From Velvet Darkness to Bowie's Light

Welcome to Spindl Sessions. Today, two records—and the unexpected decisions that shaped them.

In 1967, The Velvet Underground & Nico released their album "The Velvet Underground & Nico", which seemed destined for obscurity. Recorded in New York's Ludlow Street and later refined at TTG Studios in Hollywood, this bold creation was initially too much for record labels to handle. Its raw content and experimental sound, captured in songs like 'Heroin' and 'Venus in Furs', led to rejections by Columbia, Atlantic, and Elektra Records. Yet, Verve Records' Tom Wilson saw the potential and gave it a home. Andy Warhol's banana cover only added to its enigmatic allure, contributing to its eventual rise to platinum status in the UK. Next time you listen to 'Venus in Furs', listen for John Cale's unconventional viola, akin to an airplane engine, pushing boundaries just as Lou Reed intended.

Fast forward to 1971, and David Bowie is crafting "Hunky Dory", an album that would also initially struggle to find its audience. Recorded at London's Trident Studios, Bowie collaborated with the Spiders from Mars and pianist Rick Wakeman, who would soon join Yes. Despite the lack of initial commercial success, the album's introspective lyrics and eclectic musicality laid the groundwork for Bowie's future stardom. Songs like 'Oh! You Pretty Things' and 'Changes' explored themes of artistic reinvention and philosophical musings. And who could forget the dazzling piano work on 'Life on Mars?', a testament to Wakeman's contribution.

While The Velvet Underground's gritty realism and Bowie's theatrical innovation may seem worlds apart, they share a common thread: both albums, initially underestimated, went on to inspire generations. Listen closely, and you might just hear the echoes of these influential moments.

This has been Spindl Sessions. Keep it spinning.