In the mid 1960s, while the airwaves were filled with jangly folk rock and British Invasion pop, a very different kind of band was taking shape in New York City - a band that would, in time, be called one of the most influential in rock history, even if hardly anyone bought their records when they were new. The story began with Lou Reed, a Long Island native who had already been honing his craft as a songwriter for Pickwick Records, churning out budget rock & roll singles. Reed’s literary leanings and fascination with street life gave his lyrics an edge uncommon in the pop world. Around the same time, Welsh born John Cale, a classically trained viola player steeped in the avant-garde, had come to New York to work with experimental composer La Monte Young. Reed and Cale met in 1964 and quickly recognized that their shared taste for pushing musical boundaries could lead somewhere unusual. They formed a band with guitarist Sterling Morrison, a college friend of Reed, and drummer Angus MacLise. The name “The Velvet Underground” came from a paperback book about hidden sexual subcultures in America - perfectly matching the band’s fascination with the shadowy, unspoken sides of life. In late 1965, drummer MacLise left (reportedly after objecting to the band playing their first paid gig). He was replaced by Maureen “Moe” Tucker, whose minimal, tom-heavy drumming style became an essential part of their sound. That same year, the band caught the attention of pop art icon Andy Warhol. Warhol became their manager and creative patron, giving them a platform as part of his multimedia “Exploding Plastic Inevitable” shows. He also introduced the band to Nico, a German model and singer, whose detached, icy voice contrasted strikingly with Reed’s streetwise delivery. Warhol insisted she sing on their debut album, giving it the awkward but unforgettable billing: “The Velvet Underground & Nico”. Released in 1967, “The Velvet Underground & Nico” featured songs about drugs (“Heroin”, “I’m Waiting for the Man”), unconventional sexuality “Venus in Furs”, and urban alienation “All Tomorrow’s Parties”. With its blend of Reed’s gritty lyrics, Cale’s avant-garde drones, and Tucker’s primal beats, the album was unlike anything else in rock. The famous banana cover, designed by Warhol, became iconic - but the record sold poorly at the time. Brian Eno would later famously (and perhaps apocryphally) say, “The first Velvet Underground album only sold 10,000 copies, but everyone who bought it started a band”. The follow-up, “White Light/White Heat” (1968), abandoned the delicate textures of the debut for raw, noisy experimentation. Its title track was a drug-fueled rave-up, while “Sister Ray” sprawled across 17 minutes of distorted chaos. But behind the scenes, tensions were rising between Reed and Cale over the band’s direction. Reed wanted a more melodic approach; Cale leaned toward the avant-garde. By late 1968, Cale was out, replaced by Doug Yule. With Yule, the band recorded “The Velvet Underground” (1969), a softer, more introspective collection. Songs like “Pale Blue Eyes” and “Candy Says” showed a gentler side, while still exploring taboo themes with poetic directness. In 1970, the band released “Loaded”, named after Atlantic Records’ request for an album “loaded with hits.” It contained two of Reed’s most enduring songs, “Sweet Jane” and “Rock & Roll”, but by the time the album was out, Reed had left the group. Yule carried on under the Velvet Underground name for a final, Reed-less album “Squeeze” in 1973, though by then the spirit of the original band was gone. During their brief life, The Velvet Underground never cracked the charts, but their influence on punk, alternative, indie, and art rock is immeasurable. Bands from R.E.M. to U2, Sonic Youth to The Strokes, have drawn from their minimalist beats, fearless lyrics, and experimental soundscapes. Reunions were rare - a short European tour in 1993, a few special appearances - but the legend of The Velvet Underground only grew. Today, their music is seen not just as ahead of its time, but timeless: an unflinching portrait of the beauty and darkness in modern urban life.