The Velvet Underground — which at that time consisted of Doug Yule (vocals/guitar), Willie Alexander (keyboards/vocals), Walter Powers (bass guitar) and Maureen Tucker (drums) — had toured the United Kingdom and The Netherlands in October and November of 1971 to support its latest album, Loaded, which had seen a European release in March of that year. The plan was to record a second and final album for their record company, Atlantic Records, afterwards, [1] but Atlantic had lost faith and decided to issue an archive recording from 1970 featuring Lou Reed, Live at Max's Kansas City, instead. [2]
After the tour, band manager Steve Sesnick managed to get a recording deal with Polydor UK to record a final Velvet Underground album. Alexander, Powers and Tucker were sent back to the United States by Sesnick, however, presumably to retain maximum control over the finished product. [3] Thus, Yule was the only Velvet to actually perform on the album. Although Squeeze was released nominally as a Velvet Underground album, it could justifiably be regarded as a Doug Yule solo album in all but name.
The eleven songs that make up Squeeze were written by Yule and recorded with the help of Deep Purple drummer Ian Paice, with additional occasional saxophone and backing singer assistance. They range from Beatles-like whimsy ("Crash") via pop to typical 70s rock ("Mean Old Man").
Squeeze was recorded in the autumn of 1972 and released in the United Kingdom, France, Germany (all 1973) and Spain (1974)[4]. No singles were taken off it and the album did not chart. Yule assembled a backing band consisting of Rob Norris (guitar), George Kay (bass guitar) and Mark Nauseef (drums) to tour the United Kingdom in November and December 1972 to promote the upcoming album; a live recording from this tour is included on the 2001 live box set Final V.U. 1971-1973. After the tour, during which they were deserted by Sesnick, Yule also called it quits, bringing the Velvet Underground to an end[5].
Squeeze saw a number of re-issues in France during the 1970s and early 1980s. It has been out of print since, and has not been issued on compact disc. The status of Squeeze in the Velvet Underground's canon is generally regarded as dubious; the 1995 Velvets boxed set Peel Slowly and See includes the four studio albums from the Lou Reed era of the band, but excludes Squeeze. In the Peel Slowly and See liner notes, David Fricke dismisses Squeeze as "an embarrassment to the Velvets' discography."
这张地下丝绒的专辑其实已经不算是真正的VU专辑了，最多也就是挂着丝绒名的Doug Yule 的个人专辑,历来评价不高,不过VU的铁粉还是可以听听试试
下面提供试听地址(注:可能要注册帐户)

1988年美国Verve MGM Polygram首发CD，翻自1968年的黑胶唱片，封面采用全黑设计，没有黑色骷髅图案。

地下丝绒的第三张专辑，由于录音前期发生设备遗失的事故，以及创团成员John Cale的离开，这张专辑的声音平静内敛富有张力

这是“地下丝绒”的第一张专辑，也是摇滚乐历史上的一张划时代的经典之作。从专辑的名称上面可以清 楚地看到，这张专辑的诞生与西方现代艺术史上的伟大人物安迪·沃霍尔是密切相关的。这张“地下丝绒”的处女专辑就是由安迪·沃霍尔担任制作人的，而且专辑的名称也署上了他的大名。
在这张专辑里面，主唱卢·里德以他那干涩、沙哑的犹如破碎的玻璃一样的嗓音将1960年代美国青年对于现实的迷茫、反叛的态度表达得淋漓尽致，同时也对当时的社会现实作出了深刻的揭露。如在《我正在等待那个男人》这首歌里面，讲述的就是一个关于进行非法的海洛因交易的故事，把吸毒作为歌曲的主题，这在他们之前的乐队里面是非常罕见的，因此可以看出他们在音乐表达题材上面的大胆。而《星期天的早晨》这首歌则讲述了一个偏执狂在理想与现实之中挣扎的现实，他就像那个可怜的西西弗斯一样奔波在希望与绝望之间，这可以说是当时青年内心生活的真实写照。在《穿裘皮的维纳斯》这首歌里面，则表达了一个更为离经叛道的主题，那就是“性倒错”，他们以超越道德观的态度表达了自己对于“同性恋”这个当时还是一个禁忌的话题的看法。可见，他们在自己的音乐里面充分的体现了“自由”的精神，而这正是摇滚最为重要的精神财富。
在专辑之中担任了两首歌曲的主唱的女歌手尼柯，曾经主演过安迪·沃霍尔制作的几部电影，由于他的介绍，才成为了“地下丝绒”的一员。尼柯那种冷漠、飘忽，充满着厌世的没落气息的声音深刻地影响了后来无数的女歌手。