Before he formed the Velvet Underground, Lou Reed was a workaday songwriter trying to score radio hits.

The band blended Warhol’s Pop Art with Beat poetry, early rock ‘n’ roll and the European avant-garde, creating a sound that was often chaotic, noisy and abrasive. The band’s debut album, “The Velvet Underground and Nico,” sold poorly, but (supposedly) everyone who purchased a copy started a band.

Early FM was a wasteland and quickly became the domain of amateurs and risk-takers, including many stations and DJs who played music that flew in the face of mainstream trends. This history of the band's scrappy beginnings unpacks how it realigned the rock charts.

Few neighborhoods of the world stand out as more productive of a robust music scene than New York City's Greenwich Village, the bohemian launchpad of Joan Baez, Bob Dylan, and other folk artists of the 1960s and '70s. Expert David Browne discusses why it became so significant in this episode of "Sound Opinions."

- Musician Tom Petty (1950–2017)

The classically trained cellist moved to San Francisco in the early 1970s, mingling with the hippie movement and the Beat Generation. After arriving in New York in 1973, he began exploring the nascent punk and disco scenes, infusing them with his classical training; however, his eclectic style might've been part of the reason he never broke through during his lifetime. That variety, though, is what draws so many devoted listeners to his work today.

Richard Hell is punk royalty, known for his work with Television, the Heartbreakers, and the Voidoids. He's also a well-traveled poet, novelist, critic, and memoirist, as this detailed profile from Poetry Foundation's Andrew Marzoni shows.

Punk sought to dismantle the self-importance of mainstream rock, favoring simple arrangements, short songs, and raw passion over sophistication or expertise. When the Buzzcocks struggled to find a label to release their debut record, “Spiral Scratch,” they took that do-it-yourself approach and applied it to business by releasing it themselves.

The singer was living in the San Diego area when a friend mailed him a demo tape recorded by Jeff Ament and Stone Gossard that lacked vocals. Vedder wrote lyrics for the three songs (one of which would later become the hit "Alive") and tracked his own vocals on the tape, then mailed it back to the band. Two weeks later, they invited him to move to Seattle to join the band.

Anderson was a working performance artist in New York through the 1970s and pressed a small run of the song—an idiosyncratic, vocoder-driven piece that sounded unlike anything on pop radio. Thanks to a push from influential British DJ John Peel, the song became an unexpected hit, propelling Anderson (and her art) into the mainstream.

The method captured a room of live musicians and transmitted the sound into a basement outfitted with more speakers and microphones. That sound was then sent into the central control room, producing a massive recording that sounded unlike anything else in pop music.

The Thin White Duke thought the iconic artist, known for his classic Americana, would be the perfect artist for his campy 1975 album, “Young Americans.” Bowie called the Rockwell residence and made the request, but was told that Rockwell would need around six months to complete the painting, which Bowie felt was too long.

The illustrator’s anxiety-ridden comics adorned flyers for LA punk bands, defining a distinctive aesthetic for the burgeoning genre. That work caught the eye of Paul Reubens, who was staging a late-night show with his persona Pee-wee Herman.

Rockwell left the magazine in 1963 and joined Look magazine, where he began depicting a more complex America than he had at the Post. His work at Look dealt with racial segregation and violence, and often made unambiguous statements about real events.

Andy Warhol wasn't just an artist—he was a cultural force. From his early days working as a New York illustrator to managing The Velvet Underground and creating experimental films, Warhol blurred the line between art and commerce, leaving a legacy that changed pop culture forever.

After getting his start at Boys’ Life, Rockwell began illustrating advertisements for products like Jell-O and Orange Crush. Below is one of Rockwell’s advertisements for Jell-O, from 1923.

Nirvana's breakout album inspired other major labels to hunt for similarly loud, countercultural bands. That led to a fascinating period in popular music that found defiantly anticommercial indie acts like the Melvins, the Butthole Surfers, and Ween (among many, many others) suddenly offered lucrative contracts.

He began taking art classes at 14, while still in high school, but by 1910, he left traditional schooling to focus on his training at the National Academy of Design. He transferred to the Art Students League soon after to study under Thomas Fogarty, who taught him the particulars of commercial illustration, and George Bridgman, who was known for anatomically precise portraits.

When the Sex Pistols first ventured out to a small music hall in Manchester, only 40 people were in attendance. But, like the longtail influence of the first Velvet Underground album, the show's impact was massive: In the crowd that night were members of Buzzcocks, the Smiths, and Joy Division.

Broadway’s early decades were heavily influenced by opera and vaudeville, but songwriters in the 1920s began exploring more narrative-based songwriting and psychologically complex characters. That trend would continue in the following decades, though it would evolve in even more nuanced ways.

“Train in Vain” was a hit in the US, something that hadn’t yet happened for other first-wave punk acts. But the song was added to “London Calling” at the last minute, after the record jackets were already printed, making it one of the more popular “hidden tracks” in popular music.

The singer-songwriter released only two albums in her lifetime: 1971's self-titled and 1973's "Heart Food." Critics and contemporaries (including Graham Nash and David Crosby) praised both, though they were commercial flops. She died of a drug overdose in 1979 and had grown so obscure by then that no obituary was published. In the early 2000s, her recordings were reissued and found a new generation of fans.

Bob Dylan remained unpredictable, even 40 years into his career. Look no further than his satellite radio show from the 2000s, which found the legendary singer-songwriter riffing on a different theme every week. In this episode that theme is “Nothing.” He talks about Dr. Dre’s “Nuthin’ but a G Thang,” quotes several lines from Shakespeare, and speaks at length about his love for the musical “Porgy and Bess.” It’s a wild, unpredictable ride, just like the rest of his career.

After graduating from the Art Students League of New York, Rockwell found work illustrating for Boys’ Life, the magazine of the Boy Scouts of America. He went on to create images for over 50 magazine covers and to design the organization’s annual calendars.

Dylan's early records were modeled after his heroes Woody Guthrie and Pete Seeger, meaning they were often acoustic numbers filled with lyrical wordplay and political themes. "Masters of War," from 1963's "The Freewheelin' Bob Dylan," is a perfect example of the form, railing against politicians and war profiteers.

The label, formed by Spector and Lester Sill, released most of Spector's early "wall of sound" recordings, including the Crystals' "Then He Kissed Me" and the Ronettes' "Be My Baby." This 1963 compilation, "Philles Records Presents Today's Hits," collects some of the label's early hits.

Record players were rarities in the 1920s, but Holiday had access to one at Alice Dean's, the brothel in Baltimore where she scrubbed floors. It was there that she listened to her heroes, Louis Armstrong and Bessie Smith.

Warhol produced iconic album art for The Rolling Stones and The Velvet Underground. He also inspired rappers Jay-Z and Tyler, the Creator. Warhol’s immense influence on art and pop culture elevated him to celebrity status, and his identity and style continue to be referenced in sometimes unexpected corners of cultural consciousness.

In the mid-70s, Dylan assembled a ragtag group of musicians and poets—including Joni Mitchell, Joan Baez, and Allen Ginsberg—he called the Rolling Thunder Revue. Rather than playing stadiums in major markets, they played smaller venues in smaller cities for a more intimate experience. The tour yielded some of the most exuberant versions of Dylan songs, captured in this 1976 performance in Fort Collins, which originally aired on NBC as “Hard Rain.”

“Born to Run” became a hit in part due to its massive sound, something that was only possible thanks to the magic of the studio. That continued with 1980’s “The River,” which gave Springsteen his first top 10 single. With “Nebraska,” though, Springsteen abandoned the studio, opting to release the spare recordings he made at home, by himself. At the time, such a decision was a rarity for a platinum artist.

The hilarious 1963 story offered insight into how Americans were shifting away from elite interests to “low culture” by focusing on customized cars and their teen enthusiasts in Southern California. Wolfe pokes fun at the trend while also recognizing young people’s post-war desire for freedom, individualism and creativity.