u/Ebony-Chilipepper

I kept thinking Lou Reed's voice sounded so familiar, and then it finally hit me: Doesn't he sound like Mick Jagger? Or is it just me? I noticed a real similarity in that physical, rhythmic delivery rooted in blues and R&B. Specifically, things like biting hard on the consonants, dragging out the tail ends of phrases, and not strictly locking into pitch. Hypothethically speaking, if he had sung in a low, deadpan murmur—creepy and devoid of emotion—the whole record would've gone in a completely different direction. His style really contributes to the pop appeal of The Velvet Underground & Nico. It makes you realize the album's weirdness actually comes from the tones, the playing, and the arrangements.

I recently picked up The Velvet Underground & Nico. To be honest, my immediate impression was, "Hey, this is surprisingly pop and totally listenable." All the talk about it being avant-garde and difficult really only applies to the context of 1967 music history. To modern ears like mine—having grown up hearing similar sounds from the '80s and '90s—it doesn't sound that alien at all. Of course, the weirdness is still there. It hits that sweet spot: just weird enough, yet surprisingly catchy.

I recently heard that Andy Summers was heavily influenced by Allan Holdsworth, so I decided to dive back into his music to see for myself. While I can definitely catch a few similarities here and there, I feel like I'm definitely missing some of the bigger picture or more subtle connections.I’d love to get some insight from the experts here. Could anyone break down a technical/analytical comparison between the two? Also, I'd appreciate some recommendations for where to start with Allan's discography!

[1] The "fail": The paper doesn't even make it past Andy’s lap.

[2] The "win": Direct hit on Sting! Love the charming way he squeezes his eyes shut—such a classic moment.

To get my sound closer to the original recording of "Every Breath You Take," I’ve been experimenting a lot with my right-hand technique lately. Here’s what I’ve figured out so far:

• Palm muting: Keep the heel of the right hand anchored on the bridge. (This is a complete given, of course—I should have realized this ages ago.)
• Pick angle and position: Pick the strings as close to the bridge as possible, keeping the pick almost perpendicular to the strings. I noticed that the increased string tension there helps create that mechanical, tight, "Andy-esque" percussive sound.
• Pick depth: Only use about the top 5mm of the pick. Any deeper and the resistance becomes too much to manage.
• Strict down-picking: Stick to down-strokes only.

I’m playing a modded cheap Stratocaster plugged straight into the amp, but I can feel myself getting closer to Andy’s sound every day.
If anyone knows any other techniques to make it sound even more authentic, I’d love to hear them. I’m planning to get a compressor soon, so I should have the gear side covered. Also, my left hand is already used to those stretch chords, so no issues there. Right now, I’m at the stage where I’m trying to play the whole thing—both left and right hands—without looking.