The Velvet Underground is the self-titled third studio album by American rock band the Velvet Underground. Released in March 1969, it was their first record with Doug Yule, who was a replacement for John Cale. Recorded in 1968 at TTG Studios in Hollywood, California, the album's sound-consisting largely of ballads and straightforward rock songs-marked a notable shift in style from the band's previous recordings.
The Velvet Underground. UMG; EMI Music Publishing, LatinAutor, CMRRA, UBEM, LatinAutor - SonyATV, SOLAR Music Rights Management" и другие авторские общества (7). Композиция. What Goes On. Исполнитель. The Velvet Underground. Авторы текста и музыки. Palermo Shooting OST. UMG (от лица компании "City Slang"); CMRRA, UBEM, SOLAR Music Rights Management, LatinAutor, EMI Music Publishing, LatinAutor - SonyATV" и другие авторские общества (5).
In Nov & Dec 1969, The Velvet Underground set up shop in San Francisco, performing a series of 18 nights.
Squeeze (The Velvet Underground album). Squeeze is the fifth and final studio album released by The Velvet Underground. It features no members of the Lou Reed-era group other than t Doug Yule, who wrote and recorded the album almost entirely by himself.
Upon first release, the Velvet Underground's self-titled third album must have surprised their fans nearly as much as their first two albums shocked the few mainstream music fans who heard them. After testing the limits of how musically and thematically challenging rock could be on Velvet Underground & Nico and White Light/White Heat, this 1969 release sounded spare, quiet, and contemplative, as if the previous albums documented some manic, speed-fueled party and this was the subdued morning after.
The Velvet Underground was the first album released on Verve’s parent company, MGM Records. After the mild success of White Light/White Heat, the band was promoted to MGM proper and signed a two-album contract with the label. TVU had a far mellower folk-rock sound than their previous albums, a direct result of Lou Reed’s desire to make the band sound more y. Unfortunately, this effort failed.
Rather, it’s a complete portrait of a period when the Velvets’ populist ambitions were being matched by their exceedingly prolific output, and the notion of what we now consider to be the archetypal Lou Reed song-be it a tough, streetwise rocker or tender, empathetic ballad-was being more clearly defined