH TEA PARTY SUPPORT!
http://black2com.blogspot.com/2010/10/another-ramble-on-from-rambling-mind.html
You hated the fanzine, now hate the blog! Another ramble-on from a rambling mind. Writ too many of those these past few months and you might be sick as all heck about 'em, but I gotta admit that there's nothing really that crucial goin' on here that warrants a big blow-out filled with dozens of pant-inducing writeups of recently obtained goodies so in its stead I'll just bore you with some of my patented prattling regarding the other aspects of what we here at BTC central call "life". Who knows, maybe I'll even slip in a review at the tail end just to "legitimize" this entry. You can tell I'm in one of my crankier moods right now, perhaps brought on by the onset of autumn amongst other sundry things you'd be better off not knowing about lest you delve into the same state of funk that I'm currently wallowing in... Saturday, October 23, 2010
MOE TUCKER, VELVET UNDERGROUND DRUMMER, STUNS FANS WITH TEA PARTY SUPPORT! That's what THE HUFFINGTON POST stated, though if you'd
really care to know I must admit that this is one fan who is not in the least surprised. After all, Tucker seemed like the straightest member of the Velvets and the yang to Lou Reed's walking zombie of animal instinct yin so come to think of it, wouldn't she be the most likely ex-member of the Velvet Underground to be a Tea Party supporter in her own homespun grandmotherly way?
Of course the entire Huffington Post article is like a huge festering pimple waiting to be squeezed in the way it radiates its message of "how can such a scion of the New Kultur even consider teaming up with such uncouth rednecks anyway?", the argument that always comes about when a rock & roll icon, mainstream or otherwise, somehow rocks the boat with an opine ever-so-slightly contrary to the hotcha mode being laid down by the New Gods on Mount Olympus, or The Huffington Post for that matter. We heard it before thirty years back with Neil Young's and Johnny Ramone's Reagan endorsements which might make a few people totally absorbed in their own cocoons sit up and take notice, but frankly much of this entertainer editorializing whether it be from a rocker (favorite or not) or a comedian who thinks he has the power to make people think with his scathing putdowns of mid-Ameriga makes this observer merely yawn. As for the people who do hang onto their music idols' political pronouncements as if they were being made by seasoned veterans, well, I do wonder how these same people would react after discovering that John Cale's politics are closer to that of Robert Welch's than say, Lou Reed's f'rexample.
Maybe it all boils down to a fervent "so what!" Not that there's anything really wrong with living vicariously through your favorite entertainer's political visions; I should know and hey, it's not like I haven't championed more'n a few people whose politix seem to settle comfy-like with mine (and taken more than a little "heat" about it from people whom I thought were in my camp)...but letting them overcome you to the point where you feel as if you're fighting the good fight side by side with your longtime faves in the trench of your choice is just a little too much fantasizin' on your part. I may think Edgar Breau and Mick Farren to be fantastic rock & roll avengers and maybe I tend to lean a little bit more towards the Breau end of the political spectrum than Farren's, but that ain't gonna get in the way of my appreciating Farren either as a wordsmith or as a vocalist who I'm sure is a nice down-to-earth guy to all who know him. And if you hate the Tea Party so much that you're willing to trash all of your Maureen Tucker albums well maybe you should think of givin' 'em all to me instead. Really, Tucker, or any other musical favorite of mine, would have to do or say something extremely beyond the pale and over the limit before I would even think of dismissing her and her life work, not that she couldn't do just that (but I hope and pray not!).
Not that I'm going out whole hog to endorse this Tea Party movement which sure looked swell when Ron Paul had more or less created it but has since fallen into the hands of a whole buncha republican party wonk wagon jumpers turning it into quite a different beast. (Really, how much derision and ire do you think I would incur if I attended one of the local Tea Party rallies [which I understand were little more than {"ugh!"} prayer services] wearing a Murray Rothbard or Karl Hess t-shirt, that is if the organizers and participants even know who the two were! Plenty I'd say...don't ruin a good pump the rubes with any real clarion calls to freedom, eh?) But to pick on Tucker the way many of the commentators (for what that's worth) have as if she's some above-it-all rich rockstar with no concern for the so-called "little man" is rather irritating to this tortured soul. For the sake of argument Tucker "may" be a little misguided with regards to believing what the Tea Party candidates would do for us, but her concerns seem quite honest and real (and have been throughout both democratic and republican administrations) and hearing her being berated by a band of small-minded hippoids who see Nazis behind every Tea Party gathering is enough to make the blood boil. Her definitely down-to-earth forthrightness and everyworkaday honesty makes me glad that I gave a whole lot of my all to her and her bandmates at a time when I usedta get berated for doing so. Gives me another reason to wake up and look in the mirror, and not much can make me do just that these days y'know?
PS-You might note that I didn't mention the passing of Ari Up with the rest of the recently departed. That's because that I think her deep-sixing had been more than amply covered online 'n for me to add my own two centavos, which wouldn't amount to much anyway considering that I ain't really heard as much Slitscapading as you have. Maybe considering that you expect me to butt into things maybe I shouldn't butt into I should say something about her passing. After all, those early recordings were (at least for me) some of the better musings to pop outta the late-seventies English punk-via-punque scene along with the raves of Wire, the Subway Sect and the Pop Group to name three of the more interesting examples. To the dismay of some of you Slit-haters, I gotta say that the early Slits worked (and continues to work) for me probably for the wrong reasons, because they were creating a pure beyond-the-fringe music thanks to their fortunately limited musical vocab, and for that they might have beenthee avant punk saviors of the day roughly akin to all of those late-seventies noisegaugers who were attempting to update 1967 Velvetisms into late-seventies miasma. Well, you wanted to know, didn't you?...
Posted by Christopher
Sunday, April 18, 2010
Richie Unterberger: THE 12 STRANGEST VELVET UNDERGROUND CONCERTS EVER GIVEN
via: @karateboogaloo
http://www.richieunterberger.com/vucon.html
THE TWELVE STRANGEST VELVET UNDERGROUND CONCERTS EVER GIVENThe Velvet Underground not only sounded like no other band—they gave concerts like no other band, or at the very least in settings rarely used by other groups. Much of this, of course, had to do with their affiliation from early 1966 through mid-1967 with the Exploding Plastic Inevitable, a multimedia environment the likes of which few if any other acts used. Even before and after their association with Andy Warhol, however, they did some gigs that were downright peculiar. Here are a few, all of which are discussed in greater detail in White Light/White Heat: The Velvet Underground Day-By-Day:1. Summit High School Auditorium, Summit, New Jersey, December 11, 1965: Commonly regarded as their first concert with Maureen Tucker on drums; possibly the first concert at which they were actually billed as the Velvet Underground; and probably the first at which they were actually paid, instigating the resignation of original drummer Angus MacLise, who didn't want to stand for anything as commercial as showing up at a scheduled time and accepting money for the performance. Supporting the Myddle Class (who feature future Carole King husband/collaborator Charles Larkey on bass and future Steely Dan singer Dave Palmer), they played three songs—"There She Goes Again," "Venus in Furs," and "Heroin"—to an almost wholly uncomprehending and unappreciative audience of adolescents. "The band just emptied that auditorium," says Sterling Morrison's wife, Martha. 2. Café Bizarre, Greenwich Village, mid-to-late December 1965: The VU played about two weeks in this beatnik club-cum-tourist trap in front of largely uninterested, and occasionally hostile, customers. The stage was so small that Maureen Tucker couldn't even set up her drums, instead getting relegated to tambourine. Told they'd be fired if they played the room-clearing "The Black Angel's Death Song" even one more time, the Velvets proceeded to lead off their very next set with it. They got fired for their mischievousness, but not before meeting and impressing Andy Warhol in the audience, leading to a management deal with him and Paul Morrissey.3. Delmonico's Hotel, New York, Annual Dinner of the New York Society for Clinical Psychiatry, January 13, 1966: The VU wreaked havoc at their first gig after hooking up with Warhol, playing "Heroin" with a film of a torture scene with a man tied to a chair. In front of the movie danced a real, whip-wielding guy, Gerard Malanga. The group's friend Barbara Rubin filmed the psychiatrists, at the same time confronting the 350-strong audience with embarrassing questions about their personal sexual behavior. "It was ridiculous, outrageous, painful," said Dr. Harry Weinstock in the New York Times. 'Everything that's new doesn't necessarily have meaning. It seemed like a whole prison ward had escaped.' "You want to do something for mental health?" asked another psychiatrist. "Kill the story."4. Playboy Club, Chicago, late June-early July 1966: In Up-Tight: The Velvet Underground Story, Sterling Morrison remembers playing a noontime show at the Playboy Club in Chicago during their two-week residency at Poor Richard's at the beginning of summer 1966, with clothing "given to us by a mod shop in [the] Old Town [neighborhood]." As with many Velvets anecdotes that seem to be ludicrously improbable, Morrison's memory turns out to be dead accurate. It's verified by a photo of the event in the fall 1966 issue of Playboy's VIP magazine showing Morrison, John Cale, and Gerard Malanga onstage performing for several dancers, costumed Playboy bunnies prominently among them. The picture's captioned as follows: "A recent fashion show-happening at the Windy City, sponsored by Mod shop Man At Ease, featured the nouvelle vogue entertainment troupe, 'The Velvet Underground,' touting the most modern in way-out wearables." In the audience was Hetty MacLise, future wife of original VU drummer Angus MacLise, who'd recently met Angus and seen some of his performances with the band (which he'd temporarily rejoined in the absence of an ill Lou Reed) in Chicago.5. Michigan State Fair Coliseum, Detroit, November 20, 1966: As part of "the world's first mod wedding happening," the Velvet Underground, according to a piece that runs in the local underground paper The Fifth Estatejust prior to the shows, "play the traditional wedding songs which will be sung by Nico. Superstar Gerard Malanga will then dance as the Velvet Underground improvises a 'happening' comprised of instrumental sound effects and psychedelic music." The article also indicates that at least part of the event might have been captured on celluloid, as Warhol "will bring his movie camera to Detroit to film the wedding. The newlywed mod couple will also receive a screen test for Underground Movies from Warhol during their honeymoon trip to New York City." Warhol himself gives away the bride, after which he
sits on a box of tomato soup autographing cans.6. Philip Johnson's Glass House, New Canaan, Connecticut, June 3, 1967: An evening outdoors benefit concert for choreographer Merce Cunningham at the glass house of architect Philip Johnson. Also on the bill was John Cage, performing his music with viola, gong, radio, and a slamming door, as well as the windshield wipers and engines of three cars. "For $75 a ticket, guests will see an hour-long performance by the dance company and hear the premiere of a score by John Cage, electronic composer," promised the Bridgeport Post a few weeks before the event. "Guests may tour Mr. Johnson's glass house on Ponus Ridge, the lake pavilion and underground museum of contemporary painting and sculpture. Dinner will be served and guests will help themselves to wine from barrels scattered in the gardens. Fireworks and outdoor dancing also will be part of the program." Women's Wear Daily even ran a short article on New York Republican Senator Jacob Javits. Vogue does a similar spread, one of the photos showing well-heeled guests on a raised outdoor platform dancing "to the frantic sounds of the Velvet Underground."7. Lincoln Center, New York, November 13, 1967: A fundraising benefit for public television station Channel 13 (WNET) at Lincoln Center in Manhattan, and one of their only three known gigs (all low-profile) in New York between spring 1967 and summer 1970. Billed, even at this late date, as "Andy Warhol's Velvet Underground," they shared the bill with "music by Alan Logan and his Orchestra" and "The Multi-Media Constructed Worlds of Stan Vanderbeek's Sound and film projections." The program also printed a menu listing "Relish Bowl, Blanquette de Veau a l'Ancienne Rice Pilaff, Glazed Baby Carrots with Chives, Cucumber & Cherry Tomato Salad with Dill, Fresh Fruit Bowl, Assorted Cheese Tray with Biscuits, Petits Fours, Demi Tasse, Champagne, [and] Cognac" as the evening's refreshments. Women's Wear Daily confirmed the next day that "tables were set up around the dance floor but when Andy Warhol's Velvet Underground rock group started tuning up, the guests chickened out, and a more sedate band took the stand."8. Beverly Hills High School, Late October-November 1968: Believe it or not, the Velvet Underground did play at this most famed and ritzy of American high schools sometime in the fall of 1968, probably while recording their third album and playing a few gigs in Los Angeles. Though exact date hasn't been pinned down, we have proof it takes place, the damning evidence being a photo in the Beverly Hills High School 1968-69 yearbook of the band sitting amiably onstage with what look like various school officials and students. The quartet's haircuts and wardrobe make it virtually certain that this must have taken place in the fall of 1968, so similar are they to promo pictures of the group taken during this time. The Velvets seem unlikely candidates to play for teenagers at one of the most affluent public high schools in the United States, but apparently it wasn't not wholly atypical of the programs staged in the building's auditorium. That same year saw famous novelist James Baldwin and Malcolm X's cousin Hakim Jamal, one-time president of the Malcolm X Organization of Afro-American Unity Inc., speak to students at the same facility. A few years later, the house band of Father Yod's hippie cult The Source Family gave a concert on the institution's outdoor grounds. More conventionally, pop-rock hitmakers Three Dog Night and early country-rock pioneers Poco (then called Pogo) also played at the high school during this semester. "I don't remember that at all," admitted an incredulous Doug Yule when shown the yearbook pictures. "That makes me think maybe I was abducted by aliens or something!"9. The Boston Tea Party, Boston, December 14, 1968: The MC5 opened for the Velvets, accompanied, as Rob Norris later writes in Kicks, "by a whole troupe of leather-clad White Panther crazies and a raving MC who after their dynamite set exhorted the audience to tear down the hall because it was not large enough to hold their energies and to take to the streets. When the Velvets came on, Lou spoke first to everyone present, saying, 'I'd just like to make one thing clear. We have nothing to do with what went on earlier and in fact we consider it very stupid. This is our favorite place to play in the whole country and we would hate to see anyone even try to destroy it!' The Detroit contingent was stunned by this remark and the thunderous applause that followed it. The Velvets played especially well that night..."10. The Kinetic Playground, Chicago, April 25-27, 1969: For the second and last time, the Velvet Underground shared a bill, unbelievably, with their ultimate antithesis in attitude, the Grateful Dead. According to Doug Yule's recollection in the fall/winter 1994 edition of the fanzine The Velvet Underground, "That show the Dead opened for us, we opened for them the next night so that no one could say they were the openers. As you know, the Grateful Dead play very long sets and they were supposed to only play for an hour. We were up in the dressing room and they're playing for an hour and a half and, hour and 45 minutes. So the next day when we were opening for them, Lou says, 'Huh, watch this.' And we proceeded to play a very long set. We did 'Sister Ray' for like an hour and then a whole other show." But for all the differences between the Velvets and the Dead, they do share one thing in common: sheer volume. "There was a guy standing over by the sound mixing board, and somebody said, 'that's [Grateful Dead soundman] Owsley,'" remembers Milwaukee radio DJ Bob Reitman. "I walked over to him and said, 'Are you Owsley?' He turned to me to answer, and the whole sound system just—and it probably was him—it's like somebody turned the whole thing up so loud that we couldn't hear each other. We just looked at each other and shrugged."11. Hilltop Pop Festival, Rindge, New Hampshire, August 2, 1969: The Velvet Underground headlined an actual rock festival the same month as Woodstock—albeit a much smaller one, the only other famous performer on the bill being Van Morrison. Admission to the event was $3, all the artists performing for free, as it was a benefit to—of all things—buy the town of Mason, New Hampshire a new fire engine.Honorable mention: Though these take place in early 1971 after Lou Reed leaves the band, somehow the band still billed as the Velvet Underground—with Doug Yule, Sterling Morrison, and Moe Tucker still aboard—ended up playing New England ski lodges. At least they got free passes for the ski lifts, according to Sterling Morrison's account in his 1986 interview with Ignacio Julia. "I was kind of aghast that [manager Steve Sesnick] had them playing ski lodges, but it was really fun, and of course it was beautiful," adds his wife Martha. "We all learned to ski." 
contents copyright Richie Unterberger , 2000-2010 unless otherwise specified. HOME WHAT'S NEW MUSIC BOOKS MUSIC REVIEWS TRAVEL BOOKS
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