![]() ![]() It is typically considered a Velvets record in name only. It received terrible reviews, though it has gained some appreciators over the years. While Yule had been a significant creative force, albeit secondary to Lou Reed, on the celebrated Loaded album, Squeeze is much-maligned. ![]() Yule himself was displeased at Seswick's control of the process. Recording the album as essentially a Doug Yule solo effort was at the instruction of manager Steve Seswick, who had earlier brought Yule to the band and had long pushed for the Velvets to adopt a more commercial style with Yule at its centre. All members bar Doug Yule were sent back to the United States in 1972 and Yule recorded all parts except the drums by Deep Purple's Ian Paice, saxophone by someone called Malcolm and some unidentified female backing vocals. A fifth studio album was released for a UK record label under the Velvet Underground name: 1973's Squeeze. This lineup toured the Loaded album around parts of North America and Europe in 1971. Moe Tucker also stayed with the band after her return from parental leave and they were joined by a new bassist and keyboardist. Now Streaming covers international and indie genre films and TV shows that are available on legal streaming services.After Lou Reed and Sterling Morrison quit the band, it carried on for a time with Doug Yule becoming the frontman on vocals and guitar. Still, Haynes lays out convincing evidence to support his film's implicit argument that The Velvet Underground were the most important band of the 1960s. Like The Velvet Underground, the band, The Velvet Underground, the film, may not appeal to more than a few. By that point, he's also made his latest work of art. Todd Haynes notes the fate of all his interviewees and other key subjects in his documentary, as any good documentary filmmaker should do. The Velvet Underground's songs appealed to my adolescent sensibility at the time, though now I find that it resonates more deeply and more widely through my consciousness. ![]() Even years later, when I first heard their often transfixing music, they were little known, and were only likely to be recommended by friends.īy my entry point to their music in the mid-70s, Lou Reed was an established solo artist, and John Cale had released a string of urgent solo albums. Lou Reed, John Cale, Sterling Morrison, and Moe Tucker came together from different backgrounds and different musical disciplines and experiences, and were able to hone, refine, and expand their artistic consciousness thanks to the patronage of Andy Warhol, who ruled the Manhattan underground in that era.įilmmaker Haynes gathers interviews with Cale and Tucker, the surviving members of the group, along with a select group of people who were there to bear witness to a phenomenon that never became very popular. It's very much an NYC film, in a manner similar to how The Velvet Underground could only have flourished artistically in Manhattan. So, even though, from outward appearances, The Velvet Underground may resemble a more conventional film, sticking to an anticipated narrative, much like his recent Dark Waters (2019), Haynes instead lulls the viewer into a pleasantly informative overview of the (relatively) short-lived band's career before more fully showing his hand by constructing a mosaic that reflects a wider river of influences that changed the course of the 1960s counter-culture. Some films are difficult to wrest away from personal expectations and memories.ĭirector Todd Haynes' Superstar: The Karen Carpenter Story (1987), Velvet Goldmine (1998), and I'm Not There (2007), serve as potent examples of the filmmaker's approach to musical influences and his artistic ambitions to subvert expectations through the adhesion of his personal perspective to his subjects. ![]()
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