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PostSubject: NICO-'Waiting For My Man'    Sat Nov 17, 2012 1:55 am








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PostSubject: Vanessa Paradis - Waiting For My Man    Sat Nov 17, 2012 2:16 am


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PostSubject: The Velvet Underground - I´m Waiting For The Man    Sat Nov 17, 2012 2:25 am

The Original and the best,the Norman Dolph Acetates were great,but this is energy fueled,the anticipation,the score...nothing like it.Most of my adventures in life centre around a long trip just to get on,getting high and the people you meet under the influence...





I'm waiting for my man
Twenty-six dollars in my hand
Up to Lexington, 125
Feel sick and dirty, more dead than alive
I'm waiting for my man

Hey, white boy, what you doin' uptown?
Hey, white boy, you chasin' our women around?
Oh pardon me sir, it's the furthest from my mind
I'm just lookin' for a dear, dear friend of mine
I'm waiting for my man

Here he comes, he's all dressed in black
PR shoes and a big straw hat
He's never early, he's always late
First thing you learn is you always gotta wait
I'm waiting for my man

Up to a Brownstone, up three flights of stairs
Everybody's pinned you, but nobody cares
He's got the works, gives you sweet taste
Ah then you gotta split because you got no time to waste
I'm waiting for my man

Baby don't you holler, darlin' don't you bawl and shout
I'm feeling good, you know I'm gonna work it on out
I'm feeling good, I'm feeling oh so fine
Until tomorrow, but that's just some other time
I'm waiting for my man









Uploaded by landofrob on Mar 30, 2011


From The Velvet Underground's 1st studio session, recorded over 4 days in April 1966. This acetate copy of the final mixes originally belonged to
studio owner Norman Dolph, and was famously found at a yard sale for 75 cents and then sold for over $25,000. Several different versions have appeared in various dark corners of the internet over the past few years; this one, from the bootleg CD "Unripened", sounds best IMO. Perhaps "least awful" is a more accurate description of the recording's sound quality, but this is still an amazing artifact. Ladies and gentlemen, The Velvet Underground and Nico.

Here are the liner notes:
"
What you're holding in your hand is what the first Velvet Underground album would have sounded like had it not been rejected by the powers that be. Andy Warhol's intention was to capitalize on the buzz surrounding the band's debut gigs under the guise of the Exploding Plastic Inevitable shows. A music-art-freak out-happening. Andy, wanting to keep the band's abrasive sound and seedy subject matter, arranged for a session at a run down New York studio called Scepter Studios, under the watchful eye of a Mr. Norman Dolph. Payment for the four day recording session in April 1966 was one of Andy's paintings. Which in time would prove very financially rewarding for Mr. Dolph.

The recordings cut onto acetate were listened to by Columbia Records and rejected. As was all the great era defining music, check out The Beatles and The Rolling Stones for similar tales of woe. The group would later that year be dispatched to Los Angeles to re-record the bulk of these tunes, "Heroin", "Venus In Furs" and "I'm Waiting For The Man" with another producer Tom Wilson at a studio called TTG. the other tunes would be remixed and a
recording of "sunday Morning" cut in New York would be added alongside "There She Goes Again". The track listing changed around to give a more
user friendly feel to the album.

Here we present the original album taken from the acetate version with its original running order. "European Son" opens the album, which is a completely different take than the released version. It has a blusier structure that builds more gradually and is several minutes longer. "The Black Angel's Death Song" is a different mix to the finished tune. "All Tomorrow's Parties" again is a different mix to the released version. "I'll Be Your Mirror" has a radically different sound that has less echo on Nico's vocals and the backing vocals are lower in the mix. "Heroin" is a completely different version. The guitar line is different, vocal infections are different and contain some different lyrics. The drumming is more primitive and runs parallel with a tambourine.

"Femme Fatale" is also a radically different mix. The percussion is more prominent and the background vocals used in a poppier way. "Venus In Furs" is a completely different version. The vocal accents are different.
Instrumentation more based around john Cale's viola than the guitar, as in the released version. "I'm waiting For The Man" is a completely different version. The guitar line is completely different and some of the lyrics also. No drums, just tambourine and a bluesy guitar solo. "Run Run Run" is a different mix to the released version.

What also changes the feel of the album is the running order. This original version starting with "European son" and with the absence of the lighter cut
"Sunday Morning" that opened the released version, gives the album a darker feel. Which one is better? That is up to you to decide. But now for the first time since 1966 you can hear the dreamscape that the band and Mr. Andy Warhol had in store for us. So sit back, peel slowly and listen to this lost masterpiece in all its unripened glory.

Taken from original acetate version. Every effort has been made to clean up the sound, but also keep the feel.
"

Additional information on the acetate, session, and final album can be found at:

http://en.wikipedia.org/wiki/The_Velvet_Underground_%26_Nico#Scepter_Studios_...









The final night of The Velvets' residency at The Gymnasium was billed as "National Swingers Night," and at some point the fateful decision was made to capture the band's performance on reel-to-reel tape, which was a very uncommon occurrence during The Velvets' association with Warhol; what's even more surprising is that the parties concerned decided to do so in the absence of the band's "chanteuse," Nico, who had not returned from a trip to Ibiza. Psychedelic Sounds from The Gymnasium features this reel-to-reel recording (though there is some disagreement over whether it is the complete performance), and it is, quite possibly, the most important "unofficial" Velvet Underground recording in existence. This is due not only to the historic value of the recording and its surprising sonic clarity, but also to the performances, including a song that appears nowhere else in The Velvet's official and unofficial discographies: "I'm Not a Young Man Anymore." Listening to Reed's spidery guitar figure and his dark, mantra-like vocals, it's hard not to wonder how the song was never recorded in the studio, as it is easily the equal of a number of songs from both The Velvet Underground & Nico and White Light / White Heat. Another gem is the first public performance of the epic "Sister Ray," whose crunchy guitar groove likely inspired Stein's description of the band that night as "awesomely powerful." Psychedelic Sounds from the Gymnasium captures The Velvet Underground at their grimy, arty best and makes pointedly clear what set this band apart both musically and lyrically. John Cale: "There was commitment there. That was the powerful advantage that all of Lou's lyrics had. All Bob Dylan was singing was questions- How many miles? and all that. I didn't want anymore questions. Give me some tough social situations and show that answers are possible."



Psychedelic Sounds from the Gymnasium









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PostSubject: Lou Reed - Wanted Dead Or Alive   Sat Nov 17, 2012 2:44 am


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PostSubject: Lou Reed,Nico & John Cale - Waiting for the Man - Bataclan '72    Sat Nov 17, 2012 6:55 pm

Beautiful,romantic version of this true classic.


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PostSubject: John Cale - I´m Waiting For The Man (Rockpalast 1983 & 1984)    Sat Nov 17, 2012 6:56 pm


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PostSubject: John Cale, Nick Cave & Chrissy Hynde - I´m Waiting For The Man    Sat Nov 17, 2012 6:58 pm


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PostSubject: David Bowie - Waiting For The Man (1970)    Sat Nov 17, 2012 7:03 pm


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PostSubject: David Bowie waiting for the man earliest version    Sat Nov 17, 2012 7:07 pm


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PostSubject: David Bowie: Waiting for the man - live @ Santa Monica 1972    Sat Nov 17, 2012 7:11 pm





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PostSubject: Lou Reed - I'm Waiting for the Man - live in Paris, 1974    Sat Nov 17, 2012 7:22 pm





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PostSubject: Iggy Pop-No Fun/Waiting For My Man.wmv    Sat Nov 17, 2012 7:30 pm


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PostSubject: I'm Waiting for the Man - Beck    Sat Nov 17, 2012 7:32 pm


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PostSubject: Waiting for the Man - Reed and Bowie    Sat Nov 17, 2012 7:37 pm


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PostSubject: The Velvet Underground - Heroin    Sat Nov 17, 2012 7:46 pm

yes,once used to shoot to this,long ago and so cliched.




Uploaded by blestemp on Jun 8, 2008


Though largely ignored upon its release, it has since become one of the most influential and critically lauded rock albums in history, appearing as #13 on Rolling Stone magazine's list of the 500 greatest albums of all time as well as being added to the 2006 National Recording Registry by the Librarian of Congress.

On the 1996 CD reissue, the banana image is on the front cover while the image of the peeled banana is on the inside of the jewel case, beneath the CD itself.

Much of the album's sound was conceived by John Cale, who stressed the experimental qualities of the band. Cale, who was influenced greatly by his work with La Monte Young, John Cage and the early Fluxus movement, encouraged the use of alternative ways of producing sound in music. Cale thought his sensibilities meshed well with Lou Reed's, who was already experimenting with alternative tunings. For instance, Reed had "invented" the ostrich guitar tuning for a song he wrote called "The Ostrich" for the short-lived band The Primitives. Ostrich guitar tuning consists of all strings being tuned to the same note. The method was utilized on songs "Venus in Furs" and "All Tomorrow's Parties". Often, the guitars were also tuned down a whole step, which produced a lower, fuller sound that Cale called "sexy".

Track History: "Heroin" is a song by The Velvet Underground, released on their 1967 debut album, The Velvet Underground and Nico. Written by Lou Reed in 1964, the song is one of the band's most celebrated compositions, overtly depicting heroin use and abuse. Critic Mark Deming writes, "While 'Heroin' hardly endorses drug use, it doesn't clearly condemn it, either, which made it all the more troubling in the eyes of many listeners".[1]

In 2004, Rolling Stone ranked it #448 on their list of the 500 Greatest Songs of All Time. In 2006, Pitchfork Media ranked it #77 on their list of the 200 Greatest Songs of the 1960s. In 2007 Mental Floss magazine listed it as one of ten songs that changed the world. "Heroin" was among a three-song set to be re-recorded at T.T.G. Studios, Hollywood before being included on the final release of The Velvet Underground and Nico (along with "I'm Waiting for the Man" and "Venus in Furs"). This recording of the song would be the album's second longest at 7 minutes and 12 seconds, being eclipsed only by "European Son" by about thirty seconds.

"Heroin" begins slowly with Lou Reed's quiet, melodic guitar and hypnotic drum patterns by Maureen Tucker, soon joined by John Cale's droning electric viola and Sterling Morrison's steady rhythm guitar. The tempo increases gradually, mimicking the high the narrator receives from the drug, until a frantic crescendo is reached, punctuated by Cale's shrieking viola and the more punctuated guitar strumming of Reed and Morrison. Tucker's drumming becomes hurried and louder. The song then slows to the original tempo, and repeats the same pattern before ending.

The song is based on a D flat and a G flat major chords. Like "Sister Ray", it features no bass guitar. Rolling Stone magazine said "It doesn't take much to make a great song," since the song only featured three chords.



Lyrics: When Im rushing on my run
And I feel just like jesus son
And I guess I just dont know
And I guess that I just dont know

I have made very big decision
Im goin to try to nullify my life
cause when the blood begins to flow
When it shoots up the droppers neck
When Im closing in on death

You cant help me not you guys
All you sweet girls with all your sweet talk
You can all go take a walk
And I guess I just dont know
And I guess I just dont know

I wish that I was born a thousand years ago
I wish that Id sailed the darkened seas
On a great big clipper ship
Going from this land here to that
I put on a sailors suit and cap

Away from the big city
Where a man cannot be free
Of all the evils in this town
And of himself and those around
Oh, and I guess I just dont know
Oh, and I guess I just dont know

Heroin, be the death of me
Heroin, its my wife and its my life
Because a mainer to my vein
Leads to a center in my head
And then Im better off than dead

When the smack begins to flow
Then I really dont care anymore
About all the jim-jims in this town
And everybody putting everybody else down
And all of the politicians makin crazy sounds
All the dead bodies piled up in mounds, yeah

Wow, that heroin is in my blood
And the blood is in my head
Yeah, the gods good as dead
Ooohhh, God that Im not aware
I just dont care
And I guess I just dont know
And I guess I just dont know


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