The Complete Matrix Tapes | ||||
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Live album by | ||||
Released | November 20, 2015 | |||
Recorded | November 26–27, 1969 | |||
Venue | The Matrix, San Francisco | |||
Genre | ||||
Length | 274:42 | |||
Label | ||||
The Velvet Underground chronology | ||||
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The Complete Matrix Tapes is a live album by the New York City-based experimental rock band the Velvet Underground, released on November 20, 2015. It features unexpurgated recordings of the band's two-night stint on November 26 and 27, 1969, at San Francisco club The Matrix, owned and operated by Jefferson Airplane's Marty Balin.
The band's appearance represents one of the rare occasions on which the Velvet Underground was professionally recorded in a live setting, and while several of the performances in this set have been released in various fashions and configurations before (in particular, on the album 1969: The Velvet Underground Live and the 45th anniversary reissue of The Velvet Underground , as well as via much lower-quality audience recordings in Bootleg Series Volume 1: The Quine Tapes ), it is the first time all of them have been collected together. Additionally, this represents the first time much of this material has been presented in a CD version sourced directly from the original tapes, which had been considered lost for decades, and nine tracks from this collection had previously been completely unreleased in any configuration. The original reels were held by Matrix soundman/manager Peter Abram. Though long rumored, the recordings had not been heard other than the tracks issued on 1969: The Velvet Underground Live . It was not until the late 90's that Abram was persuaded to bring the beautifully preserved reels to a recording studio to do a proper transfer/mix-down. He would only allow short snippets of the 22 tracks to be burned onto a sampler disc in order to verify the high audio quality to interested labels. The original transfer was financed and executed by Sal Mercuri and Pat Thomas. Universal Music and The Velvet Underground Partnership eventually struck a deal with Abram to allow for a proper and complete release of the performances. During the mixing process, a gap was discovered in one of the very lengthy performances of "Sister Ray". This gap was caused by the time it took to change the reel during the performance. It was decided restore the missing music using part of the same performance from the intact, albeit sonically far inferior version available on Bootleg Series Volume 1: The Quine Tapes .
Two of the songs from these performances, "Over You" and "Sweet Bonnie Brown/It's Too Much", have never been released as studio recordings by the band, and it is not known whether the band ever recorded them in the studio. Songs such as "Sweet Jane" and "New Age" feature significantly different or expanded lyrics from their eventual studio counterparts (which would both be released in 1970 on Loaded), while others such as "Sister Ray" and "White Light/White Heat" are substantially longer than their studio versions.
Aggregate scores | |
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Source | Rating |
Metacritic | 86/100 [1] |
Review scores | |
Source | Rating |
Allmusic | [2] |
The Austin Chronicle | [3] |
Classic Rock | [4] |
The Guardian | [5] |
Pitchfork | 8.5/10 [6] |
Q | [7] |
Record Collector | [8] |
Robert Christgau | A− [9] |
Rolling Stone | [10] |
Uncut | [11] |
The album – which received a Metacritic score of 86 based on 13 reviews (indicating "universal acclaim") – was widely praised both for its sound quality and for the power of its performances. [6] [10] [2]
All songs written by Lou Reed, except "Black Angel's Death Song" by Reed and John Cale, and "Sister Ray" by Reed, Cale, Sterling Morrison and Maureen Tucker.
No. | Title | Length |
---|---|---|
1. | "I'm Waiting for the Man" (**) | 13:07 |
2. | "What Goes On" (*) | 8:53 |
3. | "Some Kinda Love" | 4:58 |
4. | "Heroin" | 8:07 |
5. | "The Black Angel's Death Song" (**) | 6:19 |
6. | "Venus in Furs" | 4:37 |
7. | "There She Goes Again" | 3:13 |
8. | "We're Gonna Have a Real Good Time Together" (*) | 3:20 |
9. | "Over You" (*) | 2:23 |
10. | "Sweet Jane" | 5:11 |
11. | "Pale Blue Eyes" | 6:05 |
12. | "After Hours" | 2:56 |
Total length: | 69:09 |
No. | Title | Length |
---|---|---|
1. | "I'm Waiting for the Man" (*) | 6:33 |
2. | "Venus in Furs" (**) | 5:11 |
3. | "Some Kinda Love" (*) | 4:04 |
4. | "Over You" | 3:02 |
5. | "I Can't Stand It" (*) | 7:54 |
6. | "There She Goes Again" | 2:50 |
7. | "After Hours" | 2:30 |
8. | "We're Gonna Have a Real Good Time Together" | 3:40 |
9. | "Sweet Bonnie Brown / Too Much" (*) | 7:50 |
10. | "Heroin" (*) | 10:05 |
11. | "White Light/White Heat" (**) | 9:27 |
12. | "I'm Set Free" | 4:46 |
Total length: | 67:52 |
No. | Title | Length |
---|---|---|
1. | "We're Gonna Have a Real Good Time Together" | 3:15 |
2. | "Some Kinda Love" | 4:38 |
3. | "There She Goes Again" | 2:59 |
4. | "Heroin" (*) | 8:27 |
5. | "Ocean" (*) | 10:59 |
6. | "Sister Ray" (**) | 36:54 |
Total length: | 67:12 |
No. | Title | Length |
---|---|---|
1. | "I'm Waiting for the Man" | 5:30 |
2. | "What Goes On" | 4:31 |
3. | "Some Kinda Love" | 4:03 |
4. | "We're Gonna Have a Real Good Time Together" | 3:24 |
5. | "Beginning to See the Light" (*) | 5:30 |
6. | "Lisa Says" (*) | 5:59 |
7. | "New Age" (*) | 6:28 |
8. | "Rock & Roll" (* / **) | 6:54 |
9. | "I Can't Stand It" | 6:52 |
10. | "Heroin" | 8:17 |
11. | "White Light/White Heat" (*) | 8:42 |
12. | "Sweet Jane" (*) | 4:19 |
Total length: | 70:30 |
All performances previously unreleased, except:
(*) Performance appears on 1969: The Velvet Underground Live (1974), in a different mix.
(**) Performance appears on Bootleg Series Volume 1: The Quine Tapes (2001), from an alternate audience recording source.
The Velvet Underground & Nico is the debut studio album by the American rock band the Velvet Underground and the German singer Nico. Released by Verve Records in March 1967, the album underperformed in sales and polarized critics upon release due to its abrasive, unconventional sound and controversial lyrical content. It later became regarded as one of the most influential albums in rock and pop music and one of the greatest albums of all time.
John Davies Cale is a Welsh musician, composer, and record producer who was a founding member of the American rock band the Velvet Underground. Over his six-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.
The Velvet Underground is the third studio album by the American rock band the Velvet Underground. Released in March 1969 by MGM Records, it was their first record with multi-instrumentalist Doug Yule, who replaced previous member John Cale. Recorded in 1968 at TTG Studios in Los Angeles, California, the album's sound—consisting largely of ballads and straightforward rock songs—marked a notable shift in style from the band's previous recordings. Lead vocalist Lou Reed intentionally did this as a result of their abrasive previous studio album White Light/White Heat (1968). Reed wanted other band members to sing on the album; Yule contributed lead vocals to the opening track "Candy Says" and the closing track "After Hours" is sung by drummer Maureen Tucker.
Peel Slowly and See is a five-disc box set of material by the Velvet Underground. It was released in September 1995 by Polydor.
Bootleg Series Volume 1: The Quine Tapes is a triple live album by the Velvet Underground. It was released on October 16, 2001, by Polydor, the record label overseeing the band's UMG back catalogue. It was recorded by Robert Quine, a fan of the band who would later become an influential guitarist, playing with Richard Hell, Lou Reed, and Lloyd Cole.
Holmes Sterling Morrison Jr. was an American guitarist, best known as one of the founding members of the rock band the Velvet Underground, usually playing electric guitar, occasionally bass guitar, and singing backing vocals.
Douglas Alan Yule is an American musician and singer, most notable for being a member of the Velvet Underground from 1968 to 1973, serving as the bassist, guitarist, keyboardist and vocalist.
Squeeze is the fifth and final studio album released under the Velvet Underground band name, recorded in the autumn of 1972 and released in February 1973 by Polydor Records. The album features Doug Yule from the Lou Reed-era lineup of the group, who wrote and recorded the album almost entirely by himself. Yule had joined the Velvet Underground in October 1968, prior to the band recording their self-titled third album, and Yule had also contributed significantly to the fourth album, Loaded. Following the departures of the remaining founding members, Yule was positioned as the de facto leader of the band. Longtime drummer Maureen Tucker was slated to appear on Squeeze by Yule, but she was dismissed by the band's manager, Steve Sesnick.
1969: The Velvet Underground Live is a live album by the Velvet Underground. It was originally released as a double album in September 1974 by Mercury Records. The September 1988 CD re-release was issued as two separate single CD volumes, with one extra track per disc. Since many of the band's studio albums were out of print in the United States from the early 1970s through the mid-1980s, 1969 was one of the more popular albums by the band, and is a fan favorite. Spin magazine's Alternative Record Guide included it in the top 100 alternative albums of all time in 1995.
Gold is a two-CD compilation album by the Velvet Underground. It was released for the North American market on June 14, 2005, by Polydor, the record label that oversees the band's Universal Music Group back catalogue.
Another View is an outtakes compilation album by the Velvet Underground. It was released in 1986 by Verve Records and is composed of material recorded between 1967 and 1969.
VU is a 1985 album by the American musical group the Velvet Underground, recorded 1968–69 and released in February 1985 by Verve Records.
"Sister Ray" is a song by the Velvet Underground that closes side two of their 1968 album White Light/White Heat. The lyrics are by Lou Reed, with music composed by John Cale, Sterling Morrison, Maureen Tucker and Reed.
"Femme Fatale" is a song by American rock band the Velvet Underground from their 1967 debut album The Velvet Underground & Nico, with lead vocals by Nico.
"White Light/White Heat" is a song recorded by the American rock band the Velvet Underground. It was released as a single in late November 1967 with the B-side "Here She Comes Now". The following year it appeared as the title track on their second studio album of the same name.
"Sunday Morning" is a song by the Velvet Underground. It is the opening track on their 1967 debut album The Velvet Underground & Nico. It was first released as a single in December 1966. The song is written in the key of F major.
"All Tomorrow's Parties" is a song by the Velvet Underground and Nico, written by Lou Reed and released as the band's debut single in 1966. The song is from their 1967 debut studio album, The Velvet Underground & Nico.
"Venus in Furs" is a song by the Velvet Underground, written by Lou Reed and originally released on the band's 1967 debut album The Velvet Underground & Nico. Inspired by the book of the same name by Leopold von Sacher-Masoch, the song includes sexual themes of sadomasochism and bondage.
"Here She Comes Now" is a song released by the American rock band the Velvet Underground in January 1968, from their second studio album White Light/White Heat. As the shortest song on the album, the performance and mix of the song are both considered simple and traditional, making it somewhat distinct from the other five songs on the album, all of which contain some degree of experimental or avant-garde elements in terms of sound.
The Velvet Underground was an American rock band formed in New York City in 1964. It originally comprised singer and guitarist Lou Reed, Welsh multi-instrumentalist John Cale, guitarist Sterling Morrison and drummer Angus MacLise. In 1965, MacLise was replaced by Moe Tucker, who played on most of the band's recordings. Though their integration of rock and the avant-garde earned them little commercial success, they are now widely regarded as one of the most influential bands in rock, underground, experimental, and alternative music. Their provocative subject matter, experimentation, and nihilistic attitude were also instrumental in the development of punk rock, new wave and several other genres.