When I read at the gymnasium I remembered the guy taking about the VU playing at his high school and all the kids having a negative reaction, freaking out and leaving while he stayed there mesmerized by the chaos he was witnessing. Just found it on PBS, it’s a short animated comicumentry under “POV shorts
I just love the sheer diversity in the different recordings of this song, there's the Boston Tea Party version which is loud, noisy and chaotic and more instrumental-oriented, then there's this one which is more laid-back and vocal oriented, there's the 1969 Matrix version which is both, the more experimental live recordings, and the more balanced studio version. That's one of the things I love about VU, every recording of a given song is wildly different from the last, like and entirely different song.
That’s because they were the 1st true jam band. The Dead were starting to do some interesting things in 1967/68 but the Velvets were going much farther already in terms of improvisation and changing of song structure from one performance to another. And we only have a small sample of what they were doing because so little of their live material was recorded…Sterling Morrison has described them going out and jamming for an hour before even playing a song!
I'm with ants, I've got a broken monitor and you don't realize it's a big deal till you hear stereo music from one speaker, it leaves one wanting. My speaker is in repair so I'll have to leave soon but I wanted to thank you as well. Great tune, just amazing stuff.
Oh he's playing the organ alright. It's rather subliminal for the most part, not the crazy organist on the studio version, just droning away under the guitars. lifting out the mix occasionally, making fuzzy, queasy horror hospital sounds breathing in and out. There are some more fuzzed arpeggios. You have to listen hard to hear what he is doing.
@@LucyOLastic but there IS a bass on most of the piece, and it cant be morrison. to me it sounds like cale starts on bass, just seeming to flitter around in the treble range, finding a role, maybe more interesting in getting the feedback just right? he finds a groove about 2' in, a high-pitch singlenote stacattao, but i gotta say there is an organ-like rhythm sound when sterling's strumming. The bass drops out from 6'-7', a single organ note is held, then given a little flourish, and the bass returns at 8'25 for the next vocal cale's bass is more fluid during the long instr break starting 10' [beware the volume jump at this point] sterling and lou's sharp guitar interplay becomes more questioning as the 'noise' level drops; cale makes his final bass note around 12'20-13' and picks up the note on organ and the final section feature's maureen's polyrythms, cale as you say adding his discreet organbreatths
@@S0710f @Senida F is too dumb to even grasp the technical aspect of a (Haeco) CSG processed fold down. By the way Wild Horses was Originally recorded and released by the Rolling Stones in 1971, way before Shawn Mendes was even born or before he could have even recorded it.
