Originally posted by shavixmirAgreed.
The Velvet Underground & Nico
Not only is the cover already legendary (Yellow banana, signed by Andy Warhol); it was going to be a white banana, but the day before it got printed Lou Reed painted it yellow: "Bananas are yellow" and Andy Warhol never forgave him.
Not only is the whole concept of creating one of the rawest albums ever made a stroke of ...[text shortened]... se put down your hands
'Cause I see you
I'll be your mirror
- Lou Reed -
Originally posted by rbmorrisIt's flawless, in my opinion. The songs are slow, doomed and achingly beautiful, except for the up-tempo "Hard on for love":
I don't have that one. You like it a lot more than 'Henry's Dream'?
"I am the fiend hid in her skirts & it's as hot as hell in here ... "
Originally posted by shavixmirNot much argument against that choice - I can't think of a (non-electronic) band I love that doesn't bear their influence in some way. For me and the music I like, they are more important than the Beatles.
The Velvet Underground & Nico
Two quotes:
"Only 100 people bought a copy of The Velvet Underground and Nico, but every single one of them started a band."
Brian Eno
"Modern music begins with the Velvets and the implications and influence of what they did seem to go on forever."
Lester Bangs
Fritz Hauser "Solodrumming"
drum set, xylophone, temple blocks, and maracas
Included in the technical notes is this line:
"No electronic effects or overdubs were used on this 2-track DIGITAL Recording."
You know something remarkable is likely when they include a line like this and Hauser delivers.
Superbly recorded by Peter Pfister.
"This 1985 recording featuring Swiss drummer Fritz Hauser performing in a glass-roofed court somewhere in Berlin, Germany, provides the listener with an all-inclusive glimpse of the art of solo drumming. On this release, the drummer displays his total musicality amid some sort of metaphysical, trance-like state of being to coincide with his unwavering determination and clear-sighted game plan. Hauser equips himself with drum set, xylophone, temple blocks, and maracas as he unleashes torrid flurries in concert with moments of near quietude. Simply put, the drummer serves up a mini-clinic via his regimented patterns, monstrous tom-tom fills, and polyrhythmic frameworks. He is also adept at altering the ebb and flow while projecting notions of perhaps two drummers engaging in call and response-type dialogue. The artist pursues a series of hypnotic passages, complex ostinato motifs, and swirling cadenzas."
--Glenn Astarita