THE VELVET UNDERGROUND & NICO SELF-TITLED LP on VERVE DEBUT GF NICE 1967
$
54
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Description
Here is a VERY GOOD PLUS! copy of the DEBUT! SELF-TITLED LP from THE VELVET UNDERGROND & NICO. It is an ORIGINAL US pressing on the VERVE label, catalog #V6/5008 in STEREO sound. This LP was originally released in 1967. The vinyl is in VERY GOOD PLUS! condition, shiny & black, with some non-sounding marks and should have decent playback. The original GATEFOLD cardboard cover is in VERY GOOD! condition with a rough/chipping spine, full top seam tear (no tape), no banana sticker, light rubbing/wear to covers, wear to edges and corners. It is a VERY GOOD PLUS! copy of this DEBUT! LP from THE VELVET UNDERGROUND for you to own. It is an opportunity to purchase this LP in this condition. It’s a true gem for the EXPERIMENTAL / PROTO- PUNK ROCK collector! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. SHIPPING IN THE US IS $5.00 for MEDIA MAIL (IT IS NOT $4.00). US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!
Music Review from AllMusic.com by Mark Deming
One would be hard-pressed to name a rock album whose influence has been as broad and pervasive as The Velvet Underground & Nico. While it reportedly took over a decade for the album's sales to crack six figures, glam, punk, new wave, goth, noise, and nearly every other left-of-center rock movement owes an audible debt to this set. While The Velvet Underground had as distinctive a sound as any band, what's most surprising about this album is its diversity. Here, the Velvets dipped their toes into dreamy pop ("Sunday Morning"), tough garage rock ("Waiting for the Man"), stripped-down R&B ("There She Goes Again"), and understated love songs ("I'll Be Your Mirror") when they weren't busy creating sounds without pop precedent. Lou Reed's lyrical exploration of drugs and kinky sex (then risky stuff in film and literature, let alone "teen music") always received the most press attention, but the music Reed, John Cale, Sterling Morrison, and Maureen Tucker played was as radical as the words they accompanied. The bracing discord of "European Son," the troubling beauty of "All Tomorrow's Parties," and the expressive dynamics of "Heroin" all remain as compelling as the day they were recorded. While the significance of Nico's contributions have been debated over the years, she meshes with the band's outlook in that she hardly sounds like a typical rock vocalist, and if Andy Warhol's presence as producer was primarily a matter of signing the checks, his notoriety allowed The Velvet Underground to record their material without compromise, which would have been impossible under most other circumstances. Few rock albums are as important as The Velvet Underground & Nico, and fewer still have lost so little of their power to surprise and intrigue more than 40 years after first hitting the racks.
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