THE VELVET UNDERGROUND I Met Myself in a Dream // 335 Pg Glossy History Ltd Ed

Description

I Met Myself in a Dream...That's The Story of the Third Album
184 Photos taken in Los Angeles while they were recording the third album,
The Velvet Unde
rground
.
Most never before seen!
PLUS Illustrated discography of the album--all releases: acetates, promo LPs, 45s, 8-track, reel-to-reel, cassette
PLUS Promo material, press clippings, advertisements, trade ads, interviews, club ads
EVERYTHING Velvet Underground 1968-1969 and the third album
500 copies only, high quality printing hardback--one for the shelf, one for the ages
The people's reviews are in!
P
atrik F
says...
Mine has arrived! Stunningly beautiful.
Marc says...
Got it yesterday. Amazing. You guys are the greatest. Thanks for all that you have done and do.
Rick R says...
My book arrived today.  WOW!!!!!!!!!!!!!!!!!  about 90% of these stunningly clear shots I have never seen before!!!!!  Kudos to all involved!
Roger M says...
received the book thank u it looks fantastic
Derek S says...
Book arrived, thank you!!! It's marvelous.
Martin S says...
It just arrived. What a treat!
I'm going to enjoy this a lot.
It's incredible.
Thanks again.
Dan M says...
I just wanted to say that the
I Met Myself in a Dream
book far exceeded my
expectations. It’s as much a true work of Art as the album it represents.
Thank you to you and your collaborators !
Holy s***.
That is some f****** book.
Beautiful.
Motherf***er is heavy.  In every sense.  Wonderful.
✌🏻
Penn
Rolling Stone says...
"A deep dive into what remains for some the supreme Velvets LP, their self-titled third album, came out of a collaboration between three of the world’s most devoted Velvet Underground archivists — M.C. Kostek, Alfredo García, and Ignacio Juliá. I Met Myself In A Dream… That's the Story of the Third Album (The Velvet Underground Appreciation Society) is a limited-edition book centered on photos taken by Sandy Schor during and around the 1968 recording sessions. Intended as publicity stills and album art, the images have great intimacy: Reed tuning a 12-string Gibson hollow body; the band set up behind ratty padded sound baffles, preparing to record in real time; and in-studio smoking breaks (Mo Tucker seems a Marlboro gal). Shots illuminate Reed’s affectionate relationship with Tucker. In one, they grin at each other, maybe the tambourine they pass between them. In another, the band poses outdoors in a verdant wood, Reed very high-Sixties in velvet slacks and a flowered, ruffled blouse of sorts, doubled by Tucker in a wide collared man’s shirt and jeans. In portraits, Doug Yule looks soulful in paisley; ditto Sterling Morrison, in one photo almost literally hugging a tree. The book also documents the album’s physical release, marketing material, and a startling array of obscure press notices (about the only kind the band got at the time). At the tail end of 1968 — after the departure of John Cale and the souring of the band’s relationship with Warhol, in the wake of the King and Kennedy assassinations and the Chicago and Washington riots — the third album was born in tremendously dark times, not unlike our own a half-century later, and Reed’s music responded accordingly. “I’ve gotten to where I like ‘pretty’ stuff better,” he told his frenemy Lester Bangs, in a quote used in the book’s excellent introductory essay. “You can be more subtle, really say something and sort of soothe, which is what a lot of people seem to need right now.”
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