One of the albums featured in 10 Terrific Album Covers – Part 2 was Live MCMXCIII by The Velvet Underground. At the time I was a trifle dismissive.

Having the double CD did not deter me from snapping up this 4 LP live set on beautiful blue vinyl, apparently a ‘Black Friday’ release from 2014. Haven’t listened to it yet, but my memory of the album (from twelve long years ago) is that it is well played, nicely recorded but maybe a little pointless. The cover is a tasteful re-imagining of the original Warhol album sleeve that pleases rather than excites. A bit like the reunion.

But Live MCMXCIII is such a substantial set from such an iconic band that I decided it deserved more. Take the journey with me across eight sides of blue Velvet vinyl.

Velvet Underground MCMXCIII blue vinyl


‘We’re Gonna Have a Real Good Time Together’. What an obvious yet excellent way to open a reunion concert celebrating the music of one of the 60s most iconic bands. A calling-on song, curtain-raiser, declaration of intent, invitation… all wrapped in a fast-paced good-time garage guitar melody. It’s easy to imagine being in the audience and turning to your companion and saying, ‘Aren’t you glad you came?’.

One of the relatively few pop songs about sadomasochism, Lou Reed delivers ‘Venus in Furs’ with quavery intensity, avoiding any temptation to camp it up or, worse, to whip in some irony. Something for uber-fans next, the live rarity ‘Guess I’m Falling in Love’, before Moe Tucker steps forward to sing ‘Afterhours’. The charmingly inadequate singing voice that was quite sweet in 1969 sounds rather less attractive almost 25 years later, but the crowd loves it and it is fair enough for Ms Tucker to get a moment in the spotlight.

John Cale is up next, delivering ‘All Tomorrow’s Parties’ with a languid fatalism that respectfully evokes Nico’s sonorous delivery. The under-stated jangly guitar work from Reed and Sterling Morrison works well too in this updating of the original minimalist accompaniment that somehow melded Byrds with Reich.

Despite it being so difficult to avoid uploading your memories of the original versions, this is a strong opening salvo.


‘Some Kinda Love’ has always been a favourite Velvets song, so at roughly twice the original length, this churning nine-minute version thrilled me. Think Creedence’s ‘Keep on Chooglin’’ and you’ll have the groove. During the long instrumental sections I found myself drifting back to the live double album 1969 and wondering whether the roman numeral title of this set referenced that early 70s release. I also wondered how come that rambling low-fi concert album had inferior sound but more immediacy than this polished 90s set.

VU Live MCMXCIII blue vinyl


After the thrilling ‘White Light/White Heat’, the first side of the Velvet’s second album was dominated by Lou Reed’s college creative writing assignment ‘The Gift’ where-in young Waldo Jeffers posts himself to a girl he fancies. John Cale’s delicious Welsh tones deliver the macabre tale at the beginning of record two of Live MCMXCIII. Other than delight in his deadpan plum pudding recitation and respect for remembering the story word-perfect, I did not get much out of this. Didn’t back in the day either, to be honest, though the loping, underlying groove is mesmeric.

Snapping into another song from White Light/White Heat, Lou punches through ‘I Heard Her Call My Name’ with some great guitar squall. I reckon this is their nod to ‘Sister Ray’, noticeably absent from this 1993 release (though they did play it on the tour).

Cale returns for ‘Femme Fatale’. Hard to listen to this and not think of the original with its queasy lounge-jazz tone and Nico’s corpse-like delivery. That debut album was so vibrant and varied.

How do you choose songs for a re-union tour? The most popular? Best selling? In-band status/power considerations? Elvis Costello’s Wheel of Fortune in-concert song-picker is without doubt the cleverest idea, though other bands have used fan polls or social media. Or, of course, you could simply retire gracefully and not do it at all. Here’s a challenge: name a significant band that broke up and stayed broken up, never reforming, re-grouping, re-cording, resurrecting; one where all the original members are still alive.

Not easy, eh?

VU ticket

Photo from Ticket Collector blog


‘Hey Mr. Rain’ was recorded in 1968 but not released during the original life of the Velvet Underground. It’s a very basic song with an unremarkable blues-template lyric invigorated by edgy viola from John Cale. Stretching ‘Hey Mr.Rain’ out to almost sixteen minutes (the whole of side four) is one of the more interesting re-imaginings on Live MCMXCIII. The pace is slightly faster and Moe Tucker’s bass drum beat more insistent. Meanwhile, the musical interplay between Reed and Cale builds tension and drama, not unlike that between the players. The vocals come in late and briefly, suggesting that Lou and John chose this piece (at Cale’s insistence?) to inject some improvisation and sonic danger into proceedings. The sawing, abrasive interchanges between viola and guitar are far from easy on the ear —at times it’s like sandpaper on sheet-metal— but this is my favourite section of the entire concert. Here is risk-taking, here are the musicians saying ‘Fuck you, this is what we do’, just like the original band.

At the end, I exhaled and sat for a bit wondering what two hours of that kind of sonic assault would have been like. Now that would have been a reunion statement.


Back in Hits-land. ‘Sweet Jane’, ‘White Light/White Heat’, crowd singing along. Nice to hear the original bridge in ‘Sweet Jane’. Next, another Moe/band vocal spot, the awfulness of which is not even remotely covered by nostalgia. The brief ‘Velvet Nursery Rhyme’ that introduces the band is totally corny but kinda nice. Actually, it’s not really nice. It’s rubbish. Back in the audience, you turn to your companion and wonder, ‘Why did we bother?’ If side four offered a shot of what the concert could have been, this side suggests an opportunistic superannuation-building complacency all too often characteristic of such endeavours. Remember the Rick Nelson song, ‘Garden Party’? It included the telling lines:

If you gotta play at garden parties, I wish you a lotta luck

But if memories were all I sang, I rather drive a truck

Maybe I should have taken a break after ‘Hey Mr. Rain’.

VU bootleg 1993

Photo of VU bootleg Live CD sourced from the net


The edgy atonality of ‘Black Angel’s Death Song’ survives the smoothing of years pretty damn well, thanks again to the ululating screech of Cale’s viola. God that first VU album was confronting.

Back on safer ground with the classic ‘Rock ’n’ Roll’, one of only two songs from the post-Cale album Loaded. Nice enough guitar part in a traditional rock concert moment as Lou and the band push the excitement up. The side’s last song, ‘I Can’t Stand It’, is another VU fave, delivered here with pleasing gusto.


A surprising synthesiser line introduces John Cale’s lead vocal on ‘I’m Waiting For The Man’, one of seven songs from The Velvet Underground & Nico (1967). Odd to hear Cale’s deep voice in the place where Lou’s whiney 25 year-old sneer first appeared. Shit, that first VU album was brash.

By the time I saw Lou Reed live in Melbourne in the mid-70s he had dropped ‘Heroin’ from his stage repertoire. But I remember sitting in the dark of my room with the Rock ’n’ Roll Animal version of the song sending its raging despair and self-destructive desperation straight at my head. Or was it my heart? As the rush builds through this version, it is Cale’s screaming strings that drive this into ‘something special’ territory. It could have been sad and comfortable, but Cale goads Reed, who really fucking pounds the last verses. Against my will, almost, I’m dragged along, cast backwards, filled with excitement and tears. So much for that safe critical nostalgic distance.

Is it the now or the then that has moved me? The song or its personal resonance? Does it matter? Of course it is potent for me, just as your music memories are rich and precious to you, but that’s the thing isn’t it? Ultimately, it’s all personal. Suddenly, astonishingly, I’m actually looking forward to hearing ‘Pale Blue Eyes’ on the epic eighth side of Live MCMXCIII. But first I’ll revisit the plaintive longing of the original (from the third VU album).

VU, Nico, Warhol

The Velvet Underground and Nico, with friend (1967)


An almost vulnerable reading of this simple, pretty song is given a chamber-folk feel by the addition of viola. When Lou messes around with the phrasing and intonation of one of his well-known songs, I reckon he’s communicating that he is singing it now, for real, not simply going through the motions. I like him for that, even though he’s certainly no jazz singer.

Oddly, the last song on side eight is a new one, a Reed/Cale collaboration called ‘Coyote’. It’s fine, though I’d have liked a stronger closer. Like the strident ‘What Goes On’ or a punked up ‘Run Run Run’ from the debut.

Ah, that first VU album was unique.

VELVET UNDERGROUND Peel Slowly and See Box set


In addition to the ‘feature album’, this post also dipped into the five-CD box Peel Slowly And See [Polydor, 1995], a thorough and revealing document that fills in lots of gaps. It’s an excellent set and is highly recommended for those off and running with their VU explorations.

Sourcing the 2014 4LP blue vinyl set might be costly, though both the double CD and the précis one-CD version (same cover, but purple instead of blue) are around.

But really, why would you seek these out unless you already know and love all the originals? And if you know and love the originals, does this excellent VU tribute band deliver enough to satisfy? Perhaps ‘strong personal connection’ is just a fancy phrase for nostalgia; sometimes it may be enough to enjoy the view through renovated windows even if the countryside does seem subtly altered by time. Or perhaps by the azure-tinted glasses.

Velvet Underground blue vinyl



  1. I think the smiths qualify for that trivia question! That blue vinyl looks delicious

    Liked by 1 person

    1. It’s all I can do not to lick it.

      The Smiths definitely net you a point!

      Liked by 1 person

  2. Beautiful object Bruce, but I can’t follow you here, purely out of pig-headed loyalty to a mate of mine who was such a fanatic VU fan he was known as ‘Velvet Graeme’ – honestly! he went to see them on this tour in Paris, or Brussels, and described it as ‘the worst mistake of my life’. Being thrifty he stayed for the whole gig and just wept at how awful they were.

    Graeme then forswore the band for ever (it lasted for 2 months) and now works as an accountant in Kent. A cautionary tale for all of us there.

    Having no mind of my own, I back him 100% on the merits of the reformed band.

    Liked by 1 person

    1. As you probably noted from the interminable review, I began sceptical and ended ambivalent. So I can get Velvet Graeme’s responses. Still, Brussels (or Paris) are nice.

      Liked by 1 person

  3. Open to suggestion, the link at the end of your piece had ‘How do you think it feels’ playing on my BrainApp, leading me to feel the skin pierced minutely and all over by the sharp tingling of an intimately re-created original response. Good evokative writing VC. This overwhelming response cured by Blossom Dearie.

    Liked by 1 person

    1. Ah, Berlin. A unique album in so many ways. Thank you for your comment, DD. To catalyse a response is humbly gratifying.
      As for Blossom, I’ve tried, really I have. I mean, she even has a song called (if I recall rightly, something along the lines of…) ‘Et tu Bruce’. But the voice is a pixie too far for me. Though I’m very pleased she did the biz for your good self. Cheers Coz.


  4. That’s a wonderful looking LP, Bruce. Well, LP set. A nine minute Some Kinda Love? I’m both excited, but cautious of such a thing.

    Rather intrigued by the reimagined Hey Mr. Rain. Purely because that’s the track that grabbed your imagination, I guess. An unremarkable song becoming an inspired moment.

    Liked by 1 person

    1. Neatly put, J. As I mentioned to 1537, at the end of a rather marathon attentive listen, I was still far from convinced, but found the journey much more varied than anticipated with the walk in the rain squall a clear highlight. I’d still choose 1969 in preference for VU live, though.


  5. Tangled Up In Music (by Ovidiu Boar) · · Reply

    Wonderful analysis, enjoyed every bit of it. Many great observations. What you say about the interplay between Cale and Reed building on tension and drama is very true and the same thing happens in Sister Ray, where they almost sound like being in a fight with each other; distortion and volume being their weapons. I’m a huge Velvets fan, but I’ve never heard this album, I’ve always been skeptic about it due to the reasons you mentioned throughout the article. But I may have to pick it up, if only for Mr. Rain.

    Liked by 1 person

    1. Very glad to hear the piece hit the mark for a VU fan, OB. Look, for a passionate Velvets person, MCMXCIII fills a hole (a fairly small one!) but if you can pick up, say the 2CD set at the right price, why not, eh?

      Liked by 1 person

      1. Tangled Up In Music (by Ovidiu Boar) · · Reply

        I just re-listened to The Gift yesterday (the original) and I know you said you’re underwhelmed by it, but for me it’s just one of those perfect things…my favorite…uhm, short story I guess? My favorite something, anyway. I remember listening to it for the first time – as it ended, I just stood there for a few seconds in complete awe at the unexpected ending. And then I just laughed out loud for a few more seconds. The wording is so great, things like “her sworn vows overcome by liquor and the smooth soothing of some neanderthal, finally submitting to the final caresses of sexual oblivion” are brilliant to me.

        Liked by 1 person

        1. Great that you get lots of gifts from the song. Do you know Roald Dahl’s short stories (e.g.: Switch Bitch)? You’d probably like them too.

          Liked by 1 person

        2. Tangled Up In Music (by Ovidiu Boar) · · Reply

          I don’t, will check him out. Thanks for the recommendation.

          Liked by 1 person

  6. […] live recording of the reformed Velvet Underground got the full treatment in a post entitled “Blue Velvets“. Readers made some interesting comments on the music, while the vinyl was widely considered […]


Comments and responses welcome for all posts: present or past. Please join in!

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: