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Product Description
Amazon.co.uk Review
Released in 1969 to an almost total lack of critical acclaim or consumer interest, the Velvet Underground's third album may well be the finest record of the band's career. Without the sonic terrorism of The Velvet Underground & Nico and White Light/White Heat or the ill-conceived commercial concessions that marred Loaded, the album's songs are free to stand on their own merit. And stand they do: "What Goes On" and "Beginning to See the Light" may be the finest flat-out rockers in the band's catalogue, while "Pale Blue Eyes", "Jesus", and "Candy Says" are some of the most delicately gorgeous songs Lou Reed has ever penned. There's no evidence here of any of the psychedelic effects and hippie sloganeering that marked most late-1960s rock releases, which is probably why the record still holds up today. --Dan Epstein
Product Description
Digitally remastered reissue of 1969 album featuring "Pale Blue Eyes" & "Beginning To See The Light"
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Most Helpful Customer Reviews
20 of 20 people found the following review helpful
Format:Audio CD
After the fierce White Light/White Heat, this third album saw the Velvet Underground in a calmer, more contemplative mood and exploring their softer side which first surfaced on songs like Sunday Morning and I’ll Be Your Mirror on the first album.
The exceptions are What Goes On with its shimmering guitars and Beginning To See The Light with its urgent rock riff and almost Stones-like flavour. Some Kinda Love is softer although there is still that unique driving sense of nervouness in the rhythm.
The gem of the album is Pale Blue Eyes, where Reed surpasses himself as a poet in the intimate, evocative images. This song also has one of the Velvets’ most gripping melodies and the delivery is perfect. A gentle ballad with a wistful feel, Pale Blue Eyes must be one of the most beautiful songs of all time.
There are plenty of beautiful ballads like Jesus, I’m Set Free and That’s The Story Of My Life. The Murder Mystery consists of spoken and sung parts over a brooding backing that becomes dissonant toward the end. This classic album concludes with the playful acoustic number Afterhours.
16 of 16 people found the following review helpful
Format:Audio CD
I wondered about this record for a very long time. After hearing their remarkable debut and the abrasive, trashy White Light/ White Heat album I was ready for another epic. This record centres more on the acoustic musings of Reed, and creates an almost subliminal atmosphere of Coltranesque smokiness.
The Velvet Underground have a very complete catalogue. It is not difficult to sense just why they are so 'influential'. This is a seminal record.
Beginning with the wonderful 'Candy Says', I found myself trying to remember a more unusual opener. The chord changes on this record are perfection.
The real treat, of course, is the 'Murder Mystery'. There is no other track comparable in the rock canon. Clearly, Reed was in another place when recording this 'third' album. Mixing organ and fluid guitar, a collage of unfathomable lyrics and wonderful drumming; this truly creates the intended atmosphere.
Another seminal track is 'Pale Blue Eyes'. Slow and gorgeous, Reed muses over love. This is their masterpiece, more complete than the debut. Whisper it quietly.
The Velvet Underground have a very complete catalogue. It is not difficult to sense just why they are so 'influential'. This is a seminal record.
Beginning with the wonderful 'Candy Says', I found myself trying to remember a more unusual opener. The chord changes on this record are perfection.
The real treat, of course, is the 'Murder Mystery'. There is no other track comparable in the rock canon. Clearly, Reed was in another place when recording this 'third' album. Mixing organ and fluid guitar, a collage of unfathomable lyrics and wonderful drumming; this truly creates the intended atmosphere.
Another seminal track is 'Pale Blue Eyes'. Slow and gorgeous, Reed muses over love. This is their masterpiece, more complete than the debut. Whisper it quietly.
10 of 10 people found the following review helpful
Format:Audio CD
I'll stick my neck out here- the Velvets, for all their reputation as terrifying, noisy avant-garde terrorists, are actually at their best when gentle, warm and melodic (eg Sunday Morning), and this album proves it. Amazingly for a Velvets album, it has (can you believe this?) production values, as well as highlights aplenty- such as Lou Reed's thrilling rhythm guitar solo on What Goes On, and the blissful trio Candy Says, Jesus and Pale Blue Eyes.
The real peak however, comes at the middle of the album- the soaring triumvirate of the Stonesy romp Beginning to see the Light (Lou sound like he's actually enjoying himself here, listen to him whoop at the chorus!), the almost catatonic I'm Set Free, and the jangly That's the Story of My life, which verges on being a throw-away track, but in the best possible way- in the way that only a great songwriter like Lou Reed could get away with.
The old adage about every Velvet's fan forming a band seems borne out by this record too. The blissed-out solo on I'm Set Free could be an offcut from the Pixies' Bossanova, while The Murder Mystery's bass riff must surely have inspired Joy Division (incidentally Ian Curtis named his dog Candy after the opening track!), while even After Hours has something of Oasis' Digsy's Dinner about it. It may not always quite reach the soaring peaks of the first album (like Venus in Furs), but overall its probably a better album, the Velvets having ditched the unlistenable elements without losing their alternative credentials (which would go completely out the window with the next album, Loaded).
The real peak however, comes at the middle of the album- the soaring triumvirate of the Stonesy romp Beginning to see the Light (Lou sound like he's actually enjoying himself here, listen to him whoop at the chorus!), the almost catatonic I'm Set Free, and the jangly That's the Story of My life, which verges on being a throw-away track, but in the best possible way- in the way that only a great songwriter like Lou Reed could get away with.
The old adage about every Velvet's fan forming a band seems borne out by this record too. The blissed-out solo on I'm Set Free could be an offcut from the Pixies' Bossanova, while The Murder Mystery's bass riff must surely have inspired Joy Division (incidentally Ian Curtis named his dog Candy after the opening track!), while even After Hours has something of Oasis' Digsy's Dinner about it. It may not always quite reach the soaring peaks of the first album (like Venus in Furs), but overall its probably a better album, the Velvets having ditched the unlistenable elements without losing their alternative credentials (which would go completely out the window with the next album, Loaded).
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Most Recent Customer Reviews
???
What the hell is so great about this?!?! It sucks, there were way better releases in 69 hence why this piece of crap got the acclaim it deserved at the time. Read more
Published 7 months ago by Deimos
Calmed down after being out to lunch
There's no logical reason why all the Velvet Underground LPs gained release here when hitmakers like the Outsiders,the Shadows of Knight and the Count 5 never did. Read more
Published 8 months ago by Richard
chill
This a mellow album, it is melodies and sentiment and late-night driving. Lou Reed's voice feels more comfortable here, in his element much more than in his solo work. Read more
Published 15 months ago by Jack
Lived and Drenched
John Cale and Nico were left behind, but Lou continued with his vision. The noise was tamed, as VU created a folk noir album based on sweet melodies and acidic lyrics. Read more
Published on 17 May 2010 by Dr. Delvis Memphistopheles
Quiet glory from Reed and co
The Velvet Underground's 3rd album is an underrated gem. After the intensity of their first 2, it's a much lower-key experience. Read more
Published on 24 April 2010 by klaher
This edition is crippled
The song: That's the story of my life is my fave on this one and now I received the 2nd cd with the same fault. Read more
Published on 9 April 2010 by Jo day
beginning to see the light
The velvets third but first without john cale, shows a band back to basics without cales experimental touch. Read more
Published on 3 Feb 2010 by Keith Hansom
Noise Passed Over in Favour Of A Lyrical Feel...
Lou Reed had staged something of a coup by ousting John Cale between the making of 'White Light / White Heat' and the release of this, their third album. Read more
Published on 15 Dec 2009 by Og Oggilby
Alternative take?
Of course this is a classic, but has anyone else noticed that the version of Some Kinda Love on this reissue is a completely different take to the LP version? Read more
Published on 14 Aug 2009 by Mr. M. W. ARCHER
Sincere and Beautiful
The Velvet Underground's self titled third album marked a directional change for the band who had already demonstrated a knack for producing raw and avant-garde material of an... Read more
Published on 26 May 2009 by The Mancunian Candidate
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