This 1960s Flop Ended Up Being the Most Important Album in Alternative Rock History

Believe it or not, alternative rock music did not get its start in the dive bars and independent radio stations of the Pacific Northwest. The genre began decades before Nirvana and Pearl Jam reared their grungey heads. Early alt-rock was born of the ‘60s counterculture, crystallized in the gritty, psychedelic haze of the New York underground music scene. In fact, the conception of punk, grunge, indie and countless other subgenres of alternative rock can all be traced back to a singular collection of work – one album that catalyzed the entire genre.

While the cultural significance of the self-titled album The Velvet Underground & Nico is appreciated today, the world was not yet ready for its 1967 release. The album was completely unprecedented. It explored dark and uncomfortable subject matter through raw, messy, avant-garde rock music, pushing the boundaries of what was possible. No one had heard anything like it – and they weren’t sure that they wanted to. Later, some of the biggest names in music would sing this album’s praises. Its importance would soon become undeniable: The Velvet Underground & Nico is the most significant album in alternative rock history.

The Velvet Underground meets Andy Warhol

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This album came to be through a series of unlikely events, as the best albums often do. The Velvet Underground was formed by singer/songwriter/poet/guitarist Lou Reed and classically trained musician John Cale in 1964 in New York City. The band existed in a nebulous stage in the early days, cycling through a series of names and members. Eventually, they landed on guitarist Sterling Morrison — a former classmate of Reed’s — and percussionist Maureen “Moe” Tucker. Tucker was originally hired as a placeholder while they looked for a more permanent band member, as many had trouble believing a female drummer had the chops. However, she was hired full-time after she impressed the guys by constructing a drum kit from garbage can lids and tambourines.

By 1965, the now-complete band had a residency at Greenwich Village folk club Café Bizarre, a hub for artists and musicians alike. They were quickly fired for playing “The Black Angel’s Death Song” (the tenth track on The Velvet Underground & Nico) immediately after the manager told them not to. Doesn’t really get more rock and roll than that. Before they were canned, pop artist Andy Warhol attended one of their performances. Impressed by what he saw, he became their manager and incorporated the band into his projects, including the psychedelic multimedia Exploding Plastic Inevitable tour. This traveling series of events mixed light shows with dance and music – essentially, an early version of the modern rave. Dangerous, intoxicating, glamorous, dirty – the beating heart of bohemia, with The Velvet Underground as its focal point.

It was Warhol who introduced the band to the incandescent Nico, a German singer and actress, and pushed for her inclusion in their next album – a proposal the band begrudgingly accepted. Warhol signed on as a producer for the album, allowing The Velvet Underground to run wild: complete creative freedom without any executive input or oversight. This autonomy is evident in the poetically unhinged sound of the album.

A Sound Never Before Heard

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At times, The Velvet Underground & Nico is literally painful to listen to. “Venus in Furs”, “Heroin”, and “The Black Angel’s Death Song” feature John Cale’s abrasive, aggressive electric viola. It is equal parts painful and beautiful, perfectly conveying the depth of emotion behind Lou Reed’s beat poetry-esque lyrics. The malaise is tangible – it drags the listener down into the abyss. In a good way. The album is raw and honest in a way music had never been before. The Velvets were the New York City underbelly incarnate.

The Velvet Underground’s gritty, raunchy, contaminated sound (again – in a good way!) is offset by the ethereal quality of Nico’s voice. She shoots a glittering beam of light through an otherwise pitch-black album. Visually, her shining blonde beauty mimicked this sonic effect, appearing in stark contrast to the unkempt, sunglass-wearing Velvets. Nico sings lead on three tracks: “Femme Fatale”, “All Tomorrow’s Parties”, and “I’ll Be Your Mirror.” Her vocals manage to be simultaneously haunting and effervescent, adding an earthy layer to the album. Although The Velvet Underground was not too pleased to temporarily add Nico to their ranks, her contribution is crucial to the balance of the album.

The Album Was Initially Hated, Then Revered

Image via Verve Records

The commercial reception of the album was underwhelming, to say the least. A measly 30,000 copies were sold in the five years after its release. . Fans and critics alike found the album caustic and peculiar. The lyrics delved into salacious topics such as drugs and sadomasochism – a real shock to the cultural system of the late 1960s. Many found the cover art, a peelable pop art banana designed by Warhol, to be completely inappropriate. The album was so controversial that many record stores refused to carry it. It had virtually no air time. So, except for beatniks and flower children, no one really heard it. The Velvet Underground & Nico was too weird, too kinky, too outside-the-box for the general public.

The album was received very differently by the more progressive figures in the music world. Legendary producer Brian Eno was quoted by The Los Angeles Times as saying “The Velvet Underground didn’t sell many records, but everyone who bought one went out and started a band.” While this may not be categorically true, the sentiment definitely holds water. The Velvet Underground was certainly a band’s band, only accessible to those who could see past the obvious. David Bowie was enamored by them, citing them as a powerful influence, not only on his work, but on all music.

As the decades wore on, the ingenuity of The Velvet Underground & Nico was finally realized in full. The album collected innumerous accolades and recognitions – Rolling Stone placed the album at number 23 on their list of “The 500 Greatest Albums of All Time.” Bands across a plethora of subgenres credit their sound to The Velvet Underground, including R.E.M., Talking Heads, Pixies, The Strokes, Patti Smith, Sex Pistols… the list goes on and on. It is difficult to fully grasp the enormity of its impact – this album shifted the paradigm.

The Velvet Underground stood at the intersection of art and music, a load-bearing pillar of culture that went largely unnoticed. Only in retrospect can their expansive influence be seen and understood. The Velvet Underground & Nico is perhaps the most transgressive and original album of all time. Its significance cannot be overstated – the album changed the face of music forever. The Velvets didn’t just open doors, they blew them to smithereens. So far, no other album has matched the level of innovation displayed by this one. But, with influences like The Velvet Underground and all the other killer bands that have followed in their footsteps, something revolutionary is sure to be coming down the pipeline.