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Goodnight Ladies 4:19\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReleased: 10\/22\/2022\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lou Reed","offers":[{"title":"Default Title","offer_id":43835901182150,"sku":"YLKFUT-YQQB-00","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/Lou-Reed--Transformer-RSD-Exclusive-Colored-Vinyl-White_uzixo.jpg?v=1762299077"},{"product_id":"iggy-pop-iggy-pop-every-loser-vinyl","title":"Iggy Pop - EVERY LOSER [Vinyl]","description":"Iggy Pop - Iggy Pop - EVERY LOSER [Vinyl] \u003cbr\u003eBarcode: 075678628467 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eTracksCredits\u003cbr\u003e- Disc 1 -\u003cbr\u003e1 Frenzy\u003cbr\u003e2 Strung Out Johnny\u003cbr\u003e3 New Atlantis\u003cbr\u003e4 Modern Day Ripoff\u003cbr\u003e5 Morning Show\u003cbr\u003e- Disc 2 -\u003cbr\u003e1 The News for Andy (Interlude)\u003cbr\u003e2 Neo Punk\u003cbr\u003e3 All the Way Down\u003cbr\u003e4 Comments\u003cbr\u003e5 My Animus (Interlude)\u003cbr\u003e6 The Regency\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Punk\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Iggy Pop","offers":[{"title":"Default Title","offer_id":43836082356422,"sku":"IZRXEU-J574-00","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/iggy-pop-every-loser_ARMan.jpg?v=1762299267"},{"product_id":"iggy-pop-every-loser-indie-ex-blood-red-vinyl-vinyl","title":"EVERY LOSER (INDIE EX) (Blood Red Vinyl) [Vinyl]","description":"\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Punk\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Iggy Pop","offers":[{"title":"Default Title","offer_id":43836132688070,"sku":"IKSZA3-D7KY-00","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/iggy-pop-every-loser-indie-ex-blood-red-vinyl-_M10zB.jpg?v=1762299287"},{"product_id":"lou-reed-lou-reed-transformer-lita-exclusive-bronze-vinyl","title":"Lou Reed - Transformer (LITA Exclusive Bronze) [Vinyl]","description":"Lou Reed - Lou Reed - Transformer (LITA Exclusive Bronze) [Vinyl] \u003cbr\u003eBarcode: 019658756911 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eLou Reed’s second solo album Transformer is an album that everyone should own and without a doubt – Essential. Considered an influential landmark of the glam rock genre and anchored by Reed’s most successful single, “Walk on the Wild Side” along with “Perfect Day” and “Satellite of Love”. Produced by David Bowie and Mick Ronson, the album was released in November 1972 by RCA Records.\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eReleased: 03\/24\/2023\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lou Reed","offers":[{"title":"Default Title","offer_id":43836959981766,"sku":"34W2I9-24OZ-00","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/transformer-lita-exclusive-bronze_sW6FZ.jpg?v=1762299916"},{"product_id":"iggy-pop-iggy-ziggy-cleveland-77-silver-pink-splatter-vinyl","title":"Iggy \u0026 Ziggy - Cleveland '77 - Silver\/ pink Splatter [Vinyl]","description":"\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Iggy Pop","offers":[{"title":"Default Title","offer_id":43837392519366,"sku":"ZKQO8B-HIND-00","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/iggy-pop-iggy-ziggy-cleveland-77-silver-pink-splatter_HfakQ.jpg?v=1762300081"},{"product_id":"lou-reed-transformer-import-vinyl","title":"Transformer [Import] [Vinyl]","description":"\u003cul\u003e\r\n\t\u003cli\u003e12\" 180 gram 1xLP black vinyl with holofoil finish\u003c\/li\u003e\r\n\t\u003cli\u003eArt by Save Point\u003c\/li\u003e\r\n\t\u003cli\u003eLayout by Isa Alcántara\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003eDESCRIPTION\u003c\/p\u003e\r\n\r\n\u003cp\u003eIt is well known that comparisons seldom get to the root of the matter, but in the case of Lou Reed, for example, they certainly reveal the unassuredness of those people who made them. Is he or isn’t he the Chuck Berry or Sergeant Pepper of the Seventies, or is he deliberately building up an image of himself as an ultra-sensitive Frankenstein, who lived out his neuroses and drug trips in horrific sound? Some records are so unbelievably repulsive,« raged the magazine Rolling Stone, that one would best like to take physical revenge on the artists who commit such offences.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cbr\u003e\r\nThe album \"Transformer\", however, can by no means be classified as a case of ‘acoustic bodily harm’. It appeared just a few months after the somewhat unsuccessful appearance of Lou Reed’s fairly underground first release and rocketed straight into the charts. This production had two British guardian angels to help it on its way, namely David Bowie and Mick Ronson, both of whom obviously knew how to steer Reed’s songwriting qualities into safe waters, without watering down his biting sarcasm and humorous provocation.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cbr\u003e\r\nAnd that’s why grating guitar rock (\"Vicious\") is found alongside a bittersweet, tender ballad (\"Perfect Day\") and even an old-time jazz parody (\"Goodnight Ladies\") which is sung with a tongue a heavy as lead. Why then compare this highly original music mix with others, when it’s so much easier to hear this record for what it is - a truly cult album?\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003eARTIST BIO\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eLong before he was at the forefront of New York’s underground music scene, two-time Rock and Roll Hall of Fame inductee and Velvet Underground frontman Lou Reed (1942-2013) was a young songwriter, seeking to navigate his sound and establish his career.\u003c\/h3\u003e\r\n\r\n\u003cp\u003eA self-taught guitarist, the shy, Long Island-bred artist spent much of his youth seeking refuge in rock‘n’roll. As a teenager, Reed released his first single with his high school doo-wop group, The Jades. Yet, aside from that 1958 single and a narrow selection of Velvet Underground demos, there has been little opportunity to experience the full scope of Reed’s early artistic development.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn their notes for \u003ca href=\"https:\/\/lightintheattic.net\/collections\/lou-reed\/products\/words-music-may-1965-deluxe-edition\" target=\"_blank\"\u003e\u003cem\u003eWords \u0026amp; Music\u003c\/em\u003e\u003c\/a\u003e, Don Fleming and Jason Stern recall finding two particularly exciting tapes in the offices of Reed’s company, Sister Ray Enterprises. The first captured several of the artist’s formative recordings, including a 1958 rehearsal with The Jades (also known as The Shades). The tape also offers a snapshot of Reed’s foray into folk music around 1963-1964 while he was attending Syracuse University. Accompanied by his acoustic guitar and harmonica, the artist covers Bob Dylan’s ”Don’t Think Twice, It’s All Right” plus an instrumental rendition of “Baby, Let Me Follow You Down” and “Michael, Row the Boat Ashore.” Reed also delves into the blues with the brief “Lou’s 12-Bar Instrumental” and his “W \u0026amp; X, Y, Z Blues.\"\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe second tape that Fleming and Stern uncovered was even more intriguing: a 5-inch reel-to-reel that had been sitting in a sealed, self-addressed envelope for nearly five decades. By notarizing and shipping the package—postmarked May 11, 1965—Reed was securing a “poor man’s copyright” on his recordings while avoiding the costs of filing official paperwork. As evidenced on \u003cem\u003eWords \u0026amp; Music\u003c\/em\u003e, the artist also protected himself by introducing each song with “Words and music [or lyrics and music] by Lou Reed.” But what was most remarkable about this tape was that its contents bridged the gap between Reed’s development as a songwriter and his debut with The Velvet Underground. \u003c\/p\u003e\r\n\r\n\u003cp\u003eWhen these demos were recorded, Reed was back home, living with his parents, and working as a staff songwriter at Pickwick Records. Despite the fact that the Long Island City, New York label was churning out hundreds of “sound-alike” tracks and selling them at discounted rates, the position gave Reed ample experience to write, record, and perform in a variety of styles. Looking to add an edgier element to the label’s output, staff producer Terry Philips engaged Reed to front a faux group called The Primitives for a one-off dance song called “The Ostrich.” Philips started scouting additional group members who could look the part for live appearances.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAt a party in Manhattan, Philips met two avant-garde musicians who fit the roles perfectly: John Cale and Tony Conrad. Their friend, sculptor and drummer Walter De Maria, completed the group. Although “The Ostrich” never took off as a dance craze and the single failed to chart, Reed and Cale discovered a musical kinship—particularly when it came to sonic experimentation. Through the summer and fall of 1965, the two artists, along with guitarist Sterling Morrison and drummer Angus MacLise established themselves as The Velvet Underground. Tony Conrad was responsible for the band’s name, having shared a copy of Michael Leigh’s book The Velvet Underground with the group. In December of 1965, Maureen “Moe” Tucker replaced MacLise on drums and the art-rockers caught the attention of Andy Warhol, who, along with filmmaker Paul Morrissey, promptly took on a managerial role and introduced the quartet to the German-born singer, Nico.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAmong the gems on \u003cem\u003eWords \u0026amp; Music\u003c\/em\u003e are the earliest known recordings of “Heroin” and “I’m Waiting for the Man”—two essential tracks from the band’s highly influential 1967 debut, \u003cem\u003eThe Velvet Underground \u0026amp; Nico\u003c\/em\u003e. As Fleming and Stern note, “In Cale’s autobiography [2000’s What’s Welsh for Zen] he describes an early memory of Reed showing him songs that later became Velvet Underground songs ‘as if they were folk songs.’ And that is precisely the sound of the songs on this tape, Reed on acoustic guitar and harmonica, with Cale singing the harmony parts in a style closer to The Weavers or Peter, Paul \u0026amp; Mary, than the gritty sound that they pioneered a few months later.” Additionally, the tape reveals a rough sketch of “Pale Blue Eyes”—the latter of which wouldn’t come to light until the group’s third studio album, 1969’s\u003cem\u003e The Velvet Underground\u003c\/em\u003e.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFleming and Stern also point out a variety of interesting lyrical evolutions—particularly on “Heroin,” which Reed wrote in 1964. While Velvet Underground fans are familiar with a version that opens with “I don’t know just where I’m going,” this May 1965 recording begins with the confident “I know just where I’m going.” The demo also includes three lines that were later axed in the studio: “People selling people pound by pound\/And the politicians and the clowns\/And the do-gooders with their frowns.” Several other lyrical discrepancies offer insight into Reed and Cale’s writing process, including the swapping of “All the animals making sounds” for “All the politicians making crazy sounds.”\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe “Pale Blue Eyes” demo, meanwhile, underwent a complete rewrite before it was released—with only the first verse remaining intact. Conversely, “I’m Waiting for the Man’’ was nearly complete, with minor changes made in the final arrangement. An alternate take of the song, performed in a different key, also appears on \u003cem\u003eWords \u0026amp; Music\u003c\/em\u003e.\u003c\/p\u003e\r\n\r\n\u003cp\u003eOther notable selections from these tapes include “Buttercup Song”—a long, sought-after demo that Sterling Morrison once referenced, which has since gained mythic status among Velvet Underground fans. Another highlight is “Men of Good Fortune.” While the song shares its title with a track on Reed’s third solo album, 1973’s \u003cem\u003eBerlin\u003c\/em\u003e, it features completely different lyrics and music, taking inspiration from traditional Scottish and English “Child Ballads” that were popular with 60s folk artists.\u003c\/p\u003e\r\n\r\n\u003cp\u003e“Too Late,” another previously-unheard composition, harkens back to Reed’s doo-wop roots, while “Buzz Buzz Buzz” borrows from 50s R\u0026amp;B stylings. Also included is a Cale-fronted edition of “Wrap Your Troubles in Dreams,” which Nico recorded for her 1967 debut, \u003cem\u003eChelsea Girl\u003c\/em\u003e. Compared to the majority of the demos, Fleming and Stern remark that the song “doesn’t sound like a reflection of any genre, it sounds like The Velvet Underground. The convergence of Reed’s song with Cale’s avant-garde sensibilities gives the clearest example of their unique sound to come.”\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn his liner notes, Greil Marcus recognizes “The poverty in these songs—the bathtub-in-the-kitchen you hear in their clumsiness, the fifth-floor-walkup you can hear in their defiance—lets you hear them, now, as chalk on a wall, not the markings that wash away in the next rain but inscriptions that somehow become part of the brick, even if in a year or two no one will be able to read them.”\u003c\/p\u003e\r\n\r\n\u003cp\u003eHe adds, “Each of these songs is its own bildungsroman. They make a darkness, and Reed and Cale try to feel their way through it. In ‘Heroin,’ there’s just a hint of the hurricane it will become and the enormous authority it will carry two years later… ‘Pale Blue Eyes’ says go farther, there’s no end to this, and you know that they will go farther—they’re almost there.”\u003c\/p\u003e\r\n\r\n\u003cp\u003eAnd go farther they would. After four landmark titles with The Velvet Underground, Reed launched a long and celebrated solo career—releasing more than 20 albums, including the 1972 glam-rock classic \u003cem\u003eTransformer\u003c\/em\u003e, 1982’s \u003cem\u003eThe Blue Mask\u003c\/em\u003e, and 1989’s \u003cem\u003eNew York\u003c\/em\u003e.\u003c\/p\u003e\r\n\r\n\u003cp\u003eLou Reed's final solo album, \u003cem\u003e\u003ca href=\"https:\/\/lightintheattic.net\/collections\/lou-reed\/products\/hudson-river-wind-meditations-deluxe-edition-w-black-wax\" target=\"_blank\"\u003eHudson River Wind Meditations\u003c\/a\u003e,\u003c\/em\u003e stands out as a deeply personal musical endeavor, blending his fondness for creating drone music with a sincere interest in Tai Chi, yoga, and meditation. Serving as a contrast to his intense \"Metal Machine Music,\" the ambient soundscapes of this album, remastered by GRAMMY®-nominated engineer John Baldwin and designed by GRAMMY®-winning artist Masaki Koike, offer a unique experience. The physical editions include new liner notes by renowned Yoga instructor Eddie Stern, shedding light on Reed's dedicated practice. The release also features a captivating conversation between journalist Jonathan Cott and Laurie Anderson, Reed's wife, discussing the album and his commitment to Tai Chi. \u003c\/p\u003e\r\n\r\n\u003cp\u003eIn the 90s, he reunited with Cale for \u003cem\u003eSongs for Drella\u003c\/em\u003e, a tribute album to Warhol, while that same year, The Velvet Underground regrouped for a series of tours. Reed continued to write, perform, and innovate until his death in 2013.\u003c\/p\u003e\r\n\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eManufacturer: RCA LSP-4807\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Lou Reed","offers":[{"title":"Default Title","offer_id":43838583177414,"sku":"4Y6ONY-8I58-00","price":38.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/transformer-import_KTR5w.png?v=1762302867"},{"product_id":"velvet-underground-velvet-underground-velvet-underground-nico-picture-disc-vinyl-lp-vinyl","title":"Velvet Underground - VELVET UNDERGROUND \u0026 NICO (Picture Disc Vinyl LP) [Vinyl]","description":"Velvet Underground - Velvet Underground - VELVET UNDERGROUND \u0026amp; NICO (Picture Disc Vinyl LP) [Vinyl] \u003cbr\u003eBarcode: 889397102296 \u003cbr\u003e\u003cbr\u003e\u003cp\u003eThe Velvet Underground: Lou Reed (vocals, guitar, piano); Doug Yule (vocals, organ, bass); Maureen Tucker (vocals, percussion); Sterling Morrison (guitar, background vocals).\u003cbr\u003eOriginally released on MGM (4617).\u003cbr\u003eVelvet Underground \u0026amp; Nico: Lou Reed (vocals, guitar); Nico (vocals); Sterling Morrison (guitar, bass, background vocals); John Cale (electric viola, piano, bass, background vocals); Maureen Tucker (percussion, background vocals).\u003cbr\u003eRecorded at T.T.G. Studios, Hollywood California; Sceptor Studios and Mayfair Sound Studios, New York, New York in April \u0026amp; November 1966 \u0026amp; April-May 1967. Originally released on Verve (5008).\u003cbr\u003eBrian Eno once said that only a hundred people bought Velvet Underground records when they first came out, but those hundred people all went out and formed their own bands. The rest, of course, is history; the Velvet Underground was the catalyst that helped spark punk rock, and began the growth of an alternative branch within rock and roll's grand family tree. VU's was an unparalleled glimpse into the Summer Of Love's alter ego, complete with graphic, unapologetic descriptions of intravenous drug-use and risque sexual situations. Their 1967 debut, VELVET UNDERGROUND \u0026amp; NICO, was a tour de force that may never be equaled for its sheer radicalism in the face of rock convention.\u003cbr\u003eThe Velvet Underground also mapped out unconquered sonic territories. Bassist John Cale was weaned on deconstructing classical theory--the perfect avant-garde foil to help bring Reed's terse songs to life. Even more noticeable when he would switch to electric viola, Cale's sound evoked the terror of Reed's compositions, with the bowed strings screeching like a runaway subway car. Drummer Maureen Tucker played like no one before her. Her frantic swipes could mimic a galloping rush in \"Heroin,\" or work with the delicate, hesitant charm of \"All Tomorrow's Parties.\" Guitarist Sterling Morrison was a master of his craft, ably switching from oddly Middle-Eastern plucking (the eerie \"All Tomorrow's Parties\") to head-on rock (the ultra-edgy \"Waiting For The Man\"), always adding just the right element to fatten the cacophony. 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