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Product details
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Track Listings
| 1. Candy Says |
| 2. What Goes On |
| 3. Some Kinda Love |
| 4. Pale Blue Eyes |
| 5. Jesus |
| 6. Beginning To See The Light |
| 7. I'm Set Free |
| 8. That's The Story Of My Life |
| 9. The Murder Mystery |
| 10. After Hours |
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
Description
Velvet Underground's self-titled third album seemed like the debut of a new band. John Cale had left (replaced by Doug Yule) and the group became, for all intents and purposes, Lou Reed's back-up band. The songs actually sounded like rock music and John Cale's screeching musicality was reworked into songs that featured Sterling Morrison's most eloquent guitar accompaniment.
Reed's songwriting moved beyond the armed-to-disarm approach of the previous two albums towards a spiritual level of empathy with the human race--a change thatwouldn't go unnoticed. The man who once begged someone to "nullify [his] life" ("Heroin") was now asking "Jesus" to "help me find my proper place", and whooping his way through the equally inspiring "Beginning To See The Light". To this day, every song on VELVET UNDERGROUND sounds like a breakthrough.
In short, VELVET UNDERGROUND showcased the human sideof Lou Reed's songwriting. Unobstructed by walls of sonic noise, Reed's insight and genius was finally allowed to shinethrough.
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
Description
Velvet Underground's self-titled third album seemed like the debut of a new band. John Cale had left (replaced by Doug Yule) and the group became, for all intents and purposes, Lou Reed's back-up band. The songs actually sounded like rock music and John Cale's screeching musicality was reworked into songs that featured Sterling Morrison's most eloquent guitar accompaniment.
Reed's songwriting moved beyond the armed-to-disarm approach of the previous two albums towards a spiritual level of empathy with the human race--a change thatwouldn't go unnoticed. The man who once begged someone to "nullify [his] life" ("Heroin") was now asking "Jesus" to "help me find my proper place", and whooping his way through the equally inspiring "Beginning To See The Light". To this day, every song on VELVET UNDERGROUND sounds like a breakthrough.
In short, VELVET UNDERGROUND showcased the human sideof Lou Reed's songwriting. Unobstructed by walls of sonic noise, Reed's insight and genius was finally allowed to shinethrough.
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