Lovers of bespoke, limited edition, audiophile reissues are living in a golden age as new audiophile reissue series continue to be launched. One that debuted recently is the Vinylphyle series. In this roundup, three of the initial releases in the series will be covered. They are The Velvet Underground & Nico from The Velvet Underground, originally released in March of 1967 on Verve Records; Northern Lights-Southern Cross from The Band, originally released in November of 1975 on Capitol Records, and Exodus from Bob Marley & The Wailers, originally released in 1977 on Island Records.
The Velvet Underground & Nico by The Velvet Underground may not be considered an audiophile recording. Still, it’s easily one of the most influential albums of all time, with its influence felt more overtly years after the album’s release. While Lou Reed is often the member of the group most talked about, and who would have a long and highly regarded career, all of the members here (which also includes John Cale, Sterling Morrison, Moe Tucker, and Nico) contributed in key ways.
Cale was Reed’s primary collaborator at various points in their career and an innovative musician. Tucker was more influential as one of the few female drummers in music at that time. Morrison’s contributions were more subtle. Nico, although she adds a sophisticated European glamour to the group, offers a stark contrast to some of the darker, dissonant music here, with her lovely lead vocals on “Femme Fatale,” “All Tomorrow’s Parties,” and “I’ll Be Your Mirror.”
These three tracks work perfectly with the album’s opening number, “Sunday Morning,” proving that, amidst the dissonant decadent squalor of such songs as “I’m Waiting for the Man,” “Heroin,” and “Venus in Furs,” there are some beautiful and softer tracks at the heart of this album.
The sound quality is quite good and a testament to Tom Wilson’s original production. Andy Warhol is also listed as producer, but that was more of an abstract sobriquet that reflected his artist’s vision of the group, with his iconic banana cover artwork emblematic of his avant-pop-art, high/low art commercial approach. The first pressing of this reissue has been out of print for a long time.
Northern Lights-Southern Cross from The Band is another interesting choice, as, like The Velvet Underground, The Band was a highly influential group that began their recording career with a sound out of step with the hippie psychedelic music of the day, and a musical approach also far from that of The Velvet Underground.
The release maintained some of the group’s earlier rustic roots. Still, by this point, the group had expanded their musical palette and were very much part of the FM mainstream music of the day with songs like “Arcadian Driftwood” and, although not part of this collection, “Christmas Must Be Tonight,” recorded during the sessions for this project but not released until 1977. The album came out before their swan-song concert, The Last Waltz, in November of 1976, and was their first studio outing of all new music since Cahoots in 1971. Their next studio effort, Islands, released in 1977, would be the last from the original five-piece lineup.
The sound throughout, like on all of The Band’s recordings, is impeccable. The group shares production credits with engineering and mixing led by Rob Fraboni.
Exodus by Bob Marley and the Wailers is an album that has been reissued many times over the years. Bob Marley and the Wailers had been around for years before they began their commercial ascent, beginning with their signing to Island Records. They released two albums on Island in 1973—Catch A Fire and Burnin’—which were the last two albums where Peter Tosh and Bunny Wailer were part of the group.
Burnin’ included such classics as “Get Up, Stand Up” and “I Shot the Sheriff.” Natty Dread followed in 1974 with the staples “Lively Up Yourself” and “No Woman, No Cry.” The group waited 2 years before releasing Rastaman Vibration in 1976. With each one of these albums, the group’s popularity, influence, and mainstream acceptance continued to grow, helped along by Eric Clapton’s hit cover of “I Shot the Sheriff” in 1974, the group’s Live! concert album in 1975, and reggae’s influence on the emerging British punk explosion and Ska revival.
Exodus, released in 1977 and perhaps the group’s most cohesive effort, was perfectly positioned for a Vinylphyle release and included many classics; the entirety of side two, oddly enough, made up part of what would be considered a perfect best-of album. It was their biggest seller at that point. The album has always been perfectly suited for an audiophile release, with its deep bass, tight rhythms, and accessible studio production. The album came at the end of what must be considered their peak, although their next album, Kaya, released in 1978, is also a favorite of many fans.
These Vinylphyle releases are 180-gram pressings at RTI that come in archival sleeves, gatefold packages, with OBI-strips, plastic outer bags, and a four-page insert with tape-box photos and liner notes. The Velvet Underground album comes with a replica of the original banana cover, which can be peeled off. The Band and Bob Marley and the Wailers albums include photos in the insert. These are excellent reissues and as good as any recent audiophile series.
GRADED ON A CURVE:
The Velvet Underground & Nico, The Velvet Underground & Nico
B+
The Band, Northern Lights-Southern Cross
B
Bob Marley & The Wailers, Exodus
A-
