The Velvet Underground & Nico

Truth time. I’ve never given it a full listen before bc everyone tells me I’m supposed to like it and I resent that. That being said, I really did enjoy this haha.

the crisp high notes pair well with mcdonalds sausage biscuit

It’s honestly amazing how influential this album is when you look at it from the surface level. On the surface it’s just simple songs with lots of distortion over them, but when you cut into the nitty gritty of it, you find an amazing album consisting of some very risqué lyrics and themes. The songs themselves are a stunning example of how less is more in music. As demonstrated with the lack of any competently forged riffs on these albums, but more a collection of chords that form a melody and the lack of any form of cymbals in the drums.

Love this

Any discourse about the Velvet Underground’s debut is likely to include hyperbole after hyperbole, all of which you’ll have heard before. Saviour of music in the 1960’s, progenitor of punk, progenitor of grunge, progenitor of indie, post-punk before there was punk, God’s favourite album. For as long as I’ve adored “Sgt Pepper” or “Pet Sounds”, I’ve had people try to tell me this is cooler, more daring, all round better. In fifty-six years since its release, it only seems to have grown in stature, never losing its allure as a gateway drug for hipsters and inspiring generations of sixteen year olds to get into music, drugs, art-school, or S&M. My instinct tells me it’s an overrated dud, with nothing here to match most of the other 60’s albums we put on a pedestal. Listening with fresh ears today, I’ve tried to reconcile my bias with “Velevet Underground and Nico”’s undeniable forward-thinking approach and revolutionary legacy. For what it’s worth, I much prefer Velvet Underground’s later work when they leaned further into lush melodies and conventional rock and roll, before Lou Reed peaked in his early solo career. It follows that “Sunday Morning” has always been the track that’s stood out to me most here. Absolutely gorgeous melody, lovely use of celesta, featherweight vocal, somehow weary with the weight of the world… it captures its title perfectly. “Waiting for the Man” is also a classic, somehow managing to draw a compelling song from two chords and insanely simple instrumentation. “Heroin” is a masterclass in well-paced intensity, from its blissed out intro, the funereal toms, through to the primal build up and ensuing chaos at the gates of hell. Nico’s vocals are a really welcome addition as well, giving “I’ll Be Your Mirror” and “Femme Fatale” a lovely elegance. The rest of the tracks tend to veer from vaguely interesting to forgettable or obnoxious. “The Black Angel’s Death Song” doesn’t do a lot for me. “Run Run Run” and “There She Goes Again” are gnawingly ordinary, only edgy on account of their poor recording quality, shaky performance and badly tuned instruments. Finally, “European Son” begins well but ends with a strung-out jam lacking any nuance or skill. “Velvet Underground and Nico” is frustrating, maddening, head-scratching, wilful, bold, out there… and I must admit, highly commendable. Ultimately, most of my instincts telling me not to like this album are an aversion to those snotty hipsters who proclaim this album as the second coming. Listening as freely and objectively as possible today, I must concede that it might not be a favourite, but it is darn good.

Who did I wrong in this or another life to deserve this week...Patti Smith and now this back to back. Uninspiring-at-best so-called songs about drugs and the streets, many of which were "sung" by Lou Reed. oooo edgy! Oh but at least it closes with *pure genius* [suffers through untold minutes of no-composition feedback-drenched dissonant sounds of a band openly mocking the idea of music and/or anyone in the future voluntarily listening to this] in "European Son" ..... what the absolute hell - was there nobody around to put the brakes on this?? -10/10 0 stars to everyone responsible in 1967 for foisting this mess upon the public.

oh my god. why why WHY how is this influential. this is the worst album ever. the voice- awful. and the background? i cant even call it music. why is there screeching. it hurt my ears. this is not good in ANY way. the first song was just boring but it got progressively terrible each song after I did not enjoy this album for even a second I don’t understand how this is influential in anyway. sorry 😞

My first exposure was freshman year of college (2017). Before spotify, I would queue up songs on a Youtube playlist and play them in a random order. One day, probably listening to a Beatles or Doors song, Youtube recommended me Heroin on the right sidebar and it was one of the most astonishing things I've ever listened to. I never heard anything like it before. Initially I thought it was something modern until I discovered it was 1967 when rock was still only getting established. Now I want to remark again that this was my freshman year, so at the same time I was getting introduced to all the countercultures on campus. Due to the topics of drugs and LGBT, I would associate it with the Rocky Horror Show / steampunk culture that was so strong at my school. This atmosphere made me view music as more than just a melody to sing along to but like a gateway to an entirely different perspective on life. Through VU and Lou Reed, I saw the streets of forbidden society, the kind we turn a blind eye to thinking it's dangerous. It would take me another 3 years to finally listen to the whole album, but I'm glad I did not just go into the album blind. I knew how to go into the album. This is an avant garde album. But it is a successful avant garde album, which is very very rare. Whereas pop music was heading toward a direction of being more refined, complex, and crisp, this album went in the exact opposite direction. But I don't mean backwards to 1965 (which is what people thought when they heard this album in 1967). I mean forward by utilizing simple chords and lofi techniques in creative ways that would be picked up by garage bands and later punk. Except the Stooges, no one would was even doing anything like this for years to come. So besides the atmosphere and innovation, how does the album hold? I think almost all the songs are perfect. Sunday Morning is the best opener (holy shit I'm writing this on Sunday Morning). Love the celesta. Femme Fatale is the most classic song, almost like a Carpenters song sang through a tin can. Venus in Furs the most atmospheric song, giving me hard drug and BDSM imagery... Reminds me of A Clockwork Orange. Run Run Run is like rock n roll on speed. I love how simple it is, how it doesn't progress anywhere, but it just keeps going on with periodic distortions that give the audience anxiety. All Tomorrow Parties' sounds like a Jefferson Airplane outtake (which is a compliment I think). There is nothing in this world I love more than the intense drumming and drone in Heroin that creates the atmosphere of the craziness in taking smack. Black Angel's Death Song best shows Lou Reed's poetry and interesting production techniques. European Son is an amazing closing track, beginning with classic Chuck Berry and then diverging into an awesome display of conflicting instruments and feedback distortion.

Nico <3 Lou Reed <3 John Cale <3 Moe Tucker <3 Sterling Morrison <3. Perfect in its naivete, purity, experimentalism, tonal painting. Just perfect. The world of sound would be a lesser place without the existence of this album.

Just don’t like it. Have never been able to “get” it

To my mind, Lou Reed's gift as a lyricist is for literalness and plainspeak poetry. So I was surprised when I listened to this for the millionth time and realised I'd always assumed this was the one where he's more gnomic. Probably because of the album's avant-garde edges. Not so. When he says, "And I feel like I just don't know" on Heroin, he means it. What he does know is what's down back alleys, under ground and after dark. The music is just as filthy. The inclusion of gentile European tradition signifying Nico by Warhol (more likely director than producer) is a masterstroke, both elevating all this American vulgarity with her presence but also upending and debasing what she signifies.

For a very influential album it is amazingly shit!

The self-titled album by The Velvet Underground & Nico never fails to impress. It's incredibly influential and widely considered one of the greatest albums ever. Having two singers adds a unique, enjoyable dynamic, and the instrumentals are both satisfying and perfectly crafted. The lyrics are also very well-written, making this album an all-around masterpiece.

1/1001. Got ‘Em: 1 Need ‘Em:0 Vinyl quality: fair— surface noise throughout. V5008 Canadian Mono.

The emperor is naked, let's just be honest about it. Just because people say this is the coolest album ever made, doesn't make it any better to listen to. It has its moments but is wildly overrated in my opinion.

This album gets interesting when Nico isn’t bogging along in her god awful drone. By interesting I mean somewhat endurable.

Oh Christ, not another one of these 'seminal' albums. You need to consume the same amount of drugs as they took during recording to truly appreciate this. A handful of good hooks, like the opening to Venus in Furs. You sort of swim in the sound, a haze of drone and jangly guitar line while the vocal wends its way around you. But most of this album is a drug-addled mess. It's lounge music for 60s crack addicts.

The Velvet Underground & Nico—a seminal album that has inspired endless analysis. From Warhol’s iconic banana cover to its raw, experimental sound and boundary-breaking lyrics, it has secured its place as one of rock’s most influential works. Initially baffling with its unconventional structures and minimalist sound, the album’s tracks have since become woven into the fabric of popular culture. Warhol’s hands-off production helped it transcend its era, allowing the band’s gritty, unpolished style to breathe; the rawness and imperfections are now part of its enduring charm. Nico’s inclusion—Warhol’s move to attract the New York scene—added a cool, mysterious aesthetic, though her detached vocals on “Femme Fatale” and “All Tomorrow’s Parties” sometimes feel disconnected from the album’s gritty heart. Her role was more strategic than musical and ultimately didn’t aid sales, rather pushing a peripheral figure into a shared spotlight. That said, Lou Reed’s deadpan delivery brings incredible depth to these sordid tales, while John Cale’s avant-garde edge elevates the sound into new territory, making each track compelling even 50+ years on. Special mention goes to Maureen Tucker’s minimalist drumming, which defines the album’s primal energy, grounding its experimental edges. Whether it’s the jittery energy of “I’m Waiting for the Man,” the dreamy quality of “Sunday Morning,” Nico’s detachment, or the more experimental tracks on the tail end, this feels like a cohesive set of songs that rewards multiple listens. The sum of its parts is greater than any individual moment. As Brian Eno famously noted, “everyone who bought one of those 30,000 copies started a band.” For a record that sold little but spoke volumes, its legacy says it all. • Do I own this release? On CD • Does it belong on the list? Undoubtedly • Would it make my personal list? Yes • Will I be listening to it again? Yes

Whenever a big album like that comes up, I'm thinking - it can't be that good, right? And then I play it and realize that it is even better than I remembered. It's one of those where you can't overstate their influence. I mean you can hear all types of indie rock tracing their roots back to this thing. And it was made almost 60 years ago? You'd expect it to lose at least some appeal due to age, right? But no, it's as enjoyable as ever. This is one of those albums that this list was created for.

48 minutes that mysteriously feels like 48 hours. 48 intense, stimulating, unsettling, glorious hours. OK, getting the obvious out of the way, yes, the recording is primitive and the instruments are often out of tune. And Maureen Tucker’s drumming on ‘Heroin’ is unlistenable. Unless it was some kind of artistic choice to, every so often, allow the beat just to randomly wander from the rest of the band? If so, avant garde genius. Who knows? This ain’t King Crimson, that’s all I’m saying. But neither are Neil Young or Bob Dylan (both of whom have, at times, intentionally left mistakes on recordings) going for the sparkling perfection of, say, Rascal Flats. The Velvet Underground’s sound does not require Steely Dan proficiency. This is street stickball, not Major League baseball. And sometimes, that’s where you want to play. Then again, play might not be the best word to use for this particular LP. No one’s better than The Velvet Underground at offering a sweet, simple, almost lullaby type tune set to sour, complicated, dark lyrics: ‘Sunday Morning,’ ‘Femme Fatale,’ ‘I’ll Be Your Mirror,’ all three songs featuring Nico on lead vocals. Nico is like escargot, an acquired taste you either love or hate, no in between. But the entrée to these appetizers are really the Lou Reed led numbers, even darker lyrics and set to darker tunes: ‘I’m Waiting for the Man,’ ‘The Black Angel’s Death Song,’ and especially, ‘Venus in Furs,’ a most unsettling song set to a mostly drone tune (a musical genre the Velvet Underground mine well and often), sustained by the shamanistic beat of Tucker’s tom and accentuated by the haunting middle-eastern moan of John Cale’s electric viola (which is also featured in the terrific free association exercise of ‘The Black Angel’s Death Song.’) ‘Venus in Furs’ is a heady experience, where five minutes casts a spell that seems to last for fifty, concluding in the chilling lyric: ‘Strike, dear mistress, and cure his heart.’ Lou Reed and company are not all doom and gloom, though. They enjoy a perdcic kicking up of their heels, too, as on the very Highway 61 Revisited sounding, ‘Run Run Run,’ or the uptempo pop of ‘There She Goes Again.’ I love Reed’s spontaneous joy and laughter at the end of ‘I’m Waiting for the Man,’ not to mention Sterling Morrison’s adventurous walking bass lines. And, believe it or not, some genuine gentleness and caring is expressed on the lovely and comforting ‘I’ll Be Your Mirror.’ So there are some characters and situations in the Velvet Underground’s world that lean more towards the velvet than the underground. Just not many. The song to end the LP, ‘European Son,’ was dedicated to Reed’s literary mentor, poet Delmore Schwartz, who died alone three months after the recording. The lyrics are sparse and bleak, but the extended musical jam is extraordinary, a precursor to the noise rock of groups like Sonic Youth. Each player is allowed to run free, yet together, and somewhere in the cooperatively created cacophony glory blooms. I was a little winded at the end of the near eight minute track. All this, and an Andy Warhol original on the cover? 'The Velvet Underground & Noco' is embarking upon a journey down a red velvet carpet into a dark cavern. Be prepared for any eventuality.

I've heard that in Waiting for my Man he described perfectly the attire of the late 60s heroin dealer '' ... he's all dressed in black; PR shoes and really big straw hat." (PR is short for PRFCs meaning Puerto Rican Fence Climbers - shoes with a narrow point that enable fence climbing if needed to make a quick exit.) The next lines in that song tell how dealers are always late (another very accurate comment - or so I've heard): "He's never early; he's always late. The first thing you learn is that you always gotta wait" My favourite song is Heroin. Both these addiction songs are anti-drug but even mentioning drugs was enough to get the stations to ban the songs. While my personal favourites are the addiction songs, the album also has songs with transgender and kink themes. More excellent topics to generate radio play lol. I like the Eno quote that the album sold hardly any copies but everyone who bought it started a band.

A true classic! For me, at least, it's the pinnacle for everyone involved. Yeah, Nico has that cool solo album, and Lou Reed made some cool songs elsewhere, but this one is just hard to beat. The four-track run that opens this album is amazing: a perfect intro, one of my favorite Lou Reed tracks, one of Nico's most memorable tracks, and then the super psychedelic "Venus in Furs." I feel like if I were alive back when this came out this album would've permanently changed me. And I haven't even gotten to my favorite track on here, "Heroin." Such a brilliant, building song. It was used very obviously in the movie Killing Them Softly for a scene where Ben Mendelson does, yep you guessed it, heroin. Leaving that aside, I just love the length and trajectory of this song. The rising and falling throughout is so satisfying. I'm struggling to come up with a good reason to give this less than five stars. There were some songs on the back end that didn't stand out to me, but with all that I love and the highs it has to offer, it's really one of the best of its era. Favorite tracks: Heroin, I'm Waiting for the Man, Femme Fatale, Venus in Furs, Sunday Morning, All Tomorrow's Parties. Album art: The unforgettable, iconic banana. Designed (and signed) by Andy Warhol, the early vinyl pressings of this had a peelable peel sticker and the flesh of the banana underneath is an unsettling pink. I do have this on vinyl, but it's a repressing without the peel sticker. Maybe that's for the best; that pink banana is creepy, and I'd hate to be the guy who lost the sticker. 5/5

It's scary how they were ahead of their time. They are immersed in the dark, oppressive atmosphere of German expressionism and French existentialism, but they also exhaled an epic libido: each song was a sexual fetish, and a cathartic sadomaso release. (9/10) FT: Heroin, Sunday Morning

A thrilling and tremendously influential experimental rock album. It's blend of pysch, proto-pop, art-punk, dream pop and on and on is what makes it such a fascinating and still wholly original sounding work. It's a difficult work but one that rewards every minute you engage with it.

This is beyond reasonable dispute one of the greatest albums of all time, so I will only add these thoughts to those who only hearing it now, 50-60 years after its release. 1) you have to think in terms of chronology. This album is from 1967, and it is the headwaters of so much that would later be dubbed “alternative.” Basically, most of my favorite music starts here. (The rest begins with the Beatles.) 2) again, 1967! What a year! It’s unbelievable the albums released this year which included the Doors first album, the first two Jimi Hendrix albums, Sgt Pepper, and more. 3) don’t try this at home… well, try the music but not the lifestyle choices being described. For example, Heroin… please just don’t. This album transports you to the New York underside circa 1967, but also to its art scene - which is why you get Andy Warhol involved in the mix as well. There is deconstruction, some self-destruction, and beauty. Wow, I said too much… make sure to also listen to their second album (self titled) and to Loaded.

Most of the music I listen to wouldn't exist without this album.

It’s crazy to think this came out between Pet Sounds and Sgt. Peppers. To me this album operates on a completely different plane, like it was created in an alternate world. It still sounds so ahead of its time, and nothing has matched its level of attitude and cool.

Visionary.

Admit mild weariness on seeing I was to listen to this again; how many times can I play and still enjoy it? But it sounds as live as it ever has. Still perfect, “European Son” included. Piano still hammers like a cheerful Tommy gun. Electric viola still simulates a jet engine. Guitars still aggressively exotic, Nico still atonally brilliant, Reed still a man knowing he’s singing something entirely new into being.

incredible album, especially good to hear those tracks sequenced again

Watch out! The world’s behind you.

Honestly I like this more and more with each listen

I don't even need to hear it. But of course I'll take advantage of this moment. This is as good as it gets.

Classic! The most celebrated album by my favorite band. 10/10. I love it. What a great way to start this :)

How to listen again to an album I've probably listened to thousands of times before and where three of the tracks are on my heavy rotation Spotitfy playlists? It also feels like a record whose influence loomed over most of the music I've loved in my life. I actually remember the first time I heard it, when my brother played me the vinyl copy he had, and I remember when I bought my own copy, at a CD fair in Southampton. Trying to listen afresh now it's still an amazing record. I realise, however, that I'd got into the habit of stopping it at the start of the five minutes noise at the end of European Son :D

It’s hard to fathom that this was released in ‘67. It’s even more unfathomable to what extent The Velvet Underground & Nico influenced not only future bands but future genres altogether. Lulling you into a state of false safety with “Sunday Morning” everything involves into a state of frenzy the further the album progresses. In the end you don’t even know what hits you as “The Black Angel’s Death Song” and “European Son” collapses into sonic dismay. I’m not always sure that this record wants for me to stay. But long ago I firmly decided against it’s possible wishes.

Starting off with an iconic tune heard in many films (Sunday Morning), then fading into I'm Waiting For My Man; this album early on set's the tone of the record - Classic 60's barbershop vocals with a Surf Rock Backing. Moving onto Track 3 (Femme Fatale), was an unexpected one for me. This is the original version of a cover I spent many of my teen years listening to when discovering my sexuality. A VERY moving song and will always be a staple to me. So far from listening to the first 5 tracks, I can already see how this band has had such an impact on rock, avant-garde and indie music throughout it's post years; from the distortion in the guitar and vocals, to the drumming patterns. This distortion in the guitar mixed with the drumming pattern used across the album has been used over and over again throughout 90s rock presented by bands and artists such as Pixies, Nirvana, David Bowie, Red Hot Chili Peppers and the Libertines. As well as 90's bands, this sound has transferred into more modern artists such as Razorlight, Arctic Monkeys, The Strokes, The Neighbourhood, and Lana Del Reys earlier releases.

This album might as well be the epicentre of rock and roll. It's the peak, the high water mark that every other album preceding it built up to, and every album following it, tried to no avail, to best. This is not Lou Reed best, I leave that to his magnum opus that is 'Transformer', but this is the world of fashion, design, art, music, drugs, sleaze, psychedelia, literature and poetry - the meeting point of the minds in New York at it's most vibrant and decadent. The album sleeve alone is literally an art piece - its sign by Andy Warhol itself rather than having the band and album name. It's legendary its function too. And then, there's Nico, whose contribution elevates the album past the sum of it's parts, lifting it from the opium den fever dream to an angelic catwalk. It's not the Beatles, it's not the Stones, nor the Stooges that should be the snapshot of 7 decades of guitar music. It's this specific album.

Funny to have another Velvet Underground album so soon on the list. This is their first album and musically, it’s a fascinating mix of psychedelic pop (“Sunday Morning,” "I'll Be Your Mirror") and more experimental avant-garde fare (like the gloomy BDSM jam “Venus in Furs” and "The Black Angel's Death Song"). There are also songs that exist somewhere between those poles (like “All Tomorrow’s Parties,” which has a simple enough structure but features druggy mood music in the background). The album has some great rock numbers too. I love how "I'm Waiting For My Man" keeps that steady rhythm throughout. The music only changes slightly between the verses and choruses. "Run Run Run" takes a relatively basic rock/blues sound and pushes it towards noise rock, and then "European Son" takes things even further into experimental territory. Somehow the sequencing of the album balances all these different styles. Having Nico sing lead vocals on a few songs helps break up the stranger, more challenging material. The album is a weird, wild ride but I really love it. P.S.: If you're not sure about this one, their sound definitely changes after the experimental first two albums. Their self-titled third album is mostly melodic acoustic songs and their fourth (and basically last) album "Loaded" is a big, beautifully produced pop album with some major hits. P.P.S.: Funny to hear the name Severin used in "Venus in Furs" - I never knew he was saying a name there until now!

It's hard to believe this was released when it was considering you hear echos of noise rock, experimental, drone and a whole host of other genres that didn't properly form for another 2 decades. Of course experimentation and influence don't necessarily mean something is great, luckily however this has Steller songwriting throughout. the sweet poppy songs are as intoxicating as the drone songs or the gritty, dirty rockers. Nico and reed kill every performance.

Great album. Lou Reed / Velvets, classic. Basically every band worth mentioning has shamelessly ripped this style and sound since they were in high school diapers practicing in the garage. Nico is super-strange, but I dig her, there's some movie about her imploding after her time at the Factory. Love her pronunciation of 'clown' aka "KLON" in Femme Fatale. Sunday Morning is beautiful, Heroin brings back memories, Lou Reed, RIP.

Have you ever been on a major wooden rollercoaster? Compared to steel rollercoasters which dominate the scene, wooden coasters don’t go as high, they don’t have loops, there are no barrel rolls, and they don’t go as fast. You know what wooden rollercoasters have that steel coasters never will? Grit! Wooden coasters have a distinct sound and feel as a rider. They rattle you around more. This album feels like a wooden rollercoaster to me. It feels raw, unpolished, ambitious…and gritty. Lou Reed’s voice fits this sound quite well. But I also contend that Nico’s voice elevates her songs to another plane. I’ve always been disappointed that Nico was only with The Velvet Underground for one album…really just four songs. This album is remarkably distinct. Against my better judgment, I’m going to give the 65 track super deluxe version a go because it has a bunch of Nico solo tracks and a disc full of live songs. Wish me well…

When you hear some of these songs, it's hard to believe this was released in 1967. Songs like 'Sunday Morning' or 'There She Goes Again' are just so far removed from the typical sound of music at the time. It's not surprising that this album is flagged as being as influential as it is - you can hear the influence this album had on the alternative/indie rock scenes of the late 70's and 80's. This album is absolutely bizarre at times, but in a brilliant, unforgettable sort of way. The album's centerpiece, 'Heroin', is an excellent example, beginning in a more mellow way before gradually building into an eruption of cacophonic screeching and twisted guitar sound effects. The Velvet Underground were clearly experimental pioneers in their day - to this day, I've never heard another song that reminds me even faintly of 'The Black Angel's Death Song'. And yet, amidst all that weirdness are just some of the most melodically pleasing songs I've ever heard. 'Sunday Morning' is an amazing start to the album and captures the often ethereal feel to many of these tracks. Nico's vocal contributions to the album pair perfectly with some of the album's more psychedelic tracks, including the stand-out 'All Tomorrow's Parties'. "I'll Be Your Mirror" is simply beautiful, and I'll always appreciate the pronunciation of 'Clown' as 'Clon' on the catchy 'Femme Fatale'.

I used to be prejudiced against music outside the 80s. Everything seemed too psychedelic until I discovered that everything I listened to was influenced by this album. And how wonderful it is to listen to this album and rediscover it for life! From the cover and the lyrics, the whole album is a work of art.

A truly iconic album. It's just cool isn't it? Everything about it is cool, from the cover art to Nico's very good, not very good singing to Lou Reed's snide attitude to John Cale's experimental noise making. The grandaddy of trendies everywhere from art-rock to heroin chic to 21st-century hipsters.

This album's especially great for giving Nico multiple opportunities to say "clown" (pronounced 'klauhn')

One of those less deniable classics. Responsible for a lot of terrible bands, and a few good ones. Such a strong opening from the twee, gentle Sunday Morning, to the jangly driving (and only slightly overrated) I'm Waiting for The Man to the sad Femme Fatale to a droning, sinister Venus in Furs and on. Heroin is the only break this album takes for mediocrity - Lou Reed was always at his most dull when he was trying to be edgy.

Undisputed classic, both in influence and substance. The sound is raw and stripped-down and the lyrics are reflective of the emerging counterculture of the era. There is so much diversity in this album and it has such a distinctive sound. Favorite tracks: Sunday Morning, I'm Waiting for the Man, Femme Fatale, Venus in Furs, Heroin.

I was all over this album when I was in my early 20s, as it should be. I like that this is one of those legendarily influential albums that still holds up. It doesn't quite feel like an artefact of its time, it's weird and edgy enough to still feel current-ish in an unusual way. The pop songwriting craft is there, along with songs about heroin addiction that aren't as boring as drug addiction is. The melancholic feeling is sublime and it is probably very apt for these troubled times. I am very happy that this album exists and I want to peel Andy's banana.

This is my 100th review. A special kind of symmetry in that my first album was Berlin by Lou Reed. In case you were wondering, I gave that one a 3. It’s hard to review an album that you love, an album that is one of your favorites. There’s a sense of obligation to say something meaningful, but the album is also wrapped up in all kinds of feelings and experiences that are hard to extricate from the music. I don’t have a single favorite album. I have a small number of albums that I consider foundational to my tastes in music, my attitudes about music and, to some extent, my world view. This is one of those albums for me. If you've never heard the Velvets before, that first song is deceptive. The twinkling celesta, the strings, "Sunday Morning" is a lure into a very dark, gritty space. Feedback, dissonance, dark lyrics that take you to dark places, oh yeah. This album is a scar across the lovely face of music. VU is one of those bands that cracks open the possibilities of what music is allowed to sound like and what we as listeners should expect from music. As I said, foundational. I’ve been listening to this album for about 30 years now and it still challenges me. I love that it still challenges me, that it’s never boring. There are still moments on this album that make me uncomfortable, a flash of distortion that will make me tense up momentarily, a turn of phrase that will make me stop cold for a second from whatever it is I’m doing. This is music that is designed to make you uncomfortable. But it’s also immersive and fascinating. I have never in my life met anyone like the people Lou Reed writes about. But he writes it so vividly that you feel like you can understand it. The world revealed in this album is terrifying, but somehow also alluring in a twisted way. The Velvets shine a light on that dark underbelly of what’s acceptable, revealing depravity, humanity, and a surprising beauty. The arrangements of these songs are deceptively simple for the most part, but every sound is precisely placed, every distortion intentional. Cale’s explorations of the viola paired with Reed’s own experimentation with guitar tuning creates a powerful sound that no one has ever been able to match. Add in the steady, minimalist backbone provided by Moe Tucker and Sterling Morrison and you have a sound for the ages, one that’s been copied incessantly but still never really captured. Also, for as much as this is an album is worthy of serious thought, it also is just excellent music. It can be sweet, it can be catchy, it can be provocative, it also at moments just simply rocks. You can’t ask for much more in an album. Fave Songs: (The whole album, favorite to least favorite): Heroin, I'm Waiting for the Man, Venus in Furs, Run Run Run, I'll Be Your Mirror, Sunday Morning, Femme Fatale, European Son, All Tomorrow's Parties, There She Goes Again, The Black Angel's Death Song

Lindo de bonito

Absolute classic one of my favorites

Production: 13/20 Songwriting: 16/20 Innovation: 17/20 Bangers: 20/20 Emotional response: 18/20 =84 Class class class class class

Lou Reed and Nico’s voices are a match made in heaven.

It's wild to listen to this album and hear the 50+ years of alternative music it inspired.

Overall, I liked listening through this album. I realized that I’ve actually never listened to this one top to bottom! The album starts off strong with recognizable classic tracks like, “Sunday Morning” and “I’m Waiting for the Man.” Something about “Venus In Furs” makes me think the song would be well suited for a historical fiction television show, like with vikings or the like. “All Tomorrow’s Parties” is a bit chant-like. The guitar part almost sounds like a sitar at times. Maybe my favorite track on the album. The guitar distortion / feedback is a bit like nails on a chalkboard at times, especially in “Heroin” and the very beginning of the guitar solo in “Run Run Run”, in a way that feels good but also feels awful at the same time. If that makes sense. Overall, this was an interesting listen. I can definitely hear how this is an influential album moving forward musically. While I enjoyed listening, the silence following the last track at the end of the album was welcome relief to my ears after the final track.

Fine. Early Wes Anderson slow motion vibes.

Thoughts before listening: This is definitely a classic album that continues to influence indie and punk artists. I owned this back in the day, and remember especially loving "Heroin", but I have not listened in a long time. This is one of those albums that you respect for its influence more than actually falling in love with, but maybe my perspective will be different 20 years after initially listening. Review: The VU certainly had a unique sound for their era. This is psychedelic rock thats totally different than anything the west coast bands like the Grateful Dead and Jefferson Airplane or the British bands like the Beatles and Stones were doing. The VU utilized out of tune guitars that create a chugging drone instead of playing riffs and guitar solos. There is certainly a direct through line from the VU to Sonic Youth to a band like King Gizzard and the Lizard Wizard. My favorites 20 years ago were the more upbeat songs and that remains the case today. The slower, often weirder songs (usually sung by Nico) like "All Tomorrow's Parties" just aren't as enjoyable to listen to. "I'm Waiting for the Man", "Run Run Run", and "Heroin" are my favorites on this album. I still feel that "Heroin" is the real gem here with its slow build in intensity to a final crescendo that is meant to replicate a drug high. Really good stuff. This is a 3-star album with the score being brought down by the inclusion of a handful of songs that are too abstract for their own good.

I like Sunday morning and many of the tracks have a cool sound, but I just can't bare listening to half of the lyrics.

Very unique album! Can’t say I love it, but the moments I like are very good. Unfortunately there’s also some freak out moments where they totally lose me. 7 out of 10

Not a fan really which is a shame. It’s an album I’ve been told my whole life that I should like.. but it was pretty dull!

Probably the most overrated album on this site. A lot of commenters obviously not liking it giving it fours or fives, because of its cultural significance and/or for fear of looking uncool. Folks, it’s ok to not like blaring lo-fi art-rock. Sure, it inspired a lot of great stuff that I like, but boy did I not have the patience for this. This is more about image than music. And that image belongs in a museum where folks can adore the counter culture heroes of the past without having to pretend they like their music. Sure it inspired a lot of bands. But everything that sounds amateurish and “real” inspires people to create. Because it lowers the bar and makes it seem possible to do it yourself. So thanks for lowering the bar and paving the way for punk and other diy music I guess.

++*: Sunday Morning, I'm Waiting for the Man, Venus in Furs, Heroin ++: Femme Fatale, Run Run Run, All Tomorrow Parties, There She Goes Again, I'll Be Your Mirror, The Black Angel's Death Song, European Son 10/10

One of my favorite albums ever. I could try a million times to write a song as cutting as heroin and never do it as simply

Yeah this is one of those seminal albums that I absolutely love - dark, decadent, seedy, intense, humourous, poetic and streetwise yet at the same time there are moments of sheer beauty and euphoria. It's interesting to note that in 1966-67 (when the sixties decade was at its peak) practically everyone else was singing, in some shape or form, about a colourful utopia/new horizon or a counter culture revolution. Meanwhile, the Velvets were singing Lou Reed's songs that had an urban gritty realism. The lyrics are superb: they tell a story but sound wonderfully poetic. I've always loved the line "watch out, the world's behind you" in the opening 'Sunday Morning', which perfectly encapsulates the bleary-eyed feeling of the day after the night before. For an underground band the songs are surprisingly catchy, while the murky production and raw sound enhance the experimentation drones, distortion and fuzzy edges. Like most truly great works, it hasn't been overcooked, has a live + semi improvised sound and the band sound like they are thrilled to be making a record. And of course the cover artwork is instantly recognisable and iconic, although I can't quite remember who designed it (ho-ho). Brilliant from start to finish, it's still one of my favourites.

Dirges, street visions of operatic drug induced hell holes. Captured in sound and lyrics. What's not to love?

So good that not even Nico can ruin iit

It was relaxing to get this album on the list. No challenging aggression, no mumbling banality, not some country album from the mid fifties, just an old friend popped in. Which is weird when the album was trying to be an album of weirdos and druggies living on the fringe.

I use to 'dislike' "The Velvet Underground & Nico" because of Nico's controversy and the general drowsiness of the album. However, over the years, I have acquired a taste for Lou Reed and The Velvet Underground, and I adore the nonchalant, peaceful essence of the album. "Sunday Morning" is fantastic. This is one of the few albums in the generator that I own on vinyl. (By the way, I still think Nico is crap.)

uno de mis discos fav de la historia es demasiado bueno

This album is polarizing, few people think "it's okay" most either love it or hate it. I love it From the cacophonous music mixed with the calm, cold Eurotrash vocals to the minimalism. John Cale and Lou Reed were incredible compliments in song writing

Que voulez-vous que je dise ici, franchement ? Cet album est super, et transportant. La musique transmet les histoires au delà des paroles (je pense à Heroin par exemple). Je crois que je l'ai écouté bien 4 ou 5 fois dans la journée. J'ai pas grand chose à ajouter après, vu que je le connaissais déjà. À part : Banane !

This album brings back such good memories. I can totally understand just hearing it for the first time in 2024 and not liking it. But I've been listening t this for 35 years and it's just great. I completely hate heroin (the drug) but love heroin (the song). While Nico's voice is grating, I love most of her songs on this album.

Already heard it and loved it

Séminal masterpiece.

Nice

I used to have vinyl parties. This was pretty much a nightly thing. My friends and I would go to Cincinnati’s magnificent Shake It Records, pick up something interesting, and then go spin it. As the night wore on, The Velvet Underground and Nico would inevitably be played. All of us were obsessed with this album. It’s the wildest, most entrancing collection of songs I think I’ve ever heard. An absolute classic.

A "desert island" album for me and at times in my life, my favorite album bar none. There are at least a half dozen movements in music that were directly influenced by these songs and probably way more than that. There's also that Peter Buck quote about only a few hundred people buying Velvet Underground records but that all of them started incredible bands. You can just mainline this one straight into my vein. Also, I'm just now realizing that I have much more to say about the records I don't like. Probably because if I think it's good then the music will sell itself.

Awesome awesome album

Possibly the best album of the 60s. Hits hard everytime.

Almost everything that sounds obviously influenced by this doesn't live up to its inventiveness and variety. Sure plenty have copped the proto indie sounds of I'll Be Your Mirror or There She Goes Again but not many can match the other worldliness of Venus In Furs or All Tomorrow's Parties. I can still hear new things despite a gazillion previous listens. E.g. I hadn't noticed before how much of a Dylan pastiche Black Angel Death Song is if you remove John Cale's viola.

Unbelievable that this is their debut. Such range and so many amazing tracks.

i enjoyed it! its very soft and mellow, i enjoyed the first song, "sunday morning" the most. the rest were great as well!

It’s crazy how there are moments that sound so modern, even 50+ years later. Hooked from “Sunday Morning.”

So many amazing songs, and so many people are influenced by this band

Near perfect Rock album. Great Instrumentals matched with Incredible vocals by Lou Reed And Nico executing a phenomenal concept which even after all these years live up to its name.

Κλασικ

bevallom hogy Nico nélkül jobban adtam volna, de azért így is micsoda avantgárd masterpiece ez! imádom

**The Velvet Underground & Nico** by The Velvet Underground is a seminal album in rock history, blending raw and poetic lyrics with experimental music that would define an entire generation of alternative and avant-garde music. Produced by Andy Warhol and released in 1967, it was initially a commercial failure, but its influence on punk, alternative, and indie rock is immeasurable. Here’s an in-depth analysis of the album’s lyrics, music, production, themes, and influence, as well as its pros and cons. --- ### Lyrics The lyrics of *The Velvet Underground & Nico* explore dark and unfiltered themes rarely touched upon in the music of its time. Lou Reed’s songwriting delves into taboo topics—drug addiction, sexuality, urban despair, and existentialism—without any moralizing or judgment. Songs like "Heroin" and "I'm Waiting for the Man" discuss addiction with raw honesty, capturing the dangerous allure and crushing depths of drug use. "Heroin," for example, details a descent into addiction with visceral imagery ("When I put a spike into my vein / And I tell you things aren't quite the same"), creating an intimate and terrifying portrait. Another lyrical highlight, "Venus in Furs," inspired by the novel of the same name, explores themes of BDSM and sexual fetishism. Reed’s use of descriptive language ("Shiny, shiny, shiny boots of leather") paints a vivid picture, and the lyrics navigate taboo territory with a frankness that was almost unheard of at the time. Despite the bleak themes, Reed’s lyrics offer moments of vulnerability and tenderness. "I'll Be Your Mirror," sung by Nico, contrasts sharply with the darker material, offering a gentle, empathetic portrayal of love and devotion. This song’s lyrics ("When you think the night has seen your mind / That inside you're twisted and unkind") show a rare sensitivity, reflecting a willingness to explore emotional complexities beyond gritty realism. **Pros of the Lyrics**: - Uncompromising, groundbreaking exploration of taboo subjects. - Honest, poetic approach that avoids clichés. - Balances darkness with moments of tenderness. **Cons of the Lyrics**: - Some lyrics may come across as overly graphic or shocking to certain listeners. - The pervasive darkness may be overwhelming or alienating. --- ### Music Musically, the album is as daring as its lyrical content. John Cale’s use of electric viola, Lou Reed’s gritty guitar, and Moe Tucker’s minimalist drumming create a raw, chaotic sound that reflects the grit and tension of New York City’s underground culture. The album combines avant-garde experimentation with rock, folk, and pop sensibilities. "Heroin" is one of the best examples of the band’s musical innovation. It begins softly, with a calm, melodic guitar line, then gradually builds to a crescendo, mimicking the effects of a drug high and crash. The shifting tempo, going from a lull to a frenetic climax, exemplifies the band’s ability to use structure and dynamics to evoke an emotional response. "European Son" is another experimental track, starting off as a straightforward rock song and then devolving into a chaotic instrumental, a fitting sonic metaphor for rebellion. Meanwhile, "Sunday Morning" showcases a different side, with Reed’s mellow vocals and Cale’s celesta, creating a more approachable pop sound that contrasts with the more challenging compositions. Each track embodies a different musical style or influence, from the dissonant, droning quality of "Venus in Furs" to the proto-punk of "I'm Waiting for the Man." The album’s fusion of rock and avant-garde elements laid the groundwork for genres like punk, new wave, and noise rock. **Pros of the Music**: - Diverse range of sounds, from rock to avant-garde. - Innovative use of electric viola and minimalist drumming. - Powerful dynamic shifts and emotional depth in arrangements. **Cons of the Music**: - Some experimental aspects may feel abrasive or inaccessible. - Lack of polish compared to contemporaneous releases. --- ### Production The production, managed by Andy Warhol, was minimalist and hands-off. Warhol reportedly let the band have free rein in the studio, resulting in a raw and unfiltered sound. While this allowed the band to maintain their unique artistic vision, it also meant that the album had a lo-fi, rough-around-the-edges quality that contrasts sharply with the polished sound of other 1967 releases, such as *Sgt. Pepper’s Lonely Hearts Club Band*. Warhol’s influence on the production is subtle but crucial. His emphasis on authenticity over technical precision allowed The Velvet Underground to retain their gritty edge. While the album’s production has been criticized for its lack of clarity and professional sheen, the lo-fi aesthetic became an essential part of its character and appeal. This rawness enhances the intimacy and immediacy of the music, making listeners feel as if they’re right there with the band in a dingy New York City loft. However, this lo-fi production also means the sound quality varies between tracks. Nico’s vocals are sometimes buried in the mix, while other songs sound overly muddy. For some, these production flaws add to the album's authenticity; for others, they’re a distraction. **Pros of the Production**: - Unique, authentic sound that fits the album’s themes. - Minimalist, lo-fi aesthetic that enhances emotional impact. **Cons of the Production**: - Lack of polish and clarity in some tracks. - Inconsistent mixing can detract from the listening experience. --- ### Themes The album’s themes of alienation, addiction, and sexual exploration resonate with the countercultural movement of the 1960s, but it goes further by delving into the darker aspects that many other artists avoided. Rather than idealizing or romanticizing counterculture, *The Velvet Underground & Nico* offers an unfiltered look at the complexities of the human experience, often through the lens of urban life in New York City. The central theme of addiction is explored with a blunt realism, especially in "Heroin" and "I'm Waiting for the Man," which reflect both the euphoria and despair associated with drug use. The songs don't glorify addiction but rather present it as a complex, multifaceted struggle. Another recurring theme is sexual liberation, presented in both "Venus in Furs" and "There She Goes Again." These songs explore sexuality in an open and sometimes uncomfortable way, challenging conventional attitudes of the era. Themes of isolation and introspection also feature prominently, with songs like "Sunday Morning" and "All Tomorrow's Parties" reflecting the fragile, introspective side of human nature. **Pros of the Themes**: - Groundbreaking exploration of complex, often taboo subjects. - Themes resonate deeply with the realities of urban life and counterculture. **Cons of the Themes**: - Dark themes may alienate some listeners. - Certain thematic elements may feel dated or controversial. --- ### Influence The influence of *The Velvet Underground & Nico* on future generations of musicians is perhaps the album’s most remarkable legacy. Though it was initially ignored, the album later gained cult status and inspired countless artists, from punk bands like The Sex Pistols and The Clash to alternative rock icons like R.E.M. and Sonic Youth. Brian Eno famously said, "The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band." The album’s rejection of mainstream appeal and polished aesthetics paved the way for the DIY ethic of punk. Its exploration of taboo themes and unfiltered storytelling influenced the lyrical approach of many subsequent bands. Moreover, the experimentation with sound and structure anticipated the avant-garde approach that would characterize much of alternative and indie music in the decades to come. The album’s cultural influence also extended beyond music. Andy Warhol’s involvement connected it to the art world, symbolizing a fusion of visual art and music that would inspire future movements, from post-punk to the New York art-punk scene. Warhol’s cover artwork—a banana with a peelable sticker—has become an iconic symbol of counterculture. **Pros of the Influence**: - Revolutionary impact on punk, alternative, and indie music. - Inspired a fusion of music and visual art. - Pioneered a DIY ethos and experimental approach in popular music. **Cons of the Influence**: - The album’s stark realism may have led to the romanticizing of self-destructive themes. - Some aspects of the album’s legacy overshadow its musical contributions. --- ### Pros and Cons Summary **Pros**: - Raw, poetic lyrics that explore taboo themes with brutal honesty. - A diverse, innovative musical approach that blends rock with avant-garde elements. - Authentic, lo-fi production that enhances the album’s rawness. - Themes that resonate with the complexities of urban life and counterculture. - Tremendous influence on future generations of musicians and artists. **Cons**: - Some lyrics and themes may be too graphic or unsettling for certain listeners. - The album’s abrasive sound may alienate listeners accustomed to polished production. - Inconsistent sound quality and mixing issues. - Themes and aesthetic choices may feel dated or controversial today. --- **Conclusion** *The Velvet Underground & Nico* is a bold, genre-defying album that remains one of the most influential records in rock history. Its lyrical honesty, musical innovation, and gritty production captured the spirit of New York's underground scene and laid the foundation for punk and alternative rock. While not for everyone, the album’s unapologetic embrace of dark themes and avant-garde sounds has cemented its status as a cultural touchstone, resonating across decades and inspiring countless artists to explore music as a raw, unfiltered expression of the human experience.

Velvet underground are highly praised and regarded for a good fucking reason!! Amazing album

What a band

Experimental and cool, contains parts of many cool genres/sub-genres that got developed after with big influence from this record. Very hipster pretentious but for good reason.

Classic, first song instantly went on the playlist.

This is another one I regret avoiding because of my distaste for the sneering fan base that shaped my impression of what it was all about. I love how simple and quietly confident the whole thing is. I mean, I know the hardest thing is to make great things look easy, but it really seems like they’re just kind of fucking around at some points, and it’s great!

I love the distortion over them songs and the unique lyrics and darker themes for its time. And the Cover from warhol makes it even more iconic. Not all edges are sharp but i really like this album.

Es un disco tremendo, roto, crudo, raro. Todos los temas tienen algo atrapante y característico.

I read somewhere that TVU&N could be interpreted as the story of a wild drug-fueled weekend, starting with the bleary-eyed awakening of Sunday Morning and then looking back to Friday afternoon onward on I’m Waiting For The Man. I don’t know if that’s what the band intended, but I like that reading. One thing I do know is this is among the most important, interesting, and influential albums in the history of rock music.

Sunday Morning I'm Waiting for the Man Femme Fatale Venus in Furs Run Run Run All Tomorrow's Parties Heroin There She Goes Again I'll Be Your Mirror The Black Angel's Death Song European Son

I was wondering when this would show up. I was expecting to rate it 4, but having not listened to it for about 25 years due to bad memories of the ex who introduced me to it, to my surprise I have ended up giving it full marks.

Incredible! Masterpiece! The precursor of pretty much all indie music, before that was even became a thing in the 80's. Perfect balance of immediately catchy tunes and off-the-wall experimentation. Lou Reed doesn't need to sing in tune to ooze coolness. A classic for a reason. Key tracks: Sunday Morning I'm Waiting for the Man Femme Fatale Venus in Furs Run, Run, Run All Tomorrow's Parties Heroin