The Velvet Underground & Nico

I tend to (accidentally) spin albums all day on certain days, and this album caught one of those days. Kinda just let it go and it really grew on me! There's a raw, unfiltered vibe here. The record carries an experimental spirit; it's light and unpretentious. Like early (The) Doors, rebellion with charm. A simple listen that feels both genuine and a bit edgy. Spins: ??? Playlist Additions: - Sunday Morning - Femme Fatale - There She Goes Again - I'll Be Your Mirror

Didn’t really care for the last song but the rest of the album was great

I don't know what to do with this. 2.5-3ish?

Allting är redan sagt om den här skivan. Blir bättre varje gång jag lyssnar. Idag blir det 4 stjärnor

An all time classic, enhanced with the presence of Nico... she's a little bit like sorbet or cheese between courses. I think the record might have been a little heavy without the melodic accent of her singing.

Started off very strongly, unfortunately I think it is let down by the last couple of tracks, the black angels death song and European Son. Will definitely listen again after only ever listened to the well known tracks before.

Certainly innovative, by the end. I still wish it was produced better and that Nico had more opportunity to sing. The influence cannot be dismissed. But it will never be a favorite of mine. 4/5

Kändes flummigt

I'm always surprised by how repetitive VU songs are... not in a bad way necessarily, but they really enjoyed letting songs play out for a long time. Surprising lack of nico in some of these tracks also. I like "All Tomorrow's Parties" a lot. Heroin was also deeply moving, really dark song that made me quite sad, but it works very well. I liked I'll be your mirror too. Not a huge fan of the experimental tracks but this is a solid record for sure. 3.5, higher for a few stand out songs

Fuck this is such a good album. I listen to it pretty often as I have for years, but it never gets old. There's a really perfect balance here to the chaos of VU's style and the restraint of the production that negatively impacted some of their later albums. Nico was someone that I had to learn to like, but I couldn't see this album without her now. 5/5 One of the most important albums of last century, and it fucking still kicks ass

I understand this album was groundbreaking, but it's not really my cup of tea. It's ok.

sunday morning - beautiful im waiting for my man- YUPPPP this whole album is so good fav track venus in furs

I get that the Velvet Underground had a huge impact on the music industry, but they just don't sound very good. Still without a doubt The Velvet Underground's best album. Unfortunately, that's mostly because Nico is a much, much better singer than Lou Reed.

Liked some of this, but not overly excited about it.

Not a fan.

Incredibly influential - every minimalist indie band has listened to this. Lo-fi with hardly any processing on instruments or vocals, lyrics often address, romanticise even, drugs culture. I’ve owned this for years but listen to it seldom. I respect it, understand its significance, I like it but find it hard to love.

I liked a lot of it, wasn't wild about some of it. I think reviews that love it and reviews that hate it are both right. It's legend might be more interesting than the music itself, but there is still a lot to like

Favourite tracks: I'm waiting for the man; Sunday morning; femme fatale; Venus in furs; heroin; run run run

Groundbreaking album with moments that still sound fresh and unsettling decades later. Hard to fathom how novel this album would have been in its' time.

Always fun to revisit the Velvets. And the more I listen to Nico the more I like her voice. Like a cello waking up in the morning.

Not for me

It just feels good

First? 3,5 /5 Again? 2/5

Run run run was almost a verge into country music. interesting structure with Nico being a sort of reprieve from the most rock elements.

Sound like bing bong pngggg qushhh

A more psychedelic Beatles. Some classics, but inconsistent, and devolves into a closing jam sesh at the end.

Not my jam

Thought I would enjoy it more but found most of the album to just drone on. The songs start off ok but end up just being the same progression throughout, not very dynamic. I may have to come back to this one later.

Maybe I've heard this album too many times, not bad! Only has a few bangers though. My rating would be higher if i was rating Sunday Morning or Femme Fatale. I give it a true 2.5.

Heroin was a great song. Can't stand Nico.

I liked this better than the other Velvet Underground album that popped up; overall, it was pretty cool. Highlights: Venus in Furs, Femme Fatale, All Tomorrow’s Parties, The Black Angel’s Death Song

Loved it when I first heard it 35+ years ago. Still love it now. Solid 5.

Feels weird to say, but I'm kinda iffy on this one. The tracks I liked, I really liked. Heroin in particular was a highlight. But there were other parts that didn't quite hook me the same way.

i'd give this five stars for "all tomorrow's parties" alone. that song is a black monolith and i'm just a buncha stupid apes

Idk. Maybe I just didn’t get it. I also didn’t feel great yesterday and this was a little overstimulating so maybe that impacted me. Might listen again! Favorite track: Venus in Furs

It gets a 3 but it almost got a 2 just because of heroin and European son

Loved it. I've always enjoyed this album when I listen to it, however it's not something I always think about, or would choose to listen to.

A Jaime le parece la ostia, Nuria no tuvo el día

This experimental/proto-punk/psychedelic rock album from early 1967 is one of the most influential albums ever. Imagine how this underground album must have sounded at that time with Reed's lyrics - completely new and different compared to anything else. It's no surprise most people didn't understand it at that time, but those who did were so inspired by it that it had major influence on many genres that came after. I love the atmosphere of the record, the varied sounds - Sunday Morning is among my favourite album openings ever, I also love Venus in Furs, and the three songs sung by Nico - Femme Fatale, inspired by Edie Sedgwick, I'll Be Your Mirror and my personal favourite All Tomorrow's Parties. Heroin and the more experimental last songs are as superb as well, just like the rest of the songs. 5 stars, without a question.

I owned this CD. Love this album. A classic… a go to… on a Sunday mornin… or any other really.

Not really my vibe tbh…

One of my favorites

I have never been addicted to heroin so I don't really know to relate to this. I've listened to it many times but I just don't get it. In context it's probably a masterpiece but to my ears it just sounds bad. It's one of those albums that you have to like because the critics tell you you should

Turns out I’m I’m not as big on the VU as I thought I was.

Found this one at the pawn shop in high school, didn’t like it then, don’t like it now.

I've always heard of The Velvet Underground as being pioneers/influencers and so on.. what a load of drivel.. This particular album is in my opinion borderline assault and I've heard plenty of ropey music in my time. I really fail to understand how after recording and then listening back to the finished work they had the cahoonies to actually subject the listening world to it.

Heroin is life changing.

do you think lou reed and John Cale ever….

This is the 22nd album I’m rating. I’ve heard a lot of great things about this album but I don’t know anything about it. I’m predicting it’s punk though. I hope this is like To Pimp a Butterfly and not The Miseducation of Lauryn Hill. Sunday Morning - Not Adding to my Playlist. Well shit. This is kinda shit. He sings like me and I don’t sing well. I’m Waiting for the Man - Not Adding to my Playlist. I’m sorry to every music critic but that singing is truly bad. Femme Fatale - Adding to my Playlist. I planned on listening to this song for a long time but I never got around to doing it. However, I had heard a little bit of it. The singing kinda sounds like Amanda Palmer but this was way before she started making music so it’s probably the other way around. Venus In Furs - Not Adding to my Playlist. Cool instrumentals but I hate that singing. Bring back Nico. Run Run Run - Not Adding to my Playlist. Lou Reed kinda sucks. All Tommorow’s Parties - Adding to my Playlist. I can see how these songs influenced many musicians but they also kinda suck. Heroin - Not Adding to my Playlist. Get someone else to sing. There She Goes Again - Not Adding to my Playlist. I’m sorry Lou Reed. I’ll Be Your Mirror - Adding to my Playlist. Nico is better than Lou Reed but she still kinda sucks. The Black Angel’s Death Song - Not Adding to my Playlist. I had hope but this isn’t good. European Son - Not Adding to my Playlist. Interestingly bad. All in all I liked 3/11 songs. It is no coincidence the 3 songs I liked were sung by Nico. Lou Reed is not that good of a singer. This was more like The Miseducation of Lauryn Hill than To Pimp a Butterfly.

Meh

I can't see how this influenced so many genres including punk, garage rock and indie. I think it sounds too pop overall to be considered that influential on these heavier genres. It wasn't very well received back in the 60's so I don't really know how it becomes more and more popular since then. 'Heroin' is probably my favourite here. A 7 minute dark, loud, attack on the ears. There are interesting ideas here and unconventional song structures particularly when you remember this was released in 1967. I prefer the haunting vocals of Nico than I do the vocals of Lou Reed (I don't think I actually knew he was in this band), even though objectively Nico isn't exactly a 'great' singer. That being said, just because I can't see how it's as important as it is, doesn't mean I didn't like it. I enjoyed this a lot. I normally want to be that arsehole that hates popular things to be different but I couldn't help but like this.

Wishing was 22 when this came out.

Yep, good, I liked it.

I might like it a teensy bit more, but still doesn't do much of anything for me

Good old school tunes

It would be impossible for this album to live up to the hype, but I still enjoyed it quite a bit. Parts of it are WAY ahead of their time and I genuinely can’t believe it came out in 1967. Not something I’m gonna put on all the time, but it deserves the praise.

Cool early alt. 3/5

much like the album I got yesterday, Fives Leaves Left, this is a tremendous debut album that wasn't appreciated in its own time. although, to be fair to the Velvet Underground, they were much further ahead of the curve than Nick Drake! Lou Reed's songwriting is in a direct lineage with some truly archetypal rock and folk artists (Buddy Holly, Bob Dylan, Lennon/McCartney), but his focus on the seedy underbelly of New York City's arts culture steers the material into a much darker, often shocking direction. in between seemingly innocent songs like "Sunday Morning" and "I'll Be Your Mirror" and all the rest, there are odes to drug use, drug dealers, sadomasochism and sex workers. 1967! and, of course, the presence of multi-instrumentalist John Cale on these first two VU albums throws things even further into left field. a lot of these songs incorporate some chilling drone elements, others devolve into puddles of cacophony; I am consistently shocked by how low the recording fidelity is! The Velvet Underground & Nico* shaped so many future movements in rock and experimental music, it would probably be easier to count the ones they didn't have an impact on. at their best, they had such a wide variety of ways to create new paths forward for rock songs, compositionally and sonically, across a huge spectrum of dynamics, tempos, moods and subjects. I find myself returning to White Light / White Heat a little more often than this—they go all-in on their experimental side there— but there's no denying that this is one of rock music's finest debut albums, and certainly one of its most influential. *I do find it a bit weird that this is credited as a collaborative album given that Nico only shows up on lead vocals for three songs. but I guess it's as good a title as any other; it's pretty unassuming, and it lets you just sort of take in each song on its own merits. light 9/10.

Standouts: I'm Waiting For The Man, Run Run Run, Venus In Furs, Heroin. I think I like the band but not Nico but this is my first time really listening to them.

How could this get anything but a 5! Such a hugely influential album to all that came after and you can hear it in the songs! Especially Heroin

n/a

1. Listless regretful song about a sunday morning after a particularly hard Saturday. 2. Waiting for a fix with a constant percussive beat in the background creating anxiety. 3. Soft song about a seductive woman who will break your heart 4. Jam song about sadomasochism. Sound as though the writer would give up their life to serve in a bdsm relationship. 5. Song following characters who need to find their fix of various drugs after trying to stop. The guitar solos are increasingly out of tune and brash. 6. Another driftless song of a time I don't really understand. 7. First song that connected with me. Has a changing energy related to his drug use but isn't glorified in any way like most music. This sounds like the birth of the music that I listen mostly to now (punk) 8.Jam song related to prostitution. Ends with almost a modern type punk chord progression. 9. Another song with Nico. I for some reason cannot connect with the vocals when she is featured. Song mostly related to trying to show someone what they don't see. 10. Unsettling beat in the background while making a folksy/poetic style talk song about drug use. 11. Short song reference with a scratching noise to close out the album. Overall I think this album misses me. It has some pieces and the bright spot was the song Heroin but I don't think the avant garde pieces connected.

Early psychedelic

Spotify has made this album's release year and duration yellow.

Horrendously overrated. Venus in Furs was a high point though.

Wa-a-ay too emo sounding for me. 2/5

That sure was a lot of sounds

I thought this was just okay 3/5

Seeing this album had me like 'woah. here we go then' because it's these guys! Everyone knows how InFlUeNtiaL they are. It was interesting for sure, but I only loved one of the songs. I don't doubt the influence, and they were bold for sure but as a listen, it wasn't that memorable for me. Probably swayed a lot by my preconceptions, that said

It was a very good album. Especially Venus in Furs and The Black Angel's Death Song were really good.

Too much weird noises for my taste 4/10

Fairly simplistic school-band standard songs. Not helped by listening on headphones as the mix isn't great so there is a lot of singing in one ear and guitar in the other. My assumption is that this album is on the 1001 list because they were an influencial band. However as a standalone album, although interesting, it's something I won't be listening to again.

Dreamlike; By turns breathtaking in its beauty and angst-inducing in its chaos; unpredictable; but somehow always genuine. Over the decades I've tried and failed repeatedly to describe how or why this album works. As the man said, "writing about music is like dancing about architecture." Ultimately, there's just a truthfulness that feels disgusting and exhilarating, intense and soothing, ordered and chaotic: human.

8.5/10 Ribeye, but a really fucking good one

Hadn't actually heard this album before despite the reputation, and I'm really happy we did! Was expecting something more classic rock and was pleasantly surprised. Trivia I enjoyed learning as a first timer -Lou Reed was doing an impression of Nico in Sunday Morning, despite it sounding nothing like her -The original album actually being a banana sticker, which could be peeled off to reveal another (peeled) banana -Nico was insane (very racist) I'm going back for round 3 tonight. Considering it a 4.5 and we will see if it becomes a 5 over time

I don't know, this just didn't do it for me. I didn't like most of the album, but the songs that I thought were pretty good were Heroin, The Black Angel's Death Song, Tomorrow's Parties, and I'll Be Your Mirror. I might listen to more Nico, I liked her singing.

I've been familiar with this album for at least 15 years, and I was ready to file it as "3 out of 5, inconsistent but there are some good tracks" or some shit like that. And then I listened to it again and remembered (and enjoyed) every song. My favorite tracks are everyone's favorites ("Venus in Furs", "Heroin") but every song has something fun or interesting going on. Kinda between 4 or 5 since there are a couple of weaker tracks but whatever

This might not be a perfect recording album, there are times where the drummer does not know whether the band is still going and if they need to stop, but it gives it a charm that otherwise it wouldn't have.

Very pretentious bullshit. Good thing I like pretentious bullshit. Shoutout to heroin. 4 out of 5

crazy that this was as influential as it is unlistenable. "can't listen to this sober" ok that's because it's bad. every album is better on drugs, that's why people like drugs.

The Velvet Underground & Nico is nothing short of groundbreaking. It’s an album that feels raw, unfiltered, and ahead of its time. From the haunting vocals to the unique instrumentation and brilliant production, it’s an experience that leaves an impression long after the final note fades. While not perfect, its near-flawless execution makes it an essential listen for anyone who loves music with depth, grit, and artistic daring. The instrumentation on this album is absolutely phenomenal. From the hypnotic drones of John Cale’s viola to Lou Reed’s jagged, expressive guitar work, every instrument feels intentional, adding layers of emotion and texture. Tracks like “Venus in Furs” are brilliant examples of how unconventional instruments can completely transform a song’s mood—the screeching viola and eerie rhythm make it sound almost otherworldly. The production, overseen by Andy Warhol, has a raw yet intentional quality. It feels stripped down in all the right ways, allowing each instrument to stand out without overshadowing the others. There’s a lo-fi charm to the mix that gives the album an intimate, almost voyeuristic feel, as though you’re sitting in on a band rehearsal. It’s brilliant in its simplicity and adds to the album’s authenticity. Vocally, the album is a perfect mix of Lou Reed’s detached, deadpan delivery and Nico’s haunting, almost ghostly voice. Nico’s performance on “Femme Fatale” and “All Tomorrow’s Parties” is stunning—her voice feels cold yet deeply emotional, like it’s echoing through time. Lou Reed, on the other hand, has this unpolished, conversational tone that makes songs like “I’m Waiting for the Man” feel brutally honest. And then there’s Heroin. This song is nothing short of a masterpiece. The way it ebbs and flows, with its quiet, haunting verses exploding into chaotic, distorted crescendos, perfectly captures the highs and lows of addiction. The droning guitars, relentless drumming, and Lou Reed’s raw, almost confessional vocals make it one of the most powerful and emotionally impactful songs I’ve ever heard. I genuinely love this track—it’s the kind of song that stays with you long after the music stops. For all its brilliance, the album does have its flaws. Some tracks feel more like art experiments than cohesive songs. “The Black Angel’s Death Song” is a chaotic mess, and while “European Son” has moments of intrigue, it drags on unnecessarily, veering into self-indulgence. The production, while effective overall, has moments where the mix feels unbalanced. Some instruments overpower others, and while this adds to the raw aesthetic, it can make certain tracks feel messy. Despite these flaws, a nearly perfect album that balances art, experimentation, and raw emotion. The instrumentation is incredible, the production is brilliantly raw, and the vocals—both Reed’s and Nico’s—bring the songs to life. While a couple of moments might feel too abrasive or challenging a small price to pay for an album that’s as brilliant as this At 4.9/5 stars, this album is as close to perfect as it gets. It’s not just an album—it’s a statement, a work of art that continues to influence generations of musicians and listeners alike.

Personally it's more like a strong 8 on first listen, but I immediately gathered how fucking influential it is and I went in thinking it wouldn't be. Shows what I know I guess! Thoroughly enjoyable, much more than I could have imagined it would be for an album with a banana on it. Can't wait to revisit.

I think it's clear my upbringing was primarily one of being online. I didn't know how to talk to people in a normal way and accidentally entered a "i am interesting because I am overly critical of everything" phase in highschool. I don't really know why I thought that in specific would make me a person that would be cool to talk to instead of just kinda rude. I was unaware of this for a while then I learned. The online circles I was in was filled with this type of person so I just picked up being a type of person. It's pretty easy to become a different person from who you really are if you're surrounded by people who'll make you feel weird about being yourself. --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- I think of this album in that time where I was desperately looking for some connection. A lot of my online friendships blew up and I was in a circle of just two friends. Don't get me wrong, I love those friends, and they were awesome to talk to but it was clear we were all feeling something we did not understand. That unsure feeling teenagers get when they don't know what is going on with their brains and bodies and in the world. I think I was just so comfy within my circle that going outside of it was scary. It scared me reaching out and finding new friends because of what had happened prior. Eventually I moved forward. --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- Moving forward hurt. It hurt in a way I didn't think anything could hurt. I left my bubble and was instantly set in a position that felt like it removed years of my life. Everything was a blur, everything was nothing. I missed the time I was with my small circle, in the little world. This album reminded me of the time before moving forward. It was a relic from a life I had left. --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- I feared moving on. Leaving my circle put me in the worst spot of my life. If moving on hurt this much, the hurt I felt then would be worth bearing forever. If moving forward hurt this much last time, the next time it will hurt ten times more. --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- --- It took me a long time, but I left. I had to move forward. I thought whatever pain was after that would be better then slowly letting the misery rot me. It still hurt for a bit, but it got better. I returned to a world where things happened and memories exist. I learned that there was something new, that I could be myself and it wouldn't be a problem. I even learned that people liked the person I am when I don't suppress all of me. I didn't know that moving forward meant there was a better future at the end of it. I couldn't process that as a concept at all. Re-listening to this album made me realize my life wasn't made of tiny isolated moments, but a timeline where everything moves forward. This wasn't a relic for a time I wanted to return to anymore. It was something that impacted me so strong that I saw it as a beacon of a time in my life. Progress is scary, but it's necessary. Even when things get bad, it's not forever. Do not forget, at the end of it, all will be better.

In a world without reason, this album is a hangover sober.

11/10 Paz-core Degeneracy, hedonism, and nihilism, The Velvet Underground & Nico defined the underbelly for the 20th century on this once in a lifetime album. The entire ethos of this record can be summed up by its cover, a provocative allure, tempting you to look beyond the surface and unveil its depravity in all its glory. Lou Reed and Nico’s forced collaboration by Andy Wahrol magically concocts one of if not the most innovative and forward thinking Rock album of all time. An album that set the benchmark for Experimental/Art Rock, making The Velvet Underground your favorite band’s favorite band. We get “proto” everything on here, Punk, Drone, Noise Rock, Goth Rock, Post-Rock, Glam Rock, so much shit on here is scarily predictive for alternative music on this nearly 50 minute run time. In the midst of this chaos we also get some of the sweetest and most delightful Pop songs of the 1960s, Sunday Morning possibly being the most beautiful opening to an LP ever recorded. These rich and stunning tunes about love and beauty neatly resting next to some of the most nihilistic, ugly, and avant-garde music you’ll ever hear feels painfully ironic, but it somehow works. Nico’s contributions to the album, while brief and not planned, are especially impressive for someone who had just started out. Femme Fatale, a wonderful and tragic tribute to Edie Sedgwick (a Warhol actress who struggled with addiction and metal illness, very fitting), I’ll Be Your Mirror, a heartbreaking and touching song about wanting to be seen (allegedly written from Lou Reed’s experiences post-shock therapy due to his homosexuality as a teen), and All Tomorrow’s Parties, a weird pre-cursor to Goth music, especially with the subject matter reflecting the feelings of being an outsider. Nico’s vocals are perfect, just as heavenly as they are eerie. The absolute highlight here is Lou Reed’s songwriting, he presents to the world the ugliness of the world, specifically underground of New York. His words aren’t abstract, they’re not cerebral, they’re actually quite easy to understand, but they remain intensely evocative, stark, brutish, and loaded with subtext. Dope dealings, prostitution, sexual masochism, queerness, and the nihilistic beauty of drug addiction. That last part is especially compelling to me as it’s been a pretty cathartic subject matter in a lot of my favorite pieces of art, especially on the track ”Heroin”, an overwhelmingly beautiful and horrific depiction of an overdose, this song explores meaninglessness and bliss in death in a way I’ve rarely seen in a piece of art, in a strange way it feels Lovecraftian in an indescribable way, it remains as one of the greatest pieces of music I’ve ever experienced. The Velvet Underground gave a voice for the unorthodox, the rejected, and the counter-culture, many of our favorite artists are permanently indebted to this record, and it’s only fair that we keep appreciating its legacy as we do our best to maintain progress today. “The Velvet Underground’s first album only sold a few thousand copies, but everyone who bought one formed a band.” -Brian Eno

very good. love it.

Kind of slow and meandering in a way that didn't work for me. I liked the sound of the driving instruments in Venus in Furs, but not enough to add it I don't think. Femme Fatale isn't bad either, but more vocally than from the instruments. 2/5 stars.

good

Cool album and sets up different sounds explored by future bands. Even nickos bad vocal are great and well used.

Cool

Some of the songs were really fun and had good beat. There were a couple songs where it sounded a little monotone or the singer had a flat tone that was weird, like in “Venus is furs” A lot of good variety. I’m pretty sure that this guy was very high when writing and singing half the songs.

Wouw… a fantastic and iconic album.

Great album! Lou Reed’s lyrics about drug addiction and BDSM were pure poetry.

From Google: The Velvet Underground & Nico is the debut studio album by the American rock band the Velvet Underground and the German singer Nico. Released by Verve Records in March 1967, the album underperformed in sales and polarized critics upon release due to its abrasive, unconventional sound and controversial lyrical content. Wikipedia Artists: The Velvet Underground, Nico Genres: Rock, Art rock, Psychedelic rock, Experimental rock. My score: 4.5 Liked the sound, it is a more alternative music, very nice to listen to, but not my favourite kind of music. Some songs are too alternative for me.

wow, this is sixties music and the album is still a style-defining album. when I heard it for the first time in the 70s, I thought what is that? I listened to it over and over again and thought that was really strange. but the more often I listened to it, the more I liked it. I like this minimalism and the "drones" I've always liked John Cage's and Steve Reich's music. the album is great and certainly not for everyone, but I give it 5 stars!

The epitome of cool. Every band who wants credibility wants to be them since the day this album was released until forever. Iconic Warhol front cover, iconic band. It is a 10 no doubt for it's legacy.

I know people love this album, but it just doesn’t speak to me.

Johnny Cash at his iconic best.

I own this. It's pretty unique and cool. I really like the vibe and atmosphere it invokes.

Don't really enjoy the album. The background music feels like screeching for most songs. Otherwise, most of the songs are just plain boring. The loud pointless background noises bring the album from a mediocre 3 to an awful 2.

The original hipster album? Sure felt that way. Everything surface-level about this feels like they were trying really hard to be cool. Associating themselves with a German singer that probably nobody in the States had heard of. The interactive Andy Warhol cover. The lack of a band name or album title on the cover. It just all feels packaged to make them seem like a bunch of hipsters producing music that was obtuse for the sake of being obtuse. But then you actually listen to the music. And you realize that they're another blues/pop/rock band from the late 60's and you know that there's a TON of those. You can see why they stuck out, and why this album has persisted. The cover draws you in, the music makes you stay. But for how long? Long enough to get a grasp on the album, anyway. It's a good album. Easily three stars upon first listen. The tracks with Nico are, in my opinion, weaker than the tracks without her. But that mean they're bad. "Femme Fatale" is a well-done song that got stuck in my head pretty easily. A second listen improved this to four stars for me. I was surprised because I didn't LOVE it the first time through. The Nico tracks made it worse for me, but I warmed up to them a little this time around. I don't think she's a particularly engaging singer but the songs have charm. Four stars. It has its flaws but it also has a little bit of the old x-factor that edges it to four stars. Glad to finally cross this one off my list. Don't know how I got through college without listening to it. Standout Tracks: Sunday Morning, I'm Waiting for the Man, Femme Fatale, Run Run Run, Heroin, There She Goes Again

I've always been slightly underwhelmed by this particular album.

Velvet Underground is important in who they later influenced, but the band itself has always been sorta hit or miss with me. This album was more of a miss. 2.5

It was going to be a 2 till European Son because what the actual fuck. It's literally just a collection of harsh sounding noise and pretentious self-described avant-garde officiandos will still somehow convince you that it's a really deep metaphor for society if everybody was a banana or something bullshit. The lyrics scream edgy teenager, the sound is harsh and grating, and the fans don't make it much better. The album cover and the first track are the only things saving it from claiming the title for worst album I've ever heard. At least its better than The Life of a Showgirl.

60s music doesn’t really get much better than this, unless your name is nina simone or the next velvet underground album. 10/10

all timer…..I bought this cd from the electric fetus when I was 14 bc it had been recommended and sited by so many of my favorite musicians. I would play it over and over while I worked on homework or stared at the ceiling or any of the stuff I did when I was 14. perfect!

I came to the Velvets late in life, and that’s probably a good thing. In my younger years, I don’t think I would have been mature enough to handle the visceral experience of listening to a song like “Heroin.” Although I’ve never used drugs, this track hits on many other levels of mental health. Nico’s singing is hard to take at times, but in spite of that I still believe this to be a work of genius.

The jitters of “Waiting for My Man” and the rollercoaster experience of “Heroine” transcend most songs into shared moments of true empathy. There is something about these songs that, even with the distortion of the music or the off-key notes, allows the peak performance to be heard. Brilliant and challenging compositions.

I love this album.

I listened to this twice. First time I was going to give it 4 stars because Nico. Listening again I'm appreciating her out of placeness and it would be a shame to dock the album a star due to her awkward and annoying voice since she only sang lead in a few. Rough, unpolished, beautiful album.

I'm always conflicted with Lou Reed. He's got some good songwriting and a knack for great lyrics. But I mostly don't like listening to his singing. But DAMN does it work for Heroin. Great song and it keeps me from rating this album lower. I don't love the music on most of this album, either. Sorta cacophonous and the musicians don't seem all that talented. Nico might have benefited from a few singing lessons, too. She might have a good voice with a bit more coaching. But yeah, not particularly evident on this album. 3.5* rounded up based on the strength of Heroin and their clear influence on music down the line.

Best Song: Heroin. Cacophonous in a nice way. I liked the repeated crescendos and the sort of descent into shrieking madness towards the end. Worst Song: Run Run Run. I found the chorus really annoying. And somehow, each time it came around, the whole band seemed unprepared for it. Overall: Mostly a sort of monotonous dull drone, with occasional sparks of something more distinct. Not something I can imagine returning to.

The disc that launched a thousand bands! Still find new stuff here every time. Great storytelling, endless piles of cool, and Nico gives it just the perfect amount of funky weirdness.

Love !

Solid

Wanted to like it but just couldn’t get into it

1967 btw.

Brian Eno said in 1982 that while this album only sold approximately 30,000 copies in its first five years, "everyone who bought one of those 30,000 copies started a band". May be true, but I'll say the influence is much bigger and better than the original product. I know this is one of the greatest ever, but man I would just rather listen to so many more OTHER albums than this. The way my ears are uncomfortable is not in the way I would prefer. "There She Goes Again" is about the only song I can say I enjoyed, but not much. The strings paired with the guitars and, wind instruments? are such a strange combination. Does it need a remaster, no. It needs an ALTERNATE remix, that's a "bad" thing to say, but I think it would make the album more accessible for younger audiences.

Ok alternative band. Album artwork is the best.

One of my all time faves

Not a fan tbh. Not an easy listen. Maybe another time

Heroin, all tomorrow’s parties 👍👍

Lou Reed can’t sing and that alone can deter a person from giving these guys a chance. If you can get past the singing, you should find a relatable, foot tapping collection of songs at your service. It’s sloppy 70’s music, maybe it’s the 60’s…what do I know. Sloppy rock and roll that moves you along the rock and roll landscape with a gentle breeze. Once you accept that I know have to walk you off the ledge that is Nico and her voice. But if you get past that dying cat voice, her harmonies suit each song she is singing on. This album works. It’s not perfect but for the production, musicianship and singing, it’s a positively unforgettable album. Also, if you ever wanted to know what it felt like to be high without getting high, listen to Venus in furs with the lights off. Choice cut: Heroin

Liked the first half of the album- used to hear a bunch of those songs at Quiksilver but then it got really sketch and abstract lol - could have been 4 stars

How could it not be really... taking aside it being one of the most culturally important albums and that Brian eno said that everyone who brought a copy in its first issue started a band... or that it's in the top 20 greatest albums of all time.... I just love the sound of the velvet underground, i love the lyrics.. the guitar tuning every string to the same note... experimentational style and just how its completely different from everything else out there...

Not bad.

I've listened to this one a few times before and I thought it would probably be a 4, but after a thorough listen I have to give it a 5.

Vocals didn't sound great to me, and instrumentals were alright.

It’s a 4.

An album I've known and loved and agree that anyone who hasn't listened should give this a try before the dark veil descends. This would be a 5 except for consistency of rating with Ryan Adams, I have to doc it a star because Nico, whose voice I do love, apparently had some unsavory views around race and eugenics. It doesn't show up in the music, and her wikipedia page seems to down play it, so I'm a little conflicted, but eh, she still loses a star from me.

Weird and artsy, but worth a repeat viewing

Not for me

Enjoyed it enough but won’t be revisiting.

loved this one. it had a warm quality about it, that was really welcoming. My standouts were heroin and sunday morning.

Surprisingly enjoyed this album, I didn't know they were from the 60-70's. Chill and pleasant and very very influential. Ranked #23 of rolling stones list.

Sorry if you don’t understand. This is a STONE COLD CLASSIC. When you listen to the trash SF sound hippy nonsense you realize New York was doing it better.

Some good tracks for sure but also a few whiffs that went to much on the artsy side

While Sunday morning is a great song, I've never been especially impressed with the rest of the album. Nico is underutilized, and Lou Reed, while a talented musician, is not a vocalist or lyricist I prefer. Not bad overall but not amazing. 3/5

A classic

Like walking into a majestic ancient palace, but with drugs.

There's no denying the historical impact left behind by the Velvet Underground. They continue to influence bands and probably always will, which is why it's only sensible to include them among these albums. And they were good at what they did. Some of these songs are legendary, for better or worse. I've never been able to fully embrace them though, no matter how much respect I have for their legacy. I find some of the lyrics to be problematic, and some of the songs are kind of a mess. That's part of their identity, so I get it, but that doesn't mean I've got to love it. So if my personal rating seems low to you, that's because I've based it as much on the fact they're not entirely my taste as on their artistic merits.I'm glad they existed though, because a lot of artists I love wouldn't sound the same otherwise.

Le doy una estrella porque está Nico, si no ni eso.

If ever an album is overrated it’s this one. That said not many bands were doing this in 1967. Venus in Furs is a sprawling baroque psych fest, European Son is insane. Nico’s voice is still annoying tho. Maybe this album’s been ruined for me by every cool teenager but I can still enjoy it 4.25/5

Excellent album- heroine the highlight

A seminal album which sets the foundation for all the good rock and roll in the 70s. I had actually convinced myself that this was a post 1969 album and was surprised to see so much cynicism and sleaziness in a rock album from 1967. I was also surprised to see how much bands like Sonic Youth had taken from the solos and production styles of the album. Sunday Morning is a lullaby for clubbers with blissed out strings and slightly paranoid lyrics. Waiting For The Man set the tone for the late sixties and seventies and shows Bowie the way forward. Nico presages Kim Gordon on Femme Fatale with a production style that wouldn't have been out of place on a Sonic Youth album in the early 90s. Venus in Furs is the sleaziest piece of psych ever created and Lou Reed's. Run Run Run is a blues standard mutated by screeching guitar solos. All Tomorrow's Parties could only have been sung by a Berliner (and a seamstress no less), stoically meditating on the inevitability of partying. Heroin is fairly boring as far as melody but structurally foreshadows the quiet /loud style of grunge even if the link to the lyrical heroin rush is a bit trite. There She Goes Again subverts expectations by using a 60s pop vehicle to talk about hustling and violence against women. I'll Be Your Mirror is the low point of the album, the lyrics' optimism clashes with the rest of the album and the song itself does nothing. The Black Angel's Death Song gets the album back on track by force-feeding Woodie Guthrie LSD and manipulating him into joining a violent sex cult. John Cale's viola performance is truly unhinged. European Son closes out the album in a cacophony of guitars phasing between styles (is there some surf rock in there?) The themes and lyrics are refreshingly upfront and don't hide behind the need to sanitise allusions for commercial appeal (which this album never had). This album deserves a 5 just for how futuristic it is (even if that future is a tired and filthy and poorly recorded one).

loving it. its so druggy and weird the guitars are amazing and the vocals and ritual like instrumentals create such a weird but great atmosphere.

Probably groundbreaking for it's time. Now it's just fine.

I thoroughly enjoyed this one despite not liking another album of theirs that appeared on this list. Pretty cool

Sunday morning

10/10, very inspirational for me

I don't know how I feel... weird mixed feelings but look wouldn't recommend.

started good with Sunday Morning. started losing interest after that. when it turned into beat poetry, it lost me. yet another 2/5

1 star. At some point I kept wondering if I was listening to a Bob Dylan cover band and not being a Dylan fan makes that hard for me.

gente, ele serve estética... e em algumas músicas. Mas é meio chatinho, né?

I noticed a lot of influences from oriental music. It almost sounded tantric with a single guitar note harmonizing in the back of the lead and rhythm to create an almost ethereal soundscape. I heard the album twice to understand it better and it seems to tell the story of a man who falls in love and slowly loses himself, falls for harder and harder drugs, ends up losing his sanity and becoming captive to his own emotions and problems. The longer you listen to the album, the more you see the music devolve into this raw display of feelings. The music itself feels like a form of protest. They seem to break a lot of rules of how a song should sound like with screeching guitars and notes that conflict with each other by the end as a way of them saying they reject what society wants them to be.

Heroin was an interesting song but otherwise the album was way too hippy-dippy for my liking. Felt like it was smelling it's own farts but maybe that's just my dislike for hippie culture

This is my second attempt at getting into this album. While I enjoy some of the more experimental moments on this album, I find myself really getting bored at most of the stereotypical hippie drum circle vibes.

I love this album so much. Amazing how influenced it was by the 57 years that followed it...

no notes. so good

Absolute classic

Schlechter als erwartet :( Bisschen enttäuscht, die fire moments sind gut der Rest ist einfach bisschen mittelmäßig

++*: 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

Five star album velvet underground at their finest nico fits right in. One of the all time greats. Goof is cruel.

amazing album, no bad songs

Ooooooh. Tricky one this isn't it? Definitely feels like one of those albums that snooty muso-types throw at you for "you're not trying hard enough" if you say you don't like. As if effort was something to be admired when listening to music. Almost got 3 stars because of the stunning "Venus in Furs" but I had to take it away again for the total mess that is "European Son"

Not a fan. Tough listen.

Didn’t love the screeching interrupted by a decent song every so often. However I do want whatever the group was on when they made this.

wow! i did not like this that much! femme fatale is pretty good but other than that… i remember i tried to listen to this album when i was 14 because i thought this was a mother mother album. it was not and i was severely disappointed. my disappointment remains.

Pre-listening thoughts: I HATE YOU VELVET UNDERGROUND AND LOU REED LEAVE ME ALONE PLEASE. As excited as I am that we’re finally done with The Velvet Underground all before album 150, Lou Reed still has one solo album left in our generator and Nico has her album too. So bleh. Post/during listening thoughts: god I cannot express how much Lou Reed is not for me. Singing is a generous word for him. Nico’s songs are okay. Sometimes the instrumentation is very droll and sometimes it’s screechy. But this is not as bad as White Light/White Heat. It’s just boring. 4/10 DID I NEED TO HEAR THIS BEFORE I DIE: no velvet underground are my opps Fav tracks: Sunday Morning Least fav tracks: anything where Lou Reed is lead vocals and whatever the hell European Son was

all i could think about while listening to this was all the smart, artsy people who think it's brilliant and also how i never really wanted to listen to it again

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

Have spent time listening to this album in the past because it was so influential. It’s ok, sometimes a chore to listen to. I think Heroin is my favorite.

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.

It kinda drags on a bit. You can tell it lacks a proper producer for most of the tracks. I can see why it was panned when released but also why it is now considered a cult classic

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.

Overrated. I do like the first few opening tracks, but then the album quickly drifts up it's own arse. Nico's droney vocals annoy me. The experimentation goes bonkers. Lou Reed carries what he can. Can't help but think Andy Warhol's peelable banana artwork concept gave the perception of greater musical value than it actually has. I don't hate it, I just don't see it as the masterpiece it's often lauded to be.

This was okay to have on in the background but the vocals were a bit of a drag to listen to, and it isn't really my kinda thing. A shame casuse this is such an iconic album with a lot of reputation surrounding it but not one I was too fussed about

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

The first 2 tracks were nice, the rest mostly just got on my nerves.

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

interesting but not for me

Iconic. Loved it very much. First time listening to it in its entirety.

What to say about this album? It's importance is not lost on me, and there's no mistaking it's influence on later music across several genres. But that doesn't make it any more enjoyable to listen to from my perspective. I don't like Nico's voice, so the only tracks that I enjoyed at all were the ones with Reed on vocals. At least a couple of the tracks are potential belters, but my enthusiasm for them soon waned when the screeching feedback kicked in. For me, this album is not quite a three star effort, so two is all it gets.

While not my favorite record, I happen to have listened to it four times before deciding on its rating. I quite like it.

Less is more - distorted og psykedelisk uden at det bliver for meget

The album that launched 10,000 bands. I assume for the same reason so many punk bands were inspired by the Sec Pistols. When people heard it they figured they could make an album at least as good. That’s not really the sign of a great album or even a compliment. I hear great bands and I think, “I could never do that. I’m amazed anyone could.” If I think, ”shoot, I could do that,” it’s not really that impressive of art. That said, some songs are better, maybe ok for a garage band or even a local bar band, but nothing terribly great. I do enjoy Sunday Morning, though.

A melancholic ride that rides the border of experimental while also showing how influential this sound was. I can hear a lot of different genres and inspirations in this album. Pretty astounding that this was their debut album. 8/10

I'm about a year in at this point and I don't think it's an exaggeration to say that these albums come up just about once a week. The nerds among us will try to say that there is something very small that they were the first ones to ever do, and they might be right, but in the grand scheme of music, especially from this decade, it doesn't do much to me to stand out. The annoying screeching that was unique...annoying...but unique.

After two spins I find it intriguing, but not quite legendary. Great side 1, need a little more time with side 2

It was experimental, but not fun to listen to. IT sounded exactly like what it was - someone trying to be as weird with music as possible. It just wasn;t good.

I listed to this album a lot many moons ago but not for a while and was glad to hear it again, but it can go back in the vault again.

It is some groovy 70's music. It can get a bit jangly for my tastes later in the album, but for the most part I thoroughly enjoy it.

It helps that I got violently high to listen to this. But even sober, I really like this. I remember getting this album when I was 12 or 13, and I absolutely hated it. I didn’t get the hype– how was THIS the album that launched a thousand ships? Well, for one, it makes sense why this deconstructionist art pop record went over my head at that age, so there’s that. But also, I think this album’s impact and legacy has really been overhyped. There are so few bands that sound like this– few singers singing like Nico, few drummers pounding like Tucker, few guitar solos like Reed’s, and no one is certainly using avant-garde classical viola like Cale. Even the most artistically explorative pop groups to exist following this record never come as close to breaking pop music apart like this. The Velvet Underground & Nico is almost a one-of-one, singular experience: it may have inspired a million bands, but no one could ever replicate this album. And I think that has been glossed over a lot, and also takes away a lot of the power of this album. Because not only is it very good, but it’s also still extremely experimental to this day. Everything here is still pop songs, though, it’s just accomplished from a different approach. “Femme Fatale” may be a doo-wop cut, but Nico’s vocals transform it; “Run Run Run” and “Waiting for My Main” may be mid-‘60s rock songs, but the lyrical content and deconstructed guitar work transform it. Even a song like “Sunday Morning,” a song that feels proto-hippy in the best/worst way, is elevated thanks to use of the celesta. Of course, that’s ignoring the truly experimental, sparse, and haunting cuts of “Venus in Furs,” “Heroin,” and “The Black Angel’s Death Song,” which veer closer to musique concrète than anything that could be played on radio, and yet they still contain earworms and appeal on their own terms. I do think my enjoyment of The Velvet Underground & Nico is ironically restrained because of the Nico tracks, which feel mostly out of place here. I enjoy her vocals, just…not on these types of tracks. These are also the songs that feel the most dated, the most 1967, the most “flower child”-esque, whether it’s the psychedelia of “All Tomorrow’s Parties,” or the basic $1 bin sound of “I’ll Be Your Mirror.” I do also have a smidge of an issue with the psychedelic aspects of a couple other tracks, mainly the longwinded closer of “European Son,” but for the most part, those elements feel sincere and boundary-pushing when it’s just the band being the band. With Nico, it feels manufactured, focus grouped, even. But these are tiny faults. I’m pleasantly surprised by how much I like this, and won’t be surprised if it grows on me the more I sit with it. *EDIT*: I'm still not a fan of "All Tomorrow's Parties," but like, I'm lukewarm on it, not an active hater. Everything else really works. I think the Nico tracks need to just be taken on face-value and on their own terms. They also vibe better in warm weather, which may have been my issue. I still think there's flaws here, and I wouldn't think someone who critiques this record or even hates it is an idiot, because yeah, the experimental shit is experimental, and it is very much ✨of its time✨ for sure, but giving it a little space, I think those flaws pale in comparison to the overall impact this record leaves on me, and I do find myself wanting to revisit it pretty frequently. I think that speaks to its own party, and why it's been such an impactful record. I also think the teenage emo/anti-hipster in me walked into my initial listen wanting to still be a little bit contrarian. Like, I was being restrained by my younger self's ego, and I can admit that. While I never denied that this record is excellent, I think it sits even better if you give it some time to settle in your soul. Believe the hype. (Re-rated from 4/5 to 5/5 on June 2nd, 2025)

Album Name: The Velvet Underground & Nico # Artist: The Velvet Underground # Rating: 5/5 # Comments: Theres some great use of drums, strings and vocals on this album. Nico also brings a different dimension to the vocals which is a nice twist. The album's cover is recognisable from anywhere. Its iconic. The album starts off with some cracking tunes - Sunday Morning, waiting for the man, femme fatale and Venus. The first 8 songs are good! The last 3 fall off a cliff a bit. I have never actually listened to this album in its entirety. Im not sure why. I think its because everyone told me i SHOULD. People telling me that i SHOULD love it. I hate that. But at the same time, i was wrong. Really enjoyed this album though. I'd probably give it a 4.5 so its a low 5 for me. # Top Tunes: Sunday Morning, waiting for the man, femme fatale , Venus, run run run, tomorrows parties and heroin. # Would I listen to it again? Certainly.

Très belle découverte. Pas grand chose de plus à ajouter.

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 !

Bon bah voilà quoi... c'est très bon.

lowkey kinda good like the repetitive thingy in all the songs was annoying at first but like im kinda good now im gonna need to listen again i cant process it all also like heroin is so good like i might add it to a playlist 8/10??? like its pretty good idk don't have time today but gonna listen again tomorrow (me when I lie im just lazy)

I’ve never personally been a huge fan of the underground. This album I felt was always about a grimy New York life that didn’t resonate with me in the slightest. This was the first time I’ve actually listened to this album in its entirety. While this may not be one I would find myself in the mood to revisit many times again, this is clearly a huge influential album. It really does feel like it transports you to NY in the 60s. The differing energies you find with each song a different facet of life at that time with Reed’s ability to speak to it plainly. I’m not sure what special power Nico has to sing that badly and have it be this enjoyable but she was an excellent addition here. I like Venus in Furs, Femme Fatale, All Tomorrows Parties. Heroin really takes you through that journey. The slowed down mellow with the anxiety-inducing speed up of the music really lets the listener in on the experience. The drums really feel like they’re mimicking different heart rates. Alternatively, Black Angels of Death and European Son are clear examples of why I think overall this band is just not for me. These are the kind of songs I think of when I think of VU and Lou Reed. It’s what has made me avoid them for most my life. I wrestled with giving it a 3 or a 4 because I was trying to make sure I was listening to my personal feelings about it and not being swayed by its legacy. But I know in my heart it’s not a 4 star album for me.

I recognize I'm in the minority who honestly can't stand VU and their songwriting + production quality/style. I acknowledge they are/were hugely influential, but I just cannot connect with it in any conceivable way. Clearly, I'm not the target listener for this type of music... I would not recommend ingesting this music if you're depressed or have a drug problem - it's only gonna put you in an even darker place.

I’m interested in the history of this band just based on the short description on Spotify. There She Goes Again feels like you’ve been time traveling google mapped into 60s London. The Black Angel’s Death Song sounds like you. Like a song you’d play a lot. Fucking love the bass at the beginning of European Son. There’s a lot going on in this track, I’m going to say too much for me at times, but it blends into this head clearing cacophony eventually because you cannot do or think anything if this is playing at any audible volume. 😄

I can understand why it’s great and revolutionary and all that, but it’s not my thing. Also, the Nico songs sound like something straight out of SNL.

In fact, a half star maximum

I completely understand how influential this album is, but I wouldn't say I really *enjoyed* listening to it. Not horrible, and a vanguard for art-rock to come after it, but I think it takes a concerted effort to listen to this and just *get* that it's revolutionary for so many genres of music.

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.

I want to like this so bad. I kept thinking “the next one will be good”.

I was apprehensive going in to this one after seeing it described on Wikipedia as being a commercial flop at the time of release due to its "abrasive, unconventional sound and controversial lyrics". As it happened it was just a pretty average rock and roll/psychedelic album which wasn't particularly avant-garde to my 2024 ear. I get that this was probably ahead of its time in the '60s (it's certainly abrasive and unconventional compared to what the Beatles were putting out at the time, for example). But my personal ratings don't award any marks for influence or historical significance. Purely based on my own taste, this was so-so, with some tracks veering towards actively bad while none particularly inspired me

Coole gitaar solos. Het ene lied vond ik nice, en dan de volgende niet. Het was dus 50/50

No me ha gustao mucho la verdad

Already heard it and loved it

If you’ve not listened to this album then it’s better than you think it is. If you have listened to and like this album it’s not as good as you think it is. 3.5 stars.

Séminal masterpiece.

Nice

4/5 Effortlessly cool. Timeless album. Certain peculiarities about the album can either rub people the wrong way or be charming and hypnotic. Simple, yet piercing. However there are times where it gets a bit much

Mixed

One of the most iconic album covers ever and an album which has also become iconic over the years. This album appeared in my youth but as it was American it made no immediate impression on me. But as the years progressed and Lou Reed and Nico became more famous so did the standing of this album. Even then and having listened I was never totally sold on it. More recently I did change my view on it and actually purchased it as really for a music collector it is a must have album. Best bits are those involving Nico who I have gone on to seek out her music. Love her doom laden voice which is unlike anyone else and instantly recognisable. 3/5 23/11/24

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.

The voice of Nico is even worse than the one of Lou Reed. Some nice tracks like "Run Run Run" but also some sucker like "Heroin" and "European Son". 3,5

For chrissakes, Nico’s voice makes me wanna perpetuate violence and I’m pretty sure that’s not a good thing. This album was better than I expected but still tremendously in enjoyable. Two stars for two very enthusiastic thumbs down!

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.

When I was a (very young) man of a certain age, I bought this album on CD and listened to it all the time. I thought it would teach me about life, music, everything. I think this will probably the be last time I listen to it. Not that it wasn't worthwhile or good. Just that I'm not that guy any more and this music isn't for the new guy I am.

Kinda alternates between songs I really like and songs I'm not high enough to appreciate

Awesome awesome album

An important album for its influences, it's just never really hit me as much as I have tried, the bits I like make me feel it's great, the rest not so much.

Interesting sound. I like the vocals.

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

I really want to like Lou Reed, who is mentioned consistently among those who moved rock music forward. But the idea of listening to anything on the back half of the album depresses me.

The longer “European Son” dragged on, the closer this album got to 1-star.

A couple of real standouts

always cool, pioneering

Ahead of its time and influential to indie and alt rock. Highlights: "Sunday Morning" (tinkling music with Dylan-esque vocals), "I'm Waiting for the Man" (Dylan as a druggie...), "There She Goes Again" (jangle-pop Dylan) Not sure if I *like*, but it's certainly memorable: "Venus in Furs", "Heroin"

Bueno

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.

Classic, works as a background music for me.

Physically painful to listen to. 2/10

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

Ok so I genuinely like this album. Yes, it is probably overrated. I think it's either a love it or hate it record, probably like most anything that Lou Reed has his hands in. I mean if it was largely paid for by Andy Warhol, you must know that it's going to be pretty weird. And I like that. Especially for the time, this was way out of left field. It maybe doesn't hold up as well today, but it still is miles ahead of a lot of records that came from the late 60s. I think this is certainly one of the albums that 'you are just supposed to like' and I don't really see it that way. I can see why it has its detractors. But for me, it's great and I listen to it fairly often. 4/5

A favorite of mine. Even though I hardly consider their music by the album, their discography is more like a collection of favorite songs. I guess I came across a few of these songs because of the movie about The Doors.

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

Interesting album, I can see why it’s so influential. Almost like early alternative rock. A good mix of songs and feels. One thing I didn’t like the the gratuitous use of feedback in the latter half of the album. I hate when songs have noises that make my ears hurt. Still pretty good though.

There are some highlights and lowlights on this album. Lou Reed in general is a highlight - his composing, guitar playing, singing and songwriting is original and solid. Nico's singing is definitely a lowlight. I'm so happy I heard Japan's version of All Tomorrow's Parties first! Liked Songs Added: Sunday Morning

3.8 stars

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

I don't get on with The Velvet Underground. Of course I know Warhol's iconic banana. I also hear the influence of The Velvet Underground on other bands and music that I love. Nevertheless, I am always unfamiliar with this band. And it's the same with this album. I listened with interest in some places. But the album didn't interest me enough to make me want to listen to it again. 3/5

This album has always had me scratching my head over the years, I could never really understand it until now. The diversion of the status quo, the lyrical content (that was taboo during its time), and the overall themes it covered that was just wasn't seen in any other album making it so unique and influential as a result. With all that being said this is the most overrated album of all time and it just so happens to be a pretty good listen. Top 3 Favorites: Sunday Morning, Femme Fatale, and I'll Be Your Mirror Top 2 Worst: Heroin, and European Son 3.50-4.00/5

It's okay, Heroin is interesting. Nothing bad, but I guess it's just not my thing. 2 seems unfair, so I'll give it a 3

don't listen to 'Herion' with a headache.

Meh.

Some interesting guitar work on here, great vocals, variety - some crap. A good listen.

I like Sunday Morning! Overall not many songs I'd revisit. I've listened to this a few times before and it still doesn't really hit for me.

I see why this is influential…and it is a good album. I had seen the album art forever and heard of it. It was a good listen and I’ll listen to it again.

Important, trail blazing, yeh yeh yeh but deathly overplayed at this point. 3 stars for the sake of legacy being established

I think if an album is listenable, then it should automatically get two stars. Then, if the album has anything noteworthy, it’s probably at least a 3. Beyond that the album must give something spirited that shoos them into another category. This album is probably a 3.5 for me. It was listenable, and at times even enjoyable, but then I don’t really resonate with a lot of it, and I think that’s necessary for it to be a 4 or above. It was a bit underwhelming especially since I’m still reeling from my love affair with Transformer from a few weeks ago!

Typical VU. Not for me.

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.

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.

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!

Gotta say, I enjoyed it more than I thought I would... It was... Something...

Κλασικ

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

# 356 : I don't love it, I don't hate it. It does get better with each listen, but 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. Have the people that rate something 5 stars actually listened/read/watched what they are rating? I liked Run Run Run the best.

The Velvet Underground & Nico has this cool beatnik poet vibe that feels a bit like The Beatles and The Doors but with its own edge. The songs stick to a simple, repetitive groove, which just pulls you in deeper. “Sunday Morning” is such an interesting opener—soft, subtle, and totally ’60s. It sets the mood right away for an album that’s laid-back but still leaves a lasting mark. This one’s got a unique feel that really captures that era

Fav songs: Heroin Im waiting for the man Over ehhhhh 2 stars

Started out ok, a solid 3. Then a few songs in I'm like eh, its more of a 2, don't really care for it. Then Heroin played and it grates your ears. The rest of the album doesn't get better. It's literal screeching, like the microphone is too close to the speaker so ever so often you get feedback. And the words are meh. He sounds like such an edgelord. Dump it. I want to go back and bump every other album up one point because at least they're not this. Best song: Sunday Morning

Love the vibe

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

**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.

Dreary vocals, boring musically. This one wasn’t for me.

Listened Before? N Good album. I see why it was not well accepted in the beginning. It was new and different. This record is a clear influence on thousands that came after it. Loved it. Added to Library? N Songs added to playlist: Sunday Morning

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

Boring and pretentious

I like some of it. But I can’t stand Nico’s voice if she wasn’t on it I’d give it a higher rating

What a band

Han die Band vorher ned kennt. S Album esch experimentel und spannend gsii zum lose. Paar Songs send mer den aber au bitzli zu experimentell gsii und au sehr astrengend zum zuelose. Ben na hin und her grisse was ech für en bewertig söll abgeh. Fende aber ned das es sich mega hed chönne vo andere "alte rock albene" darum geb ech obwohl ech das genre na gern zum erste mal nur 2 Sternli. Felecht hättis am ne andere tag 3 geh aber das esch hald so wenn s mäntig-album besch.

Ich wache i minere staubige 12qm Wohnig in New York uuf, immerno chli benäblet vom letzte Abig - wider scharf anere überdosis verbiigschrammt - zerst mal e Zigi, spöter es zmittag und koks date mit em Andy Warhol, denn direkt in Studio 54 go The Velvet Underground lose, dezue biz LSD. Life is good.

Es lied isch guet wenn s am monday morning glosst wird, as wucheend erinneret aber glich nöd de tristi wochestart representiert. Wenn ich gott wär und i de fluffy wolke chille wür, wür sicher s eint oder andere mal e track laufe. Transportiert e schwerelosi atmosphäre Quattro fromaggi vom neduzen

d‘vorfreud am morge woni‘s gseh han isch gross gsi, willi mer eigentli scho lang mal vorgnoh han s‘album in ganzer längi z‘lose grundsätzlich sicher en ganz wichtige und hochstehende biitrag… aber wenn mer ehrlich sind halt scho recht trümmlig… müesst sicher im ne konzeptuellere mood si alsi hüt gsi bin zum's fescht chönne gnüsse wür sich aber irgendwie trotzdem falsch ahfühle weniger als 4 stern z'geh? okay… warhol, s‘ganze drum und dra, "sunday morning" und "femme fatale" haueds use grad nomal d'kurve kriegt… schwein gha lou reed

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.

I like to think that, if I was a teenager when this came out, that I'd have been cool enough to be into it. In reality, I'd probably have been listening to the Monkees or the Archies or something. That being said, cool doesn't necessarily mean fun to listen to. There are definitely some good songs on here (Heroin, Sunday Morning, I'm Waiting for the Man), but many kind of droned on a bit too much for me.

Some transcendent moments, particularly with Nico.

Late 1960’s beatniks. The original pretentious hipsters who thought they were far cooler and more important than anyone else. Slow, uninspired, vaguely folky counter culture tunes. I guess it’s art-rock? Lots of weird instrumentation and noise, but I never found it to be used tastefully or even appropriately. I think the involvement of Andy Warhol is distinctly evident on this album. I’m more interested in the songs lead by Lou Reed than I am of Nico, but neither did much for me. Venus in furs is fine, but I’ve heard covers I like much more. I struggle to find a lot to say about this album honestly. 2*… whatever

This is in many ways a “great” album - ahead of its time and certainly very influential. But I don’t think it’s a “good” album. It’s shrieking and dissonant and musically it goes back and forth between trite guitar riffs and unlistenable noise. Lou Reed’s voice is annoying as hell and so are his lyrics. We get it dude, you do drugs. This album’s saving grace is Nico’s vocals, which are so strange and beautiful. There are also some interesting textures on some tracks. Overall, I find this irritating and will not listen again. Also, I don’t like Andy Warhol. 4/10

Classic, first song instantly went on the playlist.

I guess this is one of those that hits you or it misses you. Call me Tom Delong.

I get that this album was extremely influential, but listening to it much later outside of the context of the time it was released doesn't really show that. I did enjoy it, but its not something I would seek out to listen to again.

No way i would ever want to give it a second spin

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!

It's about time I listened to this album. I was shocked at how much I enjoyed this, especially because I haven't enjoyed rock very much when I'd listened to it previously. I really like the tracks with Nico, I don't even know how to describe why. The instrumentation with her deep voice is just awesome. I thought the last two tracks as well as Venus in furs were a little slower than I like, especially for a rocky album. I liked this album a lot. Fav Songs: Sunday Morning, Femme Fatale, Run Run Run, I'll Be Your Mirror

Bringing VU's quaintness to a chic fancy level

It's the Velvet Underground & Nico. Absolutely iconic. Buuuut a little boring, actually.

Never a big Velvet Underground fan but they were way ahead of their time. I think they were more popular in the 90s than they were in the 60s and 70s. Still, fun music.

Influential and ahead of it's time. At times haunting, and ethereal rhythms combined with Lou Reeds harsh real world lyrics (Heroin) and Nico's glass like voice, this album is a banger. Fun fact, Andy Warhol was their manager at the time.

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.

Self-indulgent 60s Art Rock. That Nico was allowed to sing on this album doesn't raise it's appeal, to put it mildly. 2/5

Brian Eno said that even though The Velvet Underground and Nico only sold 30,000 copies in its first five years, everyone who bought one of those 30,000 copies started a band. The issue is, I heard those bands first and I like them more than this.

Schlechtes Lowfi. Nico ist alleine besser.