Learn more Download now Shop now Learn more Shop now Shop now Shop now Shop now Shop now Shop now Shop now Shop now Learn More Shop now Shop now Learn more Shop Fire Shop Kindle Moana - Listen with Prime Shop now Shop now



TOP 1000 REVIEWERVINE VOICEon 9 December 2013
This edition, like the similar one of The Velvet Underground & Nico, is billed as a "45th Anniversary Super Deluxe Edition" and has an identical format of a (roughly) 10" x 12" hardback book with cardboard slots for the CDs at the back. As with the VU&N super deluxe edition, it contains stereo and mono versions of the original album, extras and out-takes and a live recording.

But there the resemblance ends. Firstly, it contains only 3 CDs as opposed to 6 - the relatively small difference in price between the two indicates that you're mostly paying for the book, but while this is beautifully produced as with the VU&N, it's considerably slimmer - 56 pp as against 88 - and 5 of those pages are occupied by large print quotes lifted from elsewhere in the text (as opposed to only 1 with VU&N). While much of the content is similar - an essay, photos and gig posters - there's much less of it, and unlike the VU&N you don't get the lyrics. With regard to the photos, which are excellent as far as they go, this is not surprising - during the VU&N era they were part of Warhol's Factory milieu and far more regularly photographed. By the time they recorded WL/WH they'd cut their ties with Warhol and were on their own. The essay (by David Fricke) is not only much shorter than Richie Unterberger's in the VU&N but told me a lot less that I didn't already know, though it contains a lot of good quotes of the band members.

However, now we come to the musical contents. There are 5 considerations for the fan who already has a relatively recently mastered version of the stereo mix on CD:
1. The mastering
2. The mono mix
3. The studio extras
4. The live recording
5. The amount of previously unheard content

The mastering:
Is fine. But I can't hear much difference between the stereo mix and the most recent remaster I'm aware of (dating from late 1990s/early 2000s?). Whereas the VU&N Super Deluxe was notably changed and improved from the early 2000s Deluxe Edition. This of course isn't to say that there's anything wrong with it - it sounds great, as does the mono mix.

The mono mix:
I've waited decades to hear this. It's fair to say it doesn't reveal any spectacular surprises - the different runtimes, alternate guitar parts etc. etc. that are common between mono and stereo mixes of rock albums from c.1965-68 are completely absent and one is left with the faint suspicion that the mono mix was created by combining the channels of the stereo mix - does anyone know? It certainly sounds ... more concentrated, and perhaps a shade better. But nothing dramatic. It's interesting to hear the most obviously stereo tracks (The Gift and Lady Godiva's Operation) in mono, and they both work fine. Sister Ray sounds superb - it all does, frankly - but it just isn't very different from the stereo mix, give or take the lack of channel separation on The Gift.

The studio extras:
The two studio discs contain additional material as follows:
CD 1: I Heard Her Call My Name (alternate take) - much of the guitar sounds so similar to the issued take that I'm tempted to believe this is just an alternate mix, though such a different mix that it sounds much more different from either the mono or stereo album mixes than they do from each other. Guess I'm Falling In Love (instrumental version) - this was issued on Another View but has been remixed for this release and sounds far better; it's faster than the live version (see below) but wouldn't be quite as good even if it had vocals. Temptation Inside Your Heart and Stephanie Says are not the 1984 mixes that appeared on VU but appear to be original 1968 stereo mixes, which were first issued on the Gold compilation in the 2000s, which many fans would have ignored, assuming they had it all already; Peel Slowly And See contained the same 1984 mixes as VU. The two takes of Hey Mr Rain that previously appeared on Another View have also been newly remixed and sound pretty good. And finally there's a previously unissued Cale-era version of Beginning To See The Light with a great, stomping beat and a partly different lyric. This is the only additional studio track that is a completely unheard recording.
CD 2: the first 2 extras here are mono single mixes of White Light/White Heat and Here She Comes Now. Any differences from the LP mono mixes will only be apparent to those with extremely sharp hearing, especially WL/WH. These are followed by isolated vocal and instrumental versions of The Gift, which are very welcome but frankly you can create these at home from a stereo version very easily - I did some years ago.

The live recording:
At last, a complete legal release for the legendary 30 April 1967 performance at The Gymnasium in NYC. This was one of the Velvets' last gigs as part of Warhol's entourage and they didn't play live in New York again for over 3 years. A couple of tracks (Guess I'm Falling In Love and Booker T) leaked out in the 80s - the former on a bootleg and the latter initially on a John Cale album before both subsequently appeared on the Peel Slowly And See box set. Most of the rest came out as a more complete bootleg a few years ago. It's unclear who recorded it, or how - John Cale claims to have been given a copy a few decades back but not to know its source - but the sound quality is staggeringly good apart from a number of drops and surges of volume which to my ears should have been easy to correct as the sound quality isn't dramatically affected. If it's an audience recording, it was done with quality equipment, but the lack of audience noise and the often too-loud vocals (occasionally clipping, unfortunately) suggest a reel-to-reel fed from the mixer. Unlike the very rough-sounding Valleydale Ballroom recording that appeared in the VU&N super deluxe set, this tape has been looked after and was in good enough condition to be capable of further mastering improvement - it sounds considerably better than the already quite good quality bootleg. So it's hard to understand why those volume variations were left in.

The recording shows the Velvets in grungy rock'n'roll mode - it starts off with the scuzzy jam of Booker T, continues with the previously unheard I'm Not A Young Man Anymore - not their greatest song but chugs away merrily and features lots of great guitar and pumping bass. Guess I'm Falling In Love sounds better than ever and features some of the best rock'n'roll guitar playing ever recorded. Two songs from VU&N follow; I'm Waiting For The Man is about halfway between the studio version and the 1969 Live version; the vocals are bit too loud, as they are also in Run Run Run. Sister Ray suffers initially from some feedback on the vocals; it's cleaner sounding than the studio version, slower and a bit stiff rhythmically; the vocals are still mixed too high and the organ takes a while to make its presence felt but it's fascinating to hear such an early live version and like all the tracks here it's chock full of fantastic and well-recorded guitar playing. Finally, we get a version of The Gift. Booker T has long been confused with The Gift and the recent bootleg of this gig didn't clear up the confusion because it included neither. Once you've heard this, although they're fairly similar it's clearly apparent that Booker T is NOT The Gift because THIS quite plainly is. Although at this point it's still an instrumental, it's a fully formed version of the backing track used for The Gift on WL/WH. If this is the whole of the gig, this quite laid-back (if very grungy!) jam seems a strange way to end - one is left thinking there might be more, but presumably this is all John Cale had and it's great to hear something that wasn't on the bootleg. It's also worth noting that it's not at all clear if this is the correct running order - on the bootleg (which lacks the two instrumentals) the running order was otherwise the same but I'm Not A Young Man Anymore was preceded by tuning up which has been edited off here, so it could well have been the beginning of the set; who knows where Booker T belongs, in that case? Most of the songs are completely separate edits, dating perhaps from before the tape was given to John Cale.

The amount of previously unheard content:
While there are a lot of mix variants on the original album and studio extras, the whole 3 CD box only contains 2 recordings (Beginning To See The Light and the live version of The Gift) that are completely new and haven't even (to my knowledge) come out on bootlegs, though as noted above the live recording has never sounded so good despite the failure to correct the volume variations. All the other studio songs except Temptation Inside Your Heart, Stephanie Says and the 2 45 versions are previously unissued mixes. It's a shame that they didn't feel able to include any 1968 live recordings of the Cale line-up in this box - some of them are quite listenable and available recordings of the Cale-era 4-piece without Nico are pretty thin on the ground to say the least. I can certainly see myself playing the Gymnasium gig quite regularly, and you can't say that for the hard-to-listen-to Valleydale Ballroom gig included in the VU&N super deluxe edition.

In conclusion:
This is a superbly produced item and the musical content is iconic and brilliant. But at nearly £50 for 3 CDs and a nice but not particularly content rich book it seems overpriced to me. While the mono version sounds great, it doesn't sound sufficiently different from the equally great-sounding stereo version to make its reissue 46 years on as massively desirable as I'd hoped it would be. If you love the original album you'll want it, but I'd say this is for real completists - especially those who haven't managed to acquire the Gymnasium bootleg, which is, in any case, available in the 2 CD version for a quarter of the price. In those circumstances I've docked this emphatically 5 star album a point for the price, the paucity of previously unheard content, the too-great similarity between the mono and stereo mixes and the failure to correct the volume variations on the live recording.

Finally ... the appearance of this edition (nearly a year after the 45th anniversary it ostensibly commemorates) does suggest that in a year or so we will see a similar set issued for the Velvets' 3rd album. It will contain the Val Valentin and Lou Reed stereo mixes of the original album, perhaps the very rare mono mix, a substantial chunk of the post-Cale content from VU and Another View (unless that's going to be the subject of a fourth super deluxe set, which I seriously doubt) and one of their many gigs at the Boston Tea Party.
2020 Comments| 96 people found this helpful. Was this review helpful to you? Report abuse
TOP 1000 REVIEWERon 4 April 2016
When the recent DELUXE and SUPER DELUXE versions of 'THE VELVET UNDERGROUND AND NICO' and 'WHITE LIGHT/WHITE HEAT' were first announced I was fairly disgusted with the price of the SUPER DELUXE EDITIONS. Here's a rundown of their contents, and at the end we'll discuss their value for money and cheaper options. Let's begin with the new releases of their first iconic album.......

I already owned the first THE VELVET UNDERGROUND AND NICO Deluxe Edition from 2002 featuring the album's stereo and (superior) mono versions, the five most VELVET-like tracks from NICO's 'CHELSEA GIRL" and mono versions of the singles "All Tomorrow's Parties"/"I'll Be Your Mirror" and "Sunday Morning"/"Femme Fatale." The first pressing (which I have) also had the "peelable" banana. The 2012 45th ANNIVERSARY version's first disc contains a REMIXED version of the stereo album, four alternate takes ("All Tomorrows Parties," "Heroin," "European Son" and "I'll Be Your Mirror") and an instrumental take of "All Tomorrow's Parties." The second disc has the oft-bootleged "Scepter Studio Sessions," with nine of the album's eleven songs recorded before the Verve album, and six "Factory Rehearsals" recorded on January 3, 1966 that contain the rarities "Walk Alone," "Crackin' Up" and "Miss Joanie Lee.".....

The six disc SUPER DELUXE LIMITED EDITION of THE VELVET UNDERGROUND & NICO comes in a 10" x 11" hardcover book with the de rigeur peelable banana. The first disc is the same as disc one of the 2012 DELUXE EDITION, Disc Two is the same as Disc 2 of the 2002 DELUXE EDITION. Disc Three contains the stereo mix of NICO's 'CHELSEA GIRL' and Disc Four is the same as Disc 2 of the 2012 DELUXE EDITION. Discs Five & Six contain a live concert recorded November 4, 1966 in Columbus, OH at the Valleydale Ballroom. It is, I believe, the only surviving full concert of the line-up with Nico. They perform seven songs from the debut album sandwiched between a 28min. "Melody Laughter" and a 28min. "Nothing Song." The sound quality is comparable to a fair bootleg, slightly better than LIVE AT MAX'S KANSAS CITY but not as good as the LIVE 1969 Vol. 1 and LIVE 1969 Vol. 2 sets, but an unquestionably historic document, nonetheless. I was also impressed with Nico's contributions to the controlled noise fests that bookend the concert, belying tales that she was only interested in her "spotlite" performances. The book itself is printed on high quality paper and contains mostly unpublished photos, none of which I could find in other VELVETS books such as "The Velvet Underground: An Illustrated History of a Walk on the Wild Side." My only complaints are the high price, that the discs are in slots in the rear of the book, and more importantly, they left off the superior mono mix of CHELSEA GIRL even though they had room on the stereo disc. Fans of this version have to either track down an old LP or buy Sundazed's The Verve/MGM ALBUMS, a vinyl box set of the first three albums and CHELSEA GIRL in mono, and the "lost album" '1969' in stereo......

This three disc WHITE LIGHT/WHITE HEAT 45th Anniversary SUPER DELUXE EDITION comes in a similar hardcover book of the same quality. The first disc contains the original stereo album and seven bonus tracks. "I Heard Her Call My Name" is an alternate version, "Stephanie Says" and "Temptation Inside Your Heart" were previously available on the VU compilation, "Guess I'm Falling In Love (instrumental version)," "Hey Mr. Rain (Version 1)" and "Hey Mr. Rain (Version 2)" are new mixes of tracks first released on the compilation ANOTHER VIEW, and there's a previously unreleased early version of "Beginning To See The Light." All the bonus tracks, especially those previously released, have benefited greatly from the new remastering. Disc Two has the mono version of the original album with the single mix of the title track and it's B-Side "Here She Comes Now" and "previous unreleased isolated vocal and instrumental versions" of "The Gift." The real treat is on Disc Three, a seven song concert by the WHITE LIGHT/WHITE HEAT group on April 30, 1967 at NYC's Gymnasium in, to quote John Cale, "remarkable quality." It contains the rare tracks "Booker T.," "I'm Not A Young Man Anymore" and "Guess I'm Falling In Love." The first and third were previously released on the 'PEEL SLOWLY AND SEE" set......

The two disc 'WHITE LIGHT/WHITE HEAT 45th Anniversary DELUXE EDITION' contains Discs One and Three of the SUPER DELUXE set, and is therefore a bargain. I have to admit, when I first heard there was to be a 2CD version, I figured it would contain Discs One and Two, forcing the real fans to shell out for the rare great concert. I was more than pleasantly pleased when I found that the concert disc was to be included. The only MINOR nitpick I have is there's no photo of the alternate European cover anywhere. For such a revered album you think they'd want to "cover" all bases, but it's a drop in the ocean compared to the value of this set......

I was extremely lucky, one day I was checking prices and found a "Like New" used copy of the THE VELVET UNDERGROUND & NICO SUPER DELUXE EDITION for about $10 a disc, which I think would be a fair price for a NEW set. So, unless you have the $$$ to spend on the SUPER sets, here's my recommendation if you're a fan that wants to dip your toes beyond the original canon; currently (4/19/14) you can purchase the 2002 and 2012 DELUXE EDITIONS of THE VU & NICO and the DELUXE WHITE LIGHT/WHITE HEAT, in no less than "Like New" condition, for about $55, a little more than half the price of the THE VU & NICO SUPER DELUXE set. You would be getting Remastered versions of the first album in stereo AND the superior mono mix, the superior stereo mix of WHITE LIGHT/WHITE HEAT, the five most VU-like songs off CHELSEA GIRL, mono mixes of their first two singles, both rare pre- recordings from Scepter Studios and The Factory, six rarities in great remastered sound, and one of the last concerts of the WHITE LIGHT/WHITE HEAT band, again in "remarkable quality." The only things you'll be missing is the good but not great show with Nico, four songs from CHELSEA GIRL that have limited VU involvement, the mono version of WHITE LIGHT/WHITE HEAT and it's two mono single sides. The mono album and singles were actually just fold-downs of the stereo masters anyway, and anyone who has a copy of WHITE LIGHT/WHITE HEAT has the separate sections of "The Gift" already. If you want to hear the instrumental or recitation separately, all you have to do is turn your balance knob all the way to the right and left.....!

THE VELVET UNDERGROUND is a band that's loved by some, reviled by others, some think they are genius, others think they're degenerate, some when first hearing them fall in love, others run screaming, but no wonder what YOU think, there's no doubt about their influence and legacy. They may be an acquired taste, but once you acquire it you never lose or forget it. All these sets expand and do justice to their legacy, No matter what path you chose, if you're a VELVETS fan you won't be disappointed......
0Comment| 2 people found this helpful. Was this review helpful to you? Report abuse
TOP 1000 REVIEWERon 5 April 2016
In 1985 fans of the VELVET UNDERGROUND were treated to their first legitimately released rarities compilation 'V.U.' closely followed by 1986's 'ANOTHER VIEW.' Between both were 19 rarities from both the "Cale era" and "Yule era." in 1995 Polydor Chronicles upped the ante with the 5-disc boxed set 'PEEL SLOWLY AND SEE,' containing 74-tracks of previously released material and more rarities. 2002 Deluxe Edition of the group's first album 'THE VELVET UNDERGROUND & NICO' followed in 2012 by 45th Anniversary Super Deluxe and Deluxe Editions' containing six and two disc respectively. Next up in 2013 were the 2CD Deluxe and 3CD Super Deluxe Editions of their second album WHITE LIGHT/WHITE HEAT. Click on the links for my reviews of those releases. It was only obvious that their next two albums would eventually get the same treatment......

The 6CD 45th Anniversary Super Deluxe Edition of THE VELVET UNDERGROUND is both wonderful AND maddening. The first disc contains the "Val Valentin mix' of the album which is the most familiar to listeners. The second disc contains what is referred to as Lou Reed's "Closet Mix" which features the vocals more prominent in the mix. This version was also included in it's entirety on the 'PEEL SLOWLY AND SEE' set. The third disc contains a "Promotional MONO Mix" of the album, plus the mono single mixes of "What Goes On" and "Jesus." The track list for he first three discs then is as follows:

1/2/3-1 Candy Says
1/2/3-2 What Goes On
1/2/3-3 Some Kinda Love
1/2/3-4 Pale Blue Eyes
1/2/3-5 Jesus
1/2/3-6 Beginning To See The Light
1/2/3-7 I'm Set Free
1/2/3-8 That's The Story Of My Life
1/2/3--9 The Murder Mystery
1/2/3-10 After Hours
0/0.3-11 What Goes On (Mono single, MGM K-10457-A, 4/69)
0/0/3-12 Jesus (Mono single, MGM K-10457-B, 4/69)

The fourth disc is where the real gold lies, with remastered and in some cases re-mixed versions of contemporarily recorded material that was originally released on either 'V.U.'(*) or 'ANOTHER VIEW' (**) . Here's the track listing marked as to which compilation it was originally released on:

4-1 Foggy Notion (Original 1969 Mix)*
4-2 One Of These Days (New 2014 Mix)*
4-3 Lisa Says (New 2014 Mix)*
4-4 I'm Sticking With You (Original 1969 Mix)*
4-5 Andy's Chest (Original 1969 Mix) *
4-6 Coney Island Steeplechase (New 2014 Mix)**
4-7 Ocean (Original 1969 Mix)*
4-8 I Can't Stand It (New 2014 Mix)*
4-9 She's My Best Friend (Original 1969 Mix)*
4-10 We're Gonna Have A Real Good Time Together (New 2014 Mix)**
4-11 I'm Gonna Move Right In (Original 1969 Mix)**
4-12 Ferryboat Bill (Original 1969 Mix) **
4-13 Rock & Roll (Original 1969 Mix)**
4-14 Ride Into The Sun (New 2014 Mix)**

As noted above, this material has either been left as mixed in 1969 or newly remixed in 2014. The wonderful thing about this set up to this point is the remastering, it's absolutely stunning. Now, I buy and listening to oodles and oodles of music and am pretty jaded when I see the word "Remastered" but even an old curmudgeon like me is impressed. The problem with value-for-money arises on the fifth and sixth discs, "Live At The Matrix, November 26 & 27, 1969 (Parts 1 & 2)" First the track list:

5-1 I'm Waiting For The Man***/#
5-2 What Goes On***/#
5-3 Some Kinda Love*/#
5-4 Over You***/#
5-5 We're Gonna Have A Real Good Time Together***
5-6 Beginning To See The Light*/#
5-7 Lisa Says*/#
5-8 Rock & Roll*/#
5-9 Pale Blue Eyes***/#
5-10 I Can't Stand It Anymore***/#
5-11 Venus In Furs***
5-12 There She Goes Again***

6-1 Sister Ray**
6-2 Heroin***/#
6-3 White Light/White Heat*/#
6-4 I'm Set Free***
6-5 After Hours***
6-6 Sweet Jane*/#

As annotated above, those tracks marked (*) were first released on the 'VELVET UNDERGROUND LIVE with Lou Reed 1969 : Volume One' (Tracks 5-6, 5-7, 5-8) and 'Volume Two' (Tracks 5-3, 6-3), and those marked (**) were released on 'THE BOOTLEG SERIES, Volume 1: THE QUINE TAPES' set. Now when this set was released, the eleven tracks marked (***) were previously unreleased, but last year saw the release of THE COMPLETE MATRIX TAPES a 4CD set containing every track recorded on Nov. 26 & 27, 1969, making the ability to obtain the material on the 6CD 'THE VELVET UNDERGROUND Super Deluxe Edition' less essential. Polydor/Universal have also released a 2CD Deluxe Edition' that contains 'The Val Valentin Mix" on Disc One, and twelve live Matrix tracks on Disc Two (see # above). The hardcover book is sturdily made although as with the others in the series the discs fit in slots within the rear cover. There are plenty of photos of the band , memorabilia, posters, ads, etc. and a lengthy essay by David Fricke of Rolling Stone magazine fame in the 72-page book. The live material sounds much better than on the previous releases as well, but fans will definitely want to grab the more complete 'THE MATRIX TAPES.' Unfortunately this doesn't make the 'LIVE 1969' set totally redundant, hit still contains four-tracks recorded at End of Cole Ave, Dallas, TX on October 19, 1969 ("I'm Waiting For The Man," "Femme Fatale," "Ocean" and "Heroin" [CD2 version]). There are a variety of sets out there with the End Of Cole Ave. material of dubious legality, but fans might want to practice restraint in case Polydor/Universal decides on that as it's next trawl through the archives......

the band:
Lou Reed - Guitar & Lead Vocals (except 1/2/3-1)
Sterling Morrison - Guitar & Backing Vocals
Maureen Tucker - Drums & Lead Vocals (1/2/3-10, 4-4, 6-5)
Doug Yule - Bass, Keyboards, Backing Vocals & Lead Vocals (1/2/3-1)

It was only a matter of time before the fourth album would see a deluxe release, and Rhino did the honors with 2015's '
LOADED: Re-Loaded 45th Anniversary Edition' this time a five-disc plus DVD version. Although on another label, the set is packaged similarly to the previous three. Again the remastering is stellar. Disc One contains the original ten-track album in stereo with the full-length versions of "Sweet Jane" and "Rock & Roll"
and four session outtakes first released on 1997's 2CD 'LOADED: Fully Loaded Edition,' while Disc Two
contains the album's "Promotional Mono Version" with the original track lengths and four added mono single mixes. Here
are the track listings:

1-1 Who Loves The Sun
1-2 Sweet Jane (Full-Length Version, 4:06)
1-3 Rock & Roll (Full-Length Version, 4:43)
1-4 Cool It Down
1-5 New Age
1-6 Head Held High
1-7 Lonesome Cowboy Bill
1-8 I Found A Reason
1-9 Train Round The Bend
1-10 Oh! Sweet Nuthin'
SESSION OUTTAKES:
1-11 I'm Sticking With You (Remix)
1-12 Ocean
1-13 I Love You
1-14 Ride Into The Sun

2-1 Who Loves The Sun
2-2 Sweet Jane (3:15)
2-3 Rock & Roll (4:38)
2-4 Cool It Down
2-5 New Age
2-6 Head Held High
2-7 Lonesome Cowboy Bill
2-8 I Found A Reason
2-9 Train Round The Bend
2-10 Oh! Sweet Nuthin'
MONO SINGLE MIXES:
2-11 Who Loves The Sun (Cotillion 45-44107-A)
2-12 Oh! Sweet Nuthin' (Cotillion 45-44107-B)
2-13 Rock & Roll (Cotillion 45-44133-A, unissued)
2-14 Lonesome Cowboy Bill (Cotillion 45-44133-B, unissued)

Disc Three consists of demos, early versions and alternate mixes. All but five were previously released on the
'LOADED: Fully Loaded Edition' (*) although some here are mixed (as noted below). Many of the tracks are somewhat
shorter than when previously released, probably due to improvement in remastering technology regarding the
original tape speeds.

3-1 Rock & Roll (Demo)*
3-2 Sad Song (Demo)*
3-3 Satellite Of Love (Demo)*
3-4 Walk And Talk (Demo) *
3-5 Oh Gin (Demo) *
3-6 Ocean (Demo) *
3-7 I Love You (Outtake)*
3-8 Love Makes You Feel Ten Feet Tall (Demo/Remix)*
3-9 I Found A Reason (Demo)*
3-10 Cool It Down (Early Version/Remix)*
3-11 Sweet Jane (Early Version/Remix)*
3-12 Lonesome Cowboy Bill (Early Version/Remix)*
3-13 Head Held High (Early Version/Remix)*
3-14 Oh! Sweet Nuthin' (Early Version/Remix)*
3-15 Who Loves The Sun (Alternate Mix)
3-16 Sweet Jane (Alternate Mix)
3-17 Cool It Down (Alternate Mix)
3-18 Lonesome Cowboy Bill (Alternate Mix)
3-19 Train Round The Bend (Alternate Mix)*
3-20 Head Held High (Alternate Mix)
3-21 Rock & Roll (Alternate Mix)*

Disc Four contains a remastered selection of live recordings previously issued on the LIVE AT
MAX'S KANSAS CITY
 two-disc set:

4-1 I'm Waiting For The Man
4-2 White Light/White Heat
4-3 I'm Set Free
4-4 Sweet Jane
4-5 Lonesome Cowboy Bill
4-6 New Age
4-7 Beginning To See The Light
4-8 I'll Be Your Mirror
4-9 Pale Blue Eyes
4-10 Candy Says
4-11 Sunday Morning
4-12 After Hours
4-13 Femme Fatale
4-14 Some Kinda Love
4-15 Lonesome Cowboy Bill (Version 2)

Disc Five contains a previously unreleased concert recorded at the Second Fret, Philadelphia, May 9, 1970. Although it's nice to have this for historical purposes, the sound is abysmal. Maureen Tucker was pregnant so the band played as a three-piece with Doug Yule switching between bass and drums.....

5-1 I'm Waiting For The Man
5-2 What Goes On
5-3 Cool It Down
5-4 Sweet Jane
5-5 Rock & Roll
5-6 Some Kinda Love
5-7 New Age
5-8 Candy Says
5-9 Head Held High
5-10 Train Round The Bend
5-11 Oh! Sweet Nuthin'

Disc Six is an audio-only DVD that features three different mixes of LOADED: a 5.1 Surround Sound Remix with a choice between DTS 96/24 and Dolby Digital Surround Sound, a 5.1 Surround Sound to Stereo Down-mixes in 96/24 High Resolution Audio, and a Flat Transfer of the Original Stereo Album in 96/24 High Resolution Audio. For the Surround Sound and Stereo Down-mixes, the original track listing is re-sequenced slightly to include the segue that was originally planned for "I Found A Reason">"Head Held High." The Surround Sound and Stereo Down-mixes also contain the full-length versions of "Sweet Jane," "Rock & Roll" and "New Age." The Flat Transfer Stereo Mix contains the original edited versions. The hardcover book has the same set-up as the other three with the discs in slots in the rear. The 72-page book also contains plenty of photos of the band , memorabilia, posters, ads, etc. and lengthy essay by rock historian and Patti Smith Group member Lenny Kaye of NUGGETS fame......

Although the Super Deluxe Editions of the VELVET UNDERGROUND's essential canon are quite pricey they are also very well-done. As far as value-for-money, not so much, but the fan will have to decide if they need them.....

the band:
Lou Reed - Guitar, Lead Vocals (except where noted below) & Backing Vocals
Sterling Morrison - Guitar & Backing Vocals
Maureen Tucker - Drums (except where noted below), Percussion (3-9) & Lead Vocals (1-11)
Doug Yule - Bass, Keyboards, Guitar, Backing Vocals & Lead Vocals (1-1, 1-5, 1-7, 1-10, 2-1, 2-5, 2-7, 2-10, 2-11, 2-12, 2-14, 5-8, 6-1, 6-5, 6-7, 6-10)
with
John Cale - Organ (3-6)
Bill Yule - Drums (1-7, 1-10, 1-12, 2-7, 2-10, Disc Four, 6-7, 6-10)
Tommy Castanaro - Drums (1-4, 1-6, 2-4, 2-6, 6-4, 6-6)
Adrian Barber - Drums (1-1, 2-1, 6-1)
Adrian Barber and/or Bill Yule - Drums (1-9, 2-9, 6-9)
0Comment| One person found this helpful. Was this review helpful to you? Report abuse
on 31 December 2013
Let's get the obvious comments out of the way first. Unless you live on the Moon you already know the groundbreaking importance of the Velvets and how this album is their most extreme statement that invented the seventies. It's also safe to say that if you shelled out the extra cash for this you (like me) are already a fan and already own the original (along with all the other relevant releases including Another View, VU and the other extended version of WL/WH on Peel Slowly and See).

The actual album sounds fine here, but then again I always thought it did and I've listened to this several times and honestly can not tell the difference. So the validity of this release, for me, relies solely on the strength of the additional studio and live material.

Firstly, the extra studio material. How the hell could anybody justify including Hey Mr. Rain, Stephanie Says, and Guess I'm Falling in Love here!? They've been widely available for years and this is just lazy filler with the old 'remixed' chestnut appended. Peel Slowly and See has got a demo of Here She Comes Now - surely they must have demoed other tracks for this album - why are they not included? I really fail to believe that these were the only tracks the band had and these are the only versions of them.

Now I've got that of my chest - the good points. The early version of Beginning to See the Light is GOLD. Really, as a Velvets fan this is one of those discoveries you always dream of but so very rarely get. I would stick my neck out and say this is better than the version from the 3rd Album. Like another reviewer here I don't think that it is an alternative version of I Heard Her Call My Name, however it is sufficiently remixed to allow the rhythm guitar to come to the fore and gives the song a much rougher garage feeling.

Finally, to the extra live material. This was recorded in New York in early 1967 before the band recorded White Light and contains early versions of some of the tracks that would appear on WL/WH along with tracks from the 1st album and unreleased tracks. Two of these (Booker T and Guess I'm Falling in Love) have already been released on Peel Slowly and See and are fairly standard R & B workouts given a rough Velvets edge. I'm Not a Young Man Anymore has a similar feel to Guess... and as such doesn't add a great deal to the bands' canon but is still welcome as a new track. The real meat of this collection are the live versions of the tracks that appeared on their official albums. Waiting For the Man has evolved into a real killer - a riff lead snarl of a song that I wouldn't have guessed at given how it ended up sounding just 2 years later. Sister Ray is cleaner than the album version but this allows the rhythm to stand out more and just shows what an exceptional live band this was. Finally it ends with an instrumental version of The Gift. Apparently this has been confused with Booker T over the years but I can't see why. This is no crowd pleasing R & B, this is a down and dirty 2 chord grind that is still one of the bands' finest moments - they didn't always have to sing about deviant sex - sometimes the music just sounded like it.

All in all this could have been so much better, but there are still some gems here - but was it really worth the price tag?
0Comment| 4 people found this helpful. Was this review helpful to you? Report abuse
on 30 October 2007
The Velvet Underground were perhaps the ultimate yin/yang band: with an incredible lyricist who was selfless about who actually sang them, capable of self-surrender ("Jesus") and total egotism (Lou Reed turning down the rest of the band in "I Heard Her Call My Name" - thankfully improved on the remaster), with a musical character capable of howling feedback and sweet chiming melodies, artistic yet streetwise, tough but vulnerable, basic yet relentlessly experimental, concise and pithy but able to do stream-of-consciousness ("Black Angel's Death Song") and a seventeen-minute epic, they had it all.

Where their debut combined all of these assets (making it a candidate for the greatest album of all time - and certainly one of the most influential), "White Light/White Heat" saw them focus on their dissonance and ferocity. (And their next album "The Velvet Underground" was all subdued sweet melodies). Consequently this can be a tough album to listen to, should you prefer the more focused and structured Velvet's songs - there's no "Sweet Jane" here, nor even "Venus In Furs" or "Heroin". In addition, this album is often cited as the worst-recorded album of all time, for the feedback, bleedthrough and distortion of the red-lining guitars and organ blew the studio capability apart (this being the mid-60s we're talking about here).

Nonetheless, this is a remarkable album, with musianship to die for. It starts relatively conventionally, with the eponymous title-track. It features a tremendous honkytonk rhythm, almost similar to "All Tomorrow's Parties", but where that felt portentous, this feels manically exhuberant, appropriately given the subject matter of speed. It ends with an incredible surge of bludgeoning energy, the like of which I have never heard anywhere else.

"The Gift" follows - a Lou Reed short story narrated by John Cale, over the backing of the Velvet's doing their Booker T and the MGs impression. The story is macabre and has an intensely black humour, and some wonderfully deft touches. Waldo's chracter can be immediately surmised by Sheila's two word summary of him..!

"Lady Godiva's Operation" starts fairly conventionally and, like a Burroughs story, just gets weirder and weirder. When Reed's voice cuts through with "Neatly" and "Sweetly" you wonder what planet they were on, and when the shivering starts you know you've never heard the like before. Bizarre but great fun.

"Here She Comes Now" has an achingly beautiful melody, played with impeccable gentleness. But almost in reply they follow with "I Heard Her Call My Name" which seems its crazed half-cousin. Where the narrator in "Here She Comes Now" is in love with a woman who doesn't notice him ("Ahhhh... she's made out of wood"), in "I Heard" the Velvets magnify that moment when love turns her gaze upon you to absurd proportions. Reed's guitar soloing is incredible, hyped and amplified to almost unbearable levels, and featuring perhaps the best use of feedback ever - after he says "And then my mind split open," there's a (relative) pause, and then the feedback explodes.

However all this pales into comparison with the closer "Sister Ray". Reed often mentioned freeform jazz musicians like Ornette Coleman in relation to this song, and so traditional rock concepts of verse and chorus, melody and harmony are out of the window. Built upon a huge surging three-chord riff, "Sister Ray" grows into a monstrous epic, with Reed and Cale almost literally duelling it out, with guitar and organ freeforming and interjecting upon each other and the vocal. Like Coltrane's "Asenscion" and Coleman's "Free Jazz", each seems to take turn to solo while the other instruments comment upon and freeform over it. This gives the whole piece an insane level of musical ferocity - "Sister Ray" was done live, in one take, and no-one backs down at any point to accomodate anyone else. All mighty good, a gleeful musical decontruction. And yet the closing of the song tops all that, when the steady propulsive beat (deftly accelerating or slowing as the song demands) of Mo Tucker's drums finally become as thrashed as the other instruments, which leads to a huge feedback soundblast, an incredible outpouring of sonic energies at the speed of light. Utterly jaw-dropping incredible. Lou Reed's vocals also deserve a mention - he narrates a seedy debauched tale of junky transvestites and a murdered sailor, but two and a half times, and with ever more distortion, playing with the words, stretching them out, misshaping them. Everything is dissonant, distorted, even the lyric and voice. To some, "Sister Ray" is the greatest song ever recorded - it's unsurpassed in many ways. No punk band ever approached this level of power.

In sum, this album is certainly an acquired taste, but if you like feedback, distortion and plain old noise, it's the finest example of its kind, unsurpassed in forty years.
0Comment| 15 people found this helpful. Was this review helpful to you? Report abuse
on 18 January 2004
this was the velvets' second album, that, like it's predecessor (the excellent and very influential 'velvet underground and nico'), was released to very little critical acclaim, only just entering the chart at no. 199!
but 'white light/white heat's importance and influence was later acknowledged as a little thing called punk happened in the late 70s. this is pretty much, as far as i'm aware, the very first, and one of the very best punk albums.
a quick word: every review i've ever read bangs on about how shocking and notorious this lp is. to be really honest- yeah, ok, there's hardly a 'song' on it, it's still LOUD, dirty and extremely no-fi and uncommercial, but i think some of the shock value has gone, 35+ years later. it's only REALLY shocking, nasty, gritty and notorious when you put it in context: this was released in 1968. peace and love. hippies. freedom. the beatles, for cryin' out loud. and here were the velvet underground (lou reed, john cale, sterling morrison and moe tucker) making basic, noisy, droning hard-rock music and writing about sex-change operations, grisly deaths, and murderous orgies. intrigued? read on...
1.title track 'white light/white heat' is good ol' 50s rock 'n' roll (pounding, propulsive piano) given a v.u injection (fuzz, distortion, screechy guitars). for those of you less educated about the joys(?!) of drugs, 'white heat' is heroin and 'white light' is speed. and it certainly sounds like that was what was fueling the band while recording! so, not quite elvis rock 'n' roll, then.
2.a lot of people put down 'the gift', or only listen to it a few times, but i absolutely love it. in an ingenious and definetely avant-garde effort, john cale reads one of lou reed's college stories about a weirdo who posts himself to his girlfriend with grisly consequences in one speaker, while lou and sterling lay down a slick, groovy, fuzzy guitar track in the other. the story itself is a well written, entertaining little piece and cale's lilting welsh tones fit it perfectly.
3.'lady godiva's operation' is, IMHO, the worst track here. again, it's a great idea and a good attempt to make it work, but it doesn't quite happen. john cale takes vocal duties for the main part, singing a line, and then lou reed sings the last word of that line. since the dynamics of the their voices are noticeably different, it comes off quite choppy. it's about a sex-change operation that goes horribly wrong, ending in the patient's death. there are some creepy sound effects (oxygen machine, choking on anasthetic, chainsaw). the music is slow, distorted and kind of easternish. there are fuzzy guitars, with squeaky viola in the background. this track is easily the weirdest thing the velvets' ever recorded, and it leaves you with a nasty taste in your mouth.
4.'here she comes now' is the quietest song here, and the most musical. it's a wave of calm in a stormy ocean- soft, gentle and not unlike the brilliant 'sunday morning' on the previous lp. the lyrics might be about sex, but it doesn't really matter; there's hardly any words anyway. some probably see 'here she comes now' as boring and far too slow and melodic for this big, noisy, lumbering, menacing monster of an album. i love it, but it doesn't prepare you for the firing-on-all-cylinders sonic assault that follows...
5.penultimate track 'i heard her call my name' is completely devoid of any melody whatsoever. it's a fast, pounding rollercoaster ride about wanting a dead girl. lou drawls 'and then i felt my mind split open' and then unleashes on us mere mortals possibly the coolest, maddest guitar solo ever recorded. note(?) after note after note, soaked in feedback and drenched in distortion, it spirals, twists, turns and screams until you know EXACTLY how it feels to have your mind split open. whatever the guy was smoking when he recorded that, i want some. lots of it. now.
6.if you thought 'i heard her call my name' was a metaphorical slap around the head, 'sister ray' is an elbow in the jaw and a few hard punches on the nose. AND getting your face rubbed in gravel afterwards. this is THE best rock song ever. nothing to beat it before or since and there never will be. standing at a marathon 17:27, lou tells us all about the attendants at an ill-fated, drug-filled party/orgy that turns murderous. 'i haven't got the time time/ too busy sucking on a ding-dong.' a few people die, the cops turn up, and from then onwards it's a complete sonic breakdown. the musical apocalypse. i can't describe it any better than that. if you can stick this one all the way thru, start to finish, after listening to all of the previous tracks, then well done. take a few headache pills, throw up if you need to, and go lie down in a darkened room for several days. then when you're fully recovered, go and listen to the album again.
so that's basically an analysis of one of the top 5 best albums in the world ever. it's a rock masterpiece and every single person who has ever even contemplated the idea of being in a punk band needs this now. all you so-called 'punks' out there listening to the latest so-called 'punk' bands and all you teens listening to commercial, watered-down top 40 'rock'- these guys are the originals. listen and learn, and have a change of underwear on hand for afterwards.
those wise people that choose to buy the monster that is 'white light/white heat': your life will change (and so will the relations with neighbours, so you might want to move into a cave somewhere) when you hear this amazing cd. before you play it, tho', try and invest in double glazing. or get the number of someone that'll fit new windows, cuz you'll need 'em after one spin of this album.
0Comment| 14 people found this helpful. Was this review helpful to you? Report abuse
on 25 December 2016
I only heard "Sister Ray" for the first time this year and it's a classic ! The rest of the album is fine, but not as good as the other VU-cds.
0Comment|Was this review helpful to you? Report abuse
HALL OF FAMETOP 500 REVIEWERon 22 January 2006
Distortion. Either you love it or you hate it, and that will determine whether you love or hate the Velvet Underground's "White Light/White Heat," which was the final album with John Cale on it. It's strange, raw and eerie, and except for the too-long finale, a fairly good collection.
It kicks off with distorted pop song "White Light/White Heat," and gets followed by equally distorted series of offbeat songs, such as the sex-change operation ballad "Lady Godiva's Operation," the relatively ethereal "Here She Comes Now," and the twisted, squealing riffs of "I Heard Her Call My Name."

"The Gift" is perhaps the most offbeat of all the tracks here: A spoken story-song, recited matter-of-factly in John Cale's Welsh accent. It's about a jealous husband who, in doubt about his wife's fidelity, mails himself to her house. Sounds ordinary enough, except that there is a twist to the finale, both funny and macabre.

This is one of the darker albums that the Velvet Underground did, as well as the last one that was so experimental. The finale is almost twenty minutes of screeching, explosive guitar riffs, and the story-song is definitely odd. But once you get into the swing of it, it's remarkably moving.

The fuzz and wildness of "White Light/White Heat" is definitely offputting at first -- the melodies are buried under a perpetual buzz of sound. That lo-fi flavor won't be to everyone's taste, but those who like their music rough, raw and ragged will probably like the murky riffs and muffled drumming, rising out of a thick mass of fuzz.

For those who don'ty like distortion, it might be a comfort to just focus on the offbeat lyrics -- they can be vulgar, nasty, enchanting, or they can be brimful of black comedy. At least, they are never boring. In his VU swansong, Cale gets to recite and sing, and his rich vocals prove to be somewhat more compelling than Lou Reed's.

While perhaps the weakest, rawest and least accessible of the Velvet Underground's albums, "White Light/White Heat" has the distinction of Cale's vocals and some wickedly weird writing.
0Comment|Was this review helpful to you? Report abuse
HALL OF FAMETOP 500 REVIEWERon 25 March 2007
Distortion. Either you love it or you hate it, and that will determine whether you love or hate the Velvet Underground's "White Light/White Heat," which was the final album with John Cale on it. It's strange, raw and eerie, and except for the too-long finale, a fairly good collection.

It kicks off with distorted pop song "White Light/White Heat," and gets followed by equally distorted series of offbeat songs, such as the sex-change operation ballad "Lady Godiva's Operation," the relatively ethereal "Here She Comes Now," and the twisted, squealing riffs of "I Heard Her Call My Name."

"The Gift" is perhaps the most offbeat of all the tracks here: A spoken story-song, recited matter-of-factly in John Cale's Welsh accent. It's about a jealous husband who, in doubt about his wife's fidelity, mails himself to her house. Sounds ordinary enough, except that there is a twist to the finale, both funny and macabre.

This is one of the darker albums that the Velvet Underground did, as well as the last one that was so experimental. The finale is almost twenty minutes of screeching, explosive guitar riffs, and the story-song is definitely odd. But once you get into the swing of it, it's remarkably moving.

The fuzz and wildness of "White Light/White Heat" is definitely offputting at first -- the melodies are buried under a perpetual buzz of sound. That lo-fi flavor won't be to everyone's taste, but those who like their music rough, raw and ragged will probably like the murky riffs and muffled drumming, rising out of a thick mass of fuzz.

For those who don'ty like distortion, it might be a comfort to just focus on the offbeat lyrics -- they can be vulgar, nasty, enchanting, or they can be brimful of black comedy. At least, they are never boring. In his VU swansong, Cale gets to recite and sing, and his rich vocals prove to be somewhat more compelling than Lou Reed's.

While perhaps the weakest, rawest and least accessible of the Velvet Underground's albums, "White Light/White Heat" has the distinction of Cale's vocals and some wickedly weird writing.
0Comment|Was this review helpful to you? Report abuse
on 4 November 2014
Not as elaborate as the 6 cd versions of their first album or the upcoming third, this is nevertheless worthwhile as it contains both the stereo and elusive mono mixes, plus some extras such as a good quality copy of the 1967 Gymnasium live bootleg. One problem: as a collector I want beautfully packaged things like this to be in perfect condition, yet copies ordered from two different sellers arrived with damaged covers. I note that some sellers are listing new copies as having storage damage or dings to packaging. I don't know why it should be so hard to find a perfect copy of this, as the VU sang, 'What Goes On', or to put it bluntly WTF?! At over £30 (and up!) for three cds we deserve better.
0Comment| 3 people found this helpful. Was this review helpful to you? Report abuse

Customers also viewed these items

Loaded (Remastered)
£8.99
VU
£6.99

Need customer service? Click here

Sponsored Links

  (What is this?)