![]() You can see the letter "Y" from of the word "Party" over their heads. The photo is by Mario Anniballi.Īt that time the band consisted of Lou Reed, Mauren Tucker, Sterling Morrison and John Cale. The band is standing on the front steps of the Boston Tea Party, a 1960's rock club in Boston then located at 53 Berkeley Street. This is the back cover of the album WHITE LIGHT/WHITE HEAT. The actual cover tattoo would have been on the back of his other arm. I'm pretty sure that's not the cover tattoo. Here's a still featuring Jon Savage and Ingrid Superstar. He saw this tattoo on Joe's arm in a still and said, "That's what I want on the album," I had to make it a really big enlargement, so it's very grainy. Lou and I were going through all my contacts to see if there was anything that he wanted to use. In an interview with Jon Savage (/journalism/billy-name), Billy says, "The image was a skull and crossbones, from a tattoo that Joe Spencer, one of our actors, had. In an email to a Velvet Underground forum writer called Cuckoo, Billy Name wrote "the skull tattoo on the Velvet Underground album cover was from an actor in Andy's "Bike Boy" movie named Joe Spencer." I'm not sure if the curved black background is a person's shoulder or not. You can see a knife blade handle jutting in from the left. In order for you to see it better I played with the lighting in Photoshop.Īnd in this I isolated the skull and straightened it up. You can see more of his work and purchase photos there. This is the address for Billy Name's website:. The skull was found on early printings of the album cover. The skull was photographed by Billy Name, a photographer associated with the Warhol factory. Here's another view of the skull, from an album on Ebay. But if you saw the cover lit at a certain angle, you could see that there was a photo of a pirate-like tattoo printed on the cover in black ink. ![]() This is the front cover of the Velvet Underground's second album: White Light/White Heat. ( see or purchase their photos at and )Īnd here is shot of the right inner sleeve of the album.Īlbum Title: White Light, White Heat, Verve Records, 1968 The liner photos are by Nat Finkelstein and Billy Name. This is s shot of the left inner sleeve of the album. A legal dispute as to the use of the man's image led to the record company covering that part of the picture in later printings of the cover. If you look in back of Lou Reed's head there is a larger picture of a man's head. I am not sure of which venue the photo were taken (but check back). ![]() This is a photo of the back cover of "the banana" album. (Later, Warhol would produce a similar cover for Sticky Fingers by the Rolling Stones containing a 3-d zipper that could be unzipped to reveal a waist-view of man wearing white underpants. In the original first pressing of the album, under the words "PEEL SLOWLY AND SEE": one could peel off the the bright yellow banana sticker to reveal a pink ( almost flesh colored (get it?)) banana inside.Ī year after the album's release, when it began too take too much time to hand attach the stickers, the sticker was replaced by a photograph. This is the front cover of the Velvet Underground's first album. Initially released as a two-LP set but released as separate volumes on CD, 1969, recorded in Dallas and San Francisco, captures Reed in spirited voice and performance: “What Goes On” churns for a propulsive nine minutes “Heroin” retains its defiant empathy the versions of “New Age” and “Femme Fatale” are an excellent example of a band able to present calm, reflective material without losing its aggressive edge.To be notified of new PopSpots entries, follow PopSpotsNYC on Twitter:įor questions or comments you can email me (Bob)Īlbum: THE VELVET UNDERGROUND & NICO, Verve Records, 1967 ![]() At the time, the Velvets’ version of rock n’ roll was still considered unusual, but listening with modern ears, their influence fully absorbed by the mainstream, theirs is the sound of an excellent, competent band running through an exemplary set of tunes. By 1969, the band had replaced its aggressive avant-garde bassist-violist John Cale with the more conventional Doug Yule and the band took on a less confrontational stance. Despite a lack of commercial success, the Velvet Underground was among the most influential bands of the late ‘60s, pioneering several different approaches to rock writing and performance that resonated throughout the punk, new wave, no wave, and post-punk eras that followed. ![]()
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