"Now that’s the essence of Mod" - Bowie Covering the Velvet Underground Before the First VU LP Released in US/The Deviants Covering "Prominent Men" 1965-1966?

Is the music game only about one-upmanship? Who was hep to who at the earliest? Do you really care? I do. Grady has recently pointed out that Bowie covered "I'm Waiting for the Man" as early as 1967, which turns out to be before the first VU lp even came out in the US! I even had the track on the Bowie "Rare and Well Done" cd but as boots go, it had the date listed as a 1969 demo. That boot also has the track "Litle Toy Soldier" with its Small Faces-ish rewrite of "Venus in Furs" listed as 1969 as well. According to this excellent and illuminating write-up, which lays out the timeline, the who and how, it demonstrates that the proverbial race to the courthouse door does matter if you care about such things. Or is it "first in time, first in possession"? “Now that’s the essence of Mod,” Bowie boasted [about covering the VU before the lp was even out]." Turns out "Little Toy Soldier" dates from 1967 as well, again with the Riot Squad. Not so fast flash. Mick Farren had an acetate of the 1965 VU demos (stolen from Joe Boyd!) that eventually became the first disc of the "Peel Slowly and See" box set around the same time (1965-1966) so maybe he can claim the hep crown from old carrot top. We need Mick to see if he can scrape up some rehearsal tapes to back up his claim! First lets hear Bowie tackle Lou twice in 1967: What I can say with absoulte certainty is that the British were among the first to "get" the Velvet Underground in a broader cultural sense, and that the influence was seeping into the consciousness of folks like Mick Farren and David Bowie as early as 1965-1967. Makes me want to dig out my original U.S. Sire pressing of the Deviants' "Ptoof" right now. I remember reading with some astonishment Ritchie Unterberger's interview of Farren back in 1999 right here and it would behoove you to remind yourself of what their approach encompassed.

Q: What were the Deviants' inspirations when you starting coming together around late 1966?

MF: We didn't know what we were doing, for a start. The most exciting thing at the time was probably the Who. Probably what Pete Townshend was doing. But that in a way was kind of big time major hit single rock'n'roll. The two rather diverse things that we were listening to was on one hand, we were getting the first ESP records by the Fugs. And at the other extreme, I was listening to a lot of... particularly the album Mingus [did], "Oh Yeah," with Roland Kirk, with "Ecclusiastics" and "Passions of a Man" and "Eat That Chicken" and all that stuff on it. Bob Dylan of course. We were trying to like blend it all into something that made sense, without very much money. The Fugs had a certain kind of jugband appeal, which fitted our income at the time. Joe Boyd [producer of Incredible String Band, Fairport Convention, Nick Drake, and numerous other late-'60s bands] brought over some tapes of the Velvet Underground, which we stole off him, and somebody immediately stole off us. That was the most interesting thing that seemed to be a similar kind of synthesis, coming from the same sort of background. [The tapes] were pre-first album (ED: i.e. predating the Velvets' famed "Banana" LP).. I was almost beginning to think I'd dreamed them. Everybody denied all knowledge of them. We performed a song called "Prominent Men" for a while that we took off those tapes. And suddenly they resurfaced. They're the very first tapes on the Velvet Underground box set. [The tape] was ["Prominent Men"], three or four versions of "Venus In Furs," the very strange acoustic version of "Waiting For The Man," "Prominent Men," "All Tomorrow's Parties." [We were] a bunch of guys who'd really come out of the sort of British North London art school R&B band scene. Like the Pretty Things; that was really our heritage. We were trying to like push it in simultaneously a more demented and more intelligent direction. 'Cause we couldn't really be spending our time recycling old Jimmy Reed tunes. So we were looking for something to do. I think basically Lou and Cale got in there first. It was very much a sort of parallel development, London and New York. That's where we felt things were happening the most. You know, we were pretty incompetent at the start. We were pretty incompetent at the end. But more money came in. The amplifiers got bigger. We all got ourselves fierce amphetamine habits, and at that point, kind of ear-bleeding noise took over for a while. Plus we were also kind of listening to Zappa, which definitely affected the way we made the first album.