VELVET UNDERGROUND LP - LOADED - NM IN SHRINK "SWEET JANE" - FREE DOMESTIC S&H

$

27

***** This item is for DOMESTIC U.S.A. orders ONLY! International customers must ask permission BEFORE buying! *****

>>> NOTE- I DO NOT USE GOLDMINE GRADING! I use my own grading system. PLEASE scroll down to read an explanation of my System BEFORE YOU BID OR BUY! <<<

THE VELVET UNDERGROUND 1970 LP-

LOADED

COTILLION RECORDS/RHINO RECORDS # SD 9034

>>> FREE DOMESTIC SHIPPING & HANDLING! <<<

"Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group was uncompromising in its music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But the band's colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives came to define street-savvy rock & roll.

Reed loved rock & roll from an early age, and even recorded a doo wop-type single as a Long Island teenager in the late '50s (as a member of the Shades). By the early '60s, he was also getting into avant-garde jazz and serious poetry, coming under the influence of author Delmore Schwartz while studying at Syracuse University. After graduation, he set his sights considerably lower, churning out tunes for exploitation rock albums as a staff songwriter for Pickwick Records in New York City. Reed did learn some useful things about production at Pickwick, and it was while working there that he met John Cale, a classically trained Welshman who had moved to America to study and perform "serious" music. Cale, who had performed with John Cage and LaMonte Young, found himself increasingly attracted to rock & roll; Reed, for his part, was interested in the avant-garde as well as pop. Reed and Cale were both interested in fusing the avant-garde with rock & roll, and had found the ideal partners for making the vision (a very radical one for the mid-'60s) work; their synergy would be the crucial axis of the Velvet Underground's early work.

Reed and Cale (who would play bass, viola, and organ) would need to assemble a full band, making tentative steps along this direction by performing together in the Primitives (which also included experimental filmmaker Tony Conrad and avant-garde sculptor Walter DeMaria) to promote a bizarre Reed-penned Pickwick single ("The Ostrich"). By 1965, the group was a quartet called the Velvet Underground, including Reed, Cale, guitarist Sterling Morrison (an old friend of Reed's), and drummer Angus MacLise. MacLise quit before the band's first paying gig, claiming that accepting money for art was a sellout; the Velvets quickly recruited drummer Maureen Tucker, a sister of one of Morrison's friends.

Even at this point, the Velvets were well on their way to developing something quite different. Their original material, principally penned and sung by Reed, dealt with the hard urban realities of Manhattan, describing drug use, sadomasochism, and decadence in cool, unapologetic detail in "Heroin," "I'm Waiting for the Man," "Venus in Furs," and "All Tomorrow's Parties." These were wedded to basic, hard-nosed rock riffs, toughened by Tucker's metronome beats; the oddly tuned, rumbling guitars; and Cale's occasional viola scrapes. It was an uncommercial blend to say the least, but the Velvets got an unexpected benefactor when artist and all-around pop art icon Andy Warhol caught the band at a club around the end of 1965. Warhol quickly assumed management of the group, incorporating them into his mixed-media/performance art ensemble, the Exploding Plastic Inevitable. By spring 1966, Warhol was producing their debut album.

Warhol was also responsible for embellishing the quartet with Nico, a mysterious European model/chanteuse with a deep voice whom the band accepted rather reluctantly, viewing her spectral presence as rather ornamental. Reed remained the principal lead vocalist, but Nico did sing three of the best songs on the group's debut, The Velvet Underground & Nico, often known as "the banana album" because of its distinctive Warhol-designed cover. Recognized today as one of the core classic albums of rock, it featured an extraordinarily strong set of songs, highlighted by "Heroin," "All Tomorrow's Parties," "Venus in Furs," "I'll Be Your Mirror," "Femme Fatale," "Black Angel's Death Song," and "Sunday Morning." The sensational drug-and-sex items (especially "Heroin") got most of the ink, but the more conventional numbers showed Reed to be a songwriter capable of considerable melodicism, sensitivity, and almost naked introspection. The album's release was not without complications, though. First, it wasn't issued until nearly a year after it was finished, due to record-company politics and other factors. The group's association with Warhol and the Exploding Plastic Inevitable had already assured them of a high (if notorious) media profile, but the music was simply too daring to fit onto commercial radio; "underground" rock radio was barely getting started at this point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak. The album only reached number 171 in the charts, and that's as high as any of their LPs would get upon original release. Those who heard it, however, were often mightily impressed; Brian Eno once said that even though hardly anyone bought the Velvets' records at the time they appeared, almost everyone who did formed their own bands. A cult reputation wasn't enough to guarantee a stable livelihood for a band in the '60s, and by 1967 the Velvets were fighting problems within their own ranks. Nico, never considered an essential member by the rest of the band, left or was fired sometime during the year, going on to a fascinating career of her own. The association with Warhol weakened, as the artist was unable to devote as much attention to the band as he had the previous year. Embittered by the lukewarm reception of their album in their native New York, the Velvets concentrated on touring cities throughout the rest of the country. Amidst this tense atmosphere, the second album, White Light/White Heat, was recorded in late 1967. Each of the albums the group released while Reed led the band was an unexpected departure from all of their other LPs. White Light/White Heat was probably the most radical, focusing almost exclusively on their noisiest arrangements, over-amped guitars, and most willfully abrasive songs. The 17-minute "Sister Ray" was their most extreme (and successful) effort in this vein. Unsurprisingly, the album failed to catch on commercially, topping out at number 199. By the summer of 1968, the band had a much graver problem on its hands than commercial success (or the lack of it). A rift developed between Reed and Cale, the most creative forces in the band and, as one could expect, two temperamental egos. Reed presented the rest of the band with an ultimatum, declaring that he would leave the group unless Cale was sacked. Morrison and Tucker reluctantly sided with Lou, and Doug Yule was recruited to take Cale's place. The group's third album, 1969's The Velvet Underground, was an even more radical left turn than White Light/White Heat. The volume and violence had nearly vanished; the record featured far more conventional rock arrangements that were sometimes so restrained it seems as though they were making an almost deliberate attempt to avoid waking the neighbors. Yet the sound was nonetheless effective for that; the record contains some of Reed's most personal and striking compositions, numbers like "Pale Blue Eyes" and "Candy Says" ranking among his most romantic, although cuts like "What Goes On" proved they could still rock out convincingly (though in a less experimental fashion than they had with Cale). The approach may have confused listeners and critics, but by this time their label (MGM/Verve) was putting little promotional resources behind the band anyway. Even in the absence of Cale, the Velvets were still capable of generating compelling heat on-stage, as 1969: Velvet Underground Live (not released until the mid-'70s) confirms. MGM was by now in the midst of an infamous "purge" of its supposedly drug-related rock acts, and the Velvets were setting their sights elsewhere. Nevertheless, they recorded about an album's worth of additional material for the label after the third LP, although it remains unclear whether this was intended for a fourth album or not. Many of the songs, though, were excellent, serving as a bridge between The Velvet Underground and 1970's Loaded; a lot of it was officially released in the 1980s and 1990s. The beginning of the 1970s seemed to herald considerable promise for the group, as they signed to Atlantic, but at this point the personnel problems that had always dogged them finally became overwhelming. Tucker had to sit out Loaded due to pregnancy, replaced by Yule's brother Billy. Doug Yule, according to some accounts, began angling for more power in the band. Unexpectedly, after a lengthy residency at New York's famous Max's Kansas City club, Reed quit the band near the end of the summer of 1970, moving back to his parents' Long Island home for several months before beginning his solo career, just before the release of Loaded, his final studio album with the Velvets. Loaded was by far the group's most conventional rock album, and the most accessible one for mainstream listeners. "Rock and Roll" and "Sweet Jane" in particular were two of Reed's most anthemic, jubilant tunes, and ones that became rock standards in the '70s. But the group's power was somewhat diluted by the absence of Tucker, and by the decision to have Doug Yule handle some of the lead vocals. Due to Reed's departure, though, the group couldn't capitalize on any momentum it might have generated. Unwisely, the band decided to continue, though Morrison and Tucker left shortly afterward. That left Doug Yule at the helm of an act that was the Velvet Underground in name only, and the 1973 album that was billed to the group (Squeeze) is best forgotten, and not considered as a true Velvets release."

"After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio -- and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and there's no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything he's ever recorded. And if this release generally maintains a tight focus on the sunny side of the VU's personality (or would that be Reed's personality?), "New Age" and "Oh! Sweet Nuthin'" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. Sterling Morrison once said of Loaded, "It showed that we could have, all along, made truly commercial sounding records," but just as importantly, it proved they could do so without entirely abandoning their musical personality in the process. It's a pity that notion hadn't occurred to anyone a few years earlier."

WHO LOVES THE SUN - SWEET JANE

ROCK & ROLL - COOL IT DOWN

NEW AGE - HEAD HELD HIGH

LONESOME COWBOY BILL - I FOUND A REASON

TRAIN ROUND THE BEND

OH! SWEET NUTHIN'

SO COOL! This band was many things, but they were never pretensous. They were the real thing, Art Rock in it's truest form. The collision of the minds of John Cale and Lou Reed resulted in very "punk-ish" results. Then you throw in the Nico-Andy Warhol scene and it all becomes rather Bizarre. So then the bizarre is removed and the result was this album! I've graded the album VG++ for the vinyl, which played Great! there is a slight warp in the vinyl which does not affect the sound of the record. my phono needle never left the grooves. The cover is NM Near Mint with it's original shrink wrap 100% intact! Although there is no bar code on the cover there is a bar code sticker on the outside of the shrink wrap. Another sticker sticker says that the record was made by Rhino Records and distributed by Scorpio Music. You know, Lou Reed may have left the planet in October of 2013, but he will always be alive as long as we can hear his Music, his Art! This record will change your life. Get it, Hear it, Live it!

***** This item is for DOMESTIC U.S.A. orders ONLY! International customers must ask permission BEFORE buying! *****

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NOTE: Be sure to check out my other Hundreds of listings in my Ebay Store, Sunny Daze Music, Comics and Toys! There are many Toys, Comics, Shirts, Collectibles and dozens of LP Records, CDs and DVDs for sale Right NOW!    I always give discounts for combined invoices!

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This LP Record Set was cleaned using the

VPI HW-16.5 VACUUM TUBE CLEANER!

The HW-16.5 is the standard in record cleaning machines, neither its build quality nor its cleaning power has ever been surpassed! Its high-torque, 18 RPM turntable motor is capable of standing the pressure of heavy scrubbing during long cleaning sessions, and its 35-second cleaning cycle makes quick work out of even the dirtiest records! The improved 16.5 model has the new self-aligning vacuum suction tube for even more accurate cleaning! I now clean all of my records that are NOT Factory Sealed with the VPI, then test listen to the vinyl, then clean the record again with the VPI. This baby costs me hundreds of dollars, but My Customers Deserve THE BEST!!!

GRADING SCALE

I use a Universal Grading System to describe the quality of the LP albums and 45 singles that I sell. I grade records under strong, diffused room light or discreet sunlight. I do not use stock photos for my ads; all of my scans are of the Item You See! You get no surprises from me!

NOTE: Please keep in mind that when I describe any LP, I am referring to its Original Year Of Release, NOT the year that the LP was printed! In many cases, the year that a given LP was printed is unknown. When in doubt, PLEASE ASK me! Thank You!

 All of my LP’s are stored upright in a SMOKE-FREE ENVIRONMENT! 

• SS Mint (M): Album is New, Still Sealed and has never been played.
• Mint (M): The vinyl has no noticeable scratches, fingerprints or defects and looks like it has never been played, although there may be use at the spindle hole. The cover has no noticeable wear or defects. There may be very slight curling of the right side corners of the cover due to shrink wrap pressure. May still have it’s original shrink wrap. MINT does not mean "perfect".
• Near Mint (NM): Almost Mint vinyl with perhaps a few visual imperfections that should not affect the sound of the record. Perhaps a small amount of static can be heard on a few areas. Cover is nice looking with little or no ring wear and may still have its original shrink wrap.
• VG++: Vinyl has some signs of wear; very clean, only light surface marks, scuffs or scratches which will not distract significantly from the sound, some audible static, some snaps or pops but no stalls or skips unless listed. Cover may have some signs of wear, perhaps some ringwear but is still in nice collectible condition, solid with no cuts,holes or splits unless listed, may have edge repairs.
• VG+: Played often with moderate surface wear, marks, scuffs or scratches, and some moderate noise, static, pops or skips - still plays well with increased areas of pops and static. Cover may have significant overall wear and ring wear, repaired edges or spine, may have cuts/holes/cut corners.
• VG: Overall wear, more noisy sound during quiet passages, a lot of static and many skips that require lifting the needle. Cover is well worn, usually with considerable ring wear. may have cuts, holes, cut corners. May have taped edges. The lowest grade.

In my opinion, the grade of “Mint” and the word “Mint” does not equal Perfection. The grade of Perfection does not exist, as far as I know. Different phono cartridges and stereo setups, condition of the needle and if the record is cleaned before playing (or not cleaned) affects the way a vinyl record sounds. You can look at a record with the naked eye and not see micro imperfections which might affect the music and the sound. There are just too many variables. I listen to records after cleaning them. If I do not hear skips or pops or snaps and I do not see noticeable scratches, then as far as I am concerned, that record is Mint. Be very careful not to compare my grading standards with those of others. I do not use Goldmine and to compare my grades to Goldmine is not really fair. Remember, it's always best to ask questions BEFORE bidding!

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Buy it here and buy the BEST! It is my goal to be one of the BEST Ebay Sellers and I can only do that by giving YOU the BEST SERVICE POSSIBLE!!! I ALWAYS ship within 2 BUSINESS DAYS after receiving your cleared payment. ALWAYS FAST, FAST PROCESSING WHEN YOU BUY FROM ME!!!

EVERYTHING that I offer in my auctions come from a SMOKE-FREE ENVIRONMENT!

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YES, I DO combine shipments! SAVE $$$ (see below)

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Please read everything BEFORE bidding:

Your bid is a contract to buy. Please do not bid if you do not intend to pay. Invoices are sent to winning bidders after the last auction ends. You have 7 days to pay your invoice. After 7 days, I WILL FILE WITH EBAY FOR NON PAYING BIDDER and you will get one strike on your record. Many Ebay Sellers block Buyers if they have even 1 strike! If you have any questions, please email me through the Ebay message system. Please DO NOT change or alter any invoice sent to you without checking with me first. Thank You!

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Because of recent changes to the U.S. Postal Rates, all International shipments will be via PRIORITY MAIL INTERNATIONAL. There are no exceptions. Some of my Store Inventory will have other details and have not been updated. Those international shipments will also ship Priority Mail International. Questions? Please ask me BEFORE bidding! Thank You!

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SHIPPING INSTRUCTIONS:

I will ship within 2 BUSINESS DAYS of receiving your confirmed payment. International Buyers are responsible for all duty/customs fees. If you choose USPS MEDIA MAIL, please allow up to 4 weeks for delivery.  I am not responsible for how fast the package gets to you, once it is dropped off at the USPS office. All shipping charges include a small handling charge which covers packing materials, administrative costs and transportation costs.

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 COMBINED SHIPPING: If you order more than 1 Album from me within a 3-day period, I will deduct $2.00 from the shipping charges for each extra item! If you buy 3 Albums, you SAVE $4.00! If you buy MORE, you save MORE! Also, I will adjust your total so that you save EVEN MORE on the final S&H charge! If you wish to hold your purchases for more than 2 days you MUST email me through the Ebay message system. Please DO NOT change or alter any invoice sent to you without checking with me first. Thank You!

RETURNS POLICY:

Returns will be accepted within 14 days. After the 14th day,delivery for the returned item will be refused.LOT ITEM COST will be calculated based on winning bid & number of items in the lot-the cost will be refunded. DAMAGED ITEMS must be returned to me for your refund. S&H costs are NOT refundable. Buyer is responsible for returning the item within the specified 14 days.International Returns:ALL CUSTOMS AND DUTY FEES WILL BE DEDUCTED FROM YOUR REFUND!!

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