Reviews (page 3 of 8)
The Velvet Underground/Lou Reed has been one of my favourite bands through the years. They've been an influential force for many aspiring bands through the years and you can't deny they were something special and different when they first appeared in the late 60's. For me, their second album, White Light/White Heat was a record I didn't "get" or enjoy, with the long, drawn-out, weirded-out songs and noisy instrumentation from John Cale. It's the only album from VU I didn't purchase (aside from the Reed-less, Squeeze) and avoided listening to it for years. Now, I've come to accept it as part of the group's sound and a part of what made them unique and though I can and do take pleasure in exploring the album, I still find it a difficult listen, but rewarding at the same time. I still prefer the shorter, proper length "rock" songs of their next two studio albums, but White Light/White Heat is an essential listen to fully understand and appreciate the Velvet Underground.
I get it now, I used to not understand why I was supposed to respect a band I hadn’t heard of and couldn’t name any songs from but this was such a delightful find this late into the 1001 albums! Really wish my first exposure to Lou Reed wasn’t through Sawdust track 1 courtesy of the Killers…
4/5
I’ve been a fan of Lou Reed for a really long time. But to be completely honest, I never spent much time listening to the Velvets until the last five years or so. I can understand why they didn’t have much commercial success since some of these tracks are not exactly radio friendly. But the more I hear from them, the more I like it. I sometimes wonder what would’ve happened if Lou’s near-crippling insecurity hadn’t driven him to push John Cale out of the band.
Edgy, avant garde, energetic
Listening to this I get why they were so influential. This album was wild. I wish I had heard it sooner.
Captures a particular vibe very well. Probably not as revolutionary as The Velvet Underground and Nico, because of course it can't be. But it is good. "The Gift" is haunting.
Over the course of time the sound has been duplicated a million times so it loses its freshness today, but I likely would have been obsessed with this album if I were around when it released
An interesting listen, and certainly the Velvet Underground’s most difficult record. It’s the least catchy album on the 1001 list so far, but it’s got plenty of great moments. Quite the fucked up album, reeking of heroin addiction. It’s not a masterpiece, but a compelling snapshot of a band that pushed boundaries as much as anyone.
If I wasn’t familiar with their self titled album, I think I’d be quite tough on this album. Definitely interesting ideas here, but not my favorite of theirs.
4.5
loved their previous album, expecting to love this one too. While I enjoyed Nico's presence on their last album, she felt pretty out of place on the album considering the album mostly dominated by the Velvet Underground rock songs. So listening to the Velvet Underground on their own is gonna be interesting to hear. somehow less accessible than their previous work. This is such boundary pushing music, its so crazy experimental and out there. Like their last album it still holds up surprisingly well in a modern context. This with some 60s heroin is something that i wish i could've experience, however i was born in 2006 and have been scared of drugs ever since I greened out on like 20mg weed edible.
If you like Velvet Underground and you want to know more about the history of punk rock, check out this book "Please Kill Me: The Uncensored Oral History of Punk"
Demasiado corto.
This is dope. Dreary, melancholic, noisy and lo-fi. The instruments are gentle, but very impressionable on the mood. I feel like I'm in the 60s when listing to this, I just don't have any LSD on me. This makes me want to discover more about The Velvet Underground.
The Velvet Underground are properly arty and weird, particularly on this album, but I do dig it. I’m tuned into the energy of it, even when it's chucking out frenetic drums at you and weird screeching guitars. Or a whole short story set to a grungy jam track. I know songs like “I Heard Her Call My Name” are obnoxious and noisy, but something about it works for me still. I'm still tapping my foot a good deal. The last track is a jam, until it does actually get a bit much. I like this, and I like their style, man. 3.5 rounded up.
People who listen to music like this hurt people.
A fantastic album. Maybe even better than the debut?..Ahh maybe not, but fantastic and without double one of the albums making the foundation for the alternative/indie-rock scene evolving during teh late 70’s
Obligatory 4 stars
**In-depth Review of *White Light/White Heat* by The Velvet Underground** Released in 1968, *White Light/White Heat* is the second studio album by The Velvet Underground, an album that pushed the boundaries of rock music both musically and lyrically. Following the departure of Nico and the reduction of Andy Warhol's involvement, the band ventured into even more experimental territory. This record is often seen as the most extreme and abrasive in their discography, marking a significant departure from the relatively accessible sound of their debut album, *The Velvet Underground & Nico*. ### **Music and Production** From the outset, *White Light/White Heat* immerses the listener in a sonic onslaught that is as confrontational as it is innovative. The production, handled by Tom Wilson, is raw, gritty, and unpolished, which is both a strength and a weakness of the album. The abrasive sound is intentional, reflecting the band’s desire to create a visceral, almost assaultive listening experience. The album is characterized by heavy distortion, feedback, and at times, a cacophony of sounds that challenge the traditional structures of rock music. The opening title track, "White Light/White Heat," sets the tone with its frantic tempo, distorted guitar riffs, and Lou Reed’s vocals, which oscillate between fervent and disinterested. The song is a short, punchy celebration of amphetamine use, and its music mirrors the high-paced, jittery energy of the drug. The production on this track, like much of the album, is intentionally murky, with instruments bleeding into each other, creating a dense wall of sound that reflects the chaotic energy of the subject matter. The second track, "The Gift," is one of the most innovative on the album, merging storytelling with experimental music. The song is a spoken-word piece read by John Cale over a hypnotic, repetitive instrumental track. The story, written by Lou Reed during his college days, is a darkly humorous tale of love, jealousy, and a fatal misunderstanding. The decision to pan the vocals entirely to one channel and the music to the other was a bold production choice that further disorients the listener, emphasizing the detached and cold narrative. "Lady Godiva's Operation" stands out with its unsettling juxtaposition of beauty and horror. The song begins with a serene, melodic line sung by Cale, only to be interrupted by Reed's disconcerting interjections that narrate a botched lobotomy. The production here is particularly jarring, with sudden shifts in the mix that mirror the shifts in the narrative, enhancing the song's nightmarish quality. The use of stereo effects, with elements of the song jumping from one channel to the other, adds to the unsettling atmosphere. The album’s centerpiece, "Sister Ray," is a 17-minute jam that is as notorious as it is influential. The song is built around a simple riff, but it evolves (or devolves) into a chaotic, freeform exploration of noise, feedback, and lyrical depravity. The track was recorded in one take, with little to no overdubbing, capturing the raw energy of the band. The production here is minimalistic to the point of nonexistence; it’s almost as if the band is daring the listener to endure the full onslaught of sound. "Sister Ray" has since become a landmark in the history of noise rock and proto-punk, influencing countless artists who sought to push the limits of rock music. On the negative side, the production can also be seen as a major flaw of the album. The lo-fi quality, while intentionally abrasive, can be off-putting, making the album difficult to listen to in one sitting. The decision to prioritize raw energy over clarity results in some tracks sounding muddled, with individual instruments sometimes lost in the mix. This can detract from the musicianship on display, as the sheer noise level occasionally overwhelms the listener's ability to discern the intricate interplay between the band members. ### **Lyrics and Themes** Lyrically, *White Light/White Heat* delves into themes of drug use, violence, alienation, and deviant sexuality, continuing the transgressive streak that characterized the band’s earlier work. However, these themes are explored with a darker, more nihilistic edge than on their debut album. The title track, "White Light/White Heat," lyrically embodies the rush and chaos of amphetamine use. Reed's lyrics capture the intensity and manic energy of the drug experience, but without any moral judgment. The song’s lyrics are simple yet evocative, using repetition to mirror the relentless drive of the music. "The Gift" showcases Reed’s narrative skill, with a story that blends absurdity with horror. The tale of Waldo Jeffers, a lovesick young man who mails himself to his girlfriend only to meet a grisly end, is both darkly comedic and unsettling. The lyrics are delivered in a deadpan manner, contrasting with the chaotic noise of the instrumental, which builds in intensity as the story reaches its macabre conclusion. "Lady Godiva's Operation" deals with themes of body horror and medical experimentation, a subject rarely touched upon in rock music. The lyrics describe a lobotomy with disturbing detachment, juxtaposing the clinical procedure with a serene musical backdrop. The song’s lyrics explore the dehumanization and loss of identity that can accompany such invasive procedures, making it one of the most unsettling tracks on the album. "Here She Comes Now," one of the more subdued tracks on the album, is lyrically enigmatic, with Reed delivering sparse, suggestive lyrics that have been interpreted in various ways. The ambiguity of the lyrics allows for multiple readings, ranging from a simple love song to a metaphor for heroin addiction or sexual desire. "Sister Ray," the album’s magnum opus, is a stream-of-consciousness narrative that touches on themes of debauchery, violence, and drug use. The lyrics are deliberately provocative, describing a chaotic scene involving sailors, drag queens, and murder. Reed’s delivery is almost offhand, adding to the sense of nihilism that pervades the track. The lyrics of "Sister Ray" are as much about creating a mood as they are about telling a story, with the repetition and chaos mirroring the disintegration of the narrative. The themes explored on *White Light/White Heat* are dark and often uncomfortable, reflecting the band’s willingness to confront the uglier aspects of human experience. The lyrics are uncompromising, refusing to provide easy answers or moral judgments. Instead, they present a world of violence, addiction, and alienation with a stark, unflinching gaze. ### **Influence and Legacy** *White Light/White Heat* has had a profound influence on the development of several music genres, including punk, noise rock, and alternative music. The album’s raw, abrasive sound and willingness to push the boundaries of rock music paved the way for later bands to explore similar territory. Punk rock, in particular, owes a significant debt to this album. The DIY ethos, the emphasis on raw energy over technical proficiency, and the embrace of controversial subject matter all became hallmarks of the punk movement in the 1970s. Bands like The Stooges, The Sex Pistols, and The Ramones drew inspiration from the confrontational style of *White Light/White Heat*, helping to create a new musical movement that rejected the polish and pretension of mainstream rock. The album also played a key role in the development of noise rock and avant-garde music. The use of feedback, distortion, and unconventional song structures on tracks like "Sister Ray" influenced bands like Sonic Youth, Swans, and My Bloody Valentine, who took the concepts pioneered by The Velvet Underground and pushed them even further. The album’s emphasis on texture and atmosphere over traditional melody and harmony became a defining characteristic of the noise rock genre. In addition to its musical influence, *White Light/White Heat* has also had a lasting impact on the lyrical content of rock music. The album’s unflinching exploration of taboo subjects opened the door for other artists to tackle similar themes. The frank discussions of drug use, sexuality, and violence that permeate the album can be seen as a precursor to the lyrical content of many alternative and punk bands that followed. ### **Pros and Cons** #### **Pros:** 1. **Innovative Sound:** The album’s use of distortion, feedback, and unconventional production techniques was groundbreaking and helped to pave the way for new genres like punk, noise rock, and industrial music. 2. **Bold Lyrical Content:** *White Light/White Heat* tackles controversial and taboo subjects with a fearless, unflinching approach that was ahead of its time. The lyrics explore dark themes that were rarely addressed in rock music at the time. 3. **Raw Energy:** The album captures the visceral energy of The Velvet Underground’s live performances, with a sense of urgency and intensity that is palpable throughout. 4. **Influence on Future Music:** The album’s impact on subsequent music genres cannot be overstated. Its influence is evident in the work of countless artists across punk, alternative, and experimental music. #### **Cons:** 1. **Harsh Production:** The lo-fi, abrasive production can be difficult for some listeners to endure. The lack of clarity and polish might detract from the enjoyment of the album for those who prefer cleaner production values. 2. **Inaccessible Sound:** The album’s experimental nature and dissonant sound make it less accessible than The Velvet Underground’s debut album. It’s not an easy listen and may alienate casual listeners. 3. **Repetitive Elements:** Some tracks, particularly "Sister Ray," can feel repetitive and overly long, which may test the patience of some listeners. The album’s emphasis on texture over melody might not appeal to everyone. 4. **Limited Appeal:** The extreme nature of the album’s sound and subject matter means that it is not an album for everyone. It appeals more to fans of experimental music and those interested in the darker side of rock. ### **Conclusion** *White Light/White Heat* is an album that defies easy categorization. It is a challenging, abrasive, and at times, alienating record that refuses to conform to traditional rock standards. The Velvet Underground's willingness to push boundaries, both musically and lyrically, makes this album a landmark in the history of rock music. While the harsh production and experimental nature of the album might deter some listeners, its influence on subsequent generations of musicians is undeniable. For those willing to engage with its challenging soundscapes and dark themes, *White Light/White Heat* offers a raw, visceral experience that is unlike anything else in rock music. It stands as a testament to The Velvet Underground’s commitment to artistic innovation and remains a crucial touchstone for anyone interested in the evolution of modern music.
After reading up on the history I was convinced this album was going to be eye-rolling avant-garde drivel, but it was surprisingly accessible. Don’t get me wrong — this album is fucking WEIRD and I’ve no doubt the subject matter is a massive turnoff for many listeners, but I found it wonderfully strange. Very, very daring. Sister Ray is self-indulgent, sure, but I get the vision, and compromise is not in TVU’s DNA. I’ve certainly never heard a track quite like The Gift before. That shit rocked. The instrumentals are primarily led by an erratic electric guitar, but it all somehow works. Listened to: walking on the LVRT. Favorite tracks: The Gift, I Heard Her Call My Name
I adore their noisy sound, although the final track on this album overstays its welcome imo
this was interesting, i heard that this was one of the first noise rock albums ever, i liked a lot of the tracks it was interesting, the music sounds really old and not really technical but i like how its like that, has an old sound which is cool, solid album
The Velvets doing what they do. Great heady stuff.
Not sure when I first heard the title track. Probably heard some punk band cover it in the late 70’s, or possibly when I first saw the Pennebaker film of Bowie’s last concert as Ziggy, at the Hammersmith Odeon. I certainly didn’t hear this album until the 80’s, by which time the title track was a punk standard. And as much as I like Bowie’s versions of it, I love the original. And I know that I first heard The Gift on a German compilation entitled Once Upon A Time. I think I always assumed that John Cale wrote it because his reading and his accent seemed so integral to the story. But turns out Reed wrote it. It’s a piece I’ve always loved & it’s in perfect stereo - words from one speaker & music from the other. I’m also very fond of Here She Comes Now (as opposed to There She Goes Again on the first album). It sure sounds to me like he’s dropping the c-word on that track. But hey, how would you know - the sound is so muddy on this album, & nowhere more so than on the epic Sister Ray. .I’m prepared to believe that the producer, Tom Wilson, was spending more time talking to his girlfriends in the studio than controlling the sound levels. Amazing that he produced Sounds of Silence by Simon & Garfunkel & Like A Rolling Stone by Bob Dylan on his way to Sister Ray. It’s something else. But more than half a century later, it still sounds great at volume eleven.
I love the Velvet Underground. When I was in first year uni, a girl I had a crush on (unrequited, sadly) introduced me to the first VU (banana) album. What a revelation that was! As noted in Lou Reed's obituary in the NY Times, the Velvet Underground "wrought gradual but profound impact on the high-I.Q., low-virtuosity stratum of punk, alternative and underground rock around the world." As a young man, the first two VU albums were the ones I played constantly the noise, the power, the abrasiveness, the lyrics that explored the edges of society. They were the blueprint for many forms of alternative music that I love, including punk, alternative, krautrock, noise rock, drone, no wave etc. I did a quick search through the 700or so reviews I have already written as part of this project, and explicit references to the Velvets appear in at least 30 of them. I used to play this album a lot when I was 19, but I confess it has been decades since I played it all the way through. But it all came rushing back; this album is noisy and distorted and abrasive, but I still find it quite exciting. It is a definite retreat from beauty compared to their previous record and frankly any other record ever released at that time. 25 minutes of the album are two noise/drone songs (The Gift and Sister Ray), which means that there are really only four real songs on the album. White Light/White Heat is awesome, but really, the songwriting on this record is weaker than the Banana album or the S/T. But the drive and fury of this record is really something else! I think we can call out John Cale as MVP on this record, but the secret sauce really is Moe Tucker, who keeps everything driving forward, even when everything else is screeching chaos. Not their best record, but what a world changing record this was.
I really liked the first couple songs on this (even the talking one) and I was starting to think that it was one of my favorite velvet underground albums until sister ray hit and I realized I wasn’t built for 17 straight minutes of proto punk noise rock. Kinda turned me off listening to the rest of the deluxe.
This was both strange and disturbing….I liked it a lot.
Ach you can feel the coolness exuded by this record from miles away, Ja? Not the best Velvet Underground output - but definitely the most bohemian sleazeball one.
I love the boundless freedom that such artists felt to experiment in the late sixties. However, that doesn't mean that everything they tried always worked. That said, this is pretty good.
Excellent.
I've never been the biggest fan of this band, but their creativity is undeniable. This is a great album.
Juicy Noise. Like it
Good noise. Not my favorite noise, but good nonetheless.
haha ding-dong
I'm old. I liked this. Especially Sister Ray. Now pass the bota bag and give me another hit off that pipe.
If this is your first entry into The Velvet Underground and/or Lou Reed remember that they are inventing (or aping) new methods and pushing the boundaries. Some of their stuff, this included took me several attempts to truly appreciate it.
Let me state: I just listened to the original version of the album. From my research this is what is in the 1001 book, not the deluxe version, which has over an additional hour of material. The original version is a tight 40 minutes of very varied material, fin spoken word to distortion really punk sounds. I appreciate that after listening to several albums that were very repetitive. The band wasn’t afraid to experiment musically, and the lyrics don’t hold back. Clearly going for shock value at times, but hey that’s rock and roll. This is not the first time in this project where I was forced to listen to an artist i didn’t think I enjoyed, and ended up being impressed! I’m not saying I’m ever going to be the Velvet Underground’s biggest fan, but this was an interesting listen.
I want to like this one more but it's hard to get through on a single listen. Closer to the 3.5 than to a true 4
Great example of incorporating noise as part of the music, but it does get boring at times.
It doesn't sound that remarkable until you realize it came out before 1970 and how far ahead of their time they were.
Love the underground
Not quite the lightning bolt of the first album, and definitely their least accessible album. Still sounding like no-one else and the definition of anti-commercial. Were they the first band to make a career out of refusing to be in any way careerist?
The Velvet Underground continuously amaze me and this rougher, louder album really hits.
Demasiado experimental y ruidoso para el vinilo. Un 4.
A proper classic. White Light White Heat sounds dangerous from the outset. It is raw, abrasive and completely uncompromising. There is very little polish here, and that is exactly the point. The guitars are distorted, the rhythms feel almost chaotic at times, and the whole record has an intensity that still feels bold decades later. The lyrics are sharp and confrontational, tackling subjects that very few bands were willing to go near at the time. It feels important, not just musically but culturally. You can hear the blueprint for so much punk and alternative rock that followed. It is not an easy listen, but it is a rewarding one. There is a confidence in how far they push things, and that tension gives the album its power. Favourite song: White Light White Heat and The Gift Least favourite song: None. Every track earns its place Album artwork: Simple and stark, perfectly matching the stripped back, confrontational sound
A bit too much freakout at times, but sister ray is a banger.
Credit for what it meant in its time.
A fun and interesting listening. I didn't realize quite how noisy that band could get
Inspirational
I said I couldn't hit it sideways Now just like Now just like I said oh, oh, just like Am-ph-ph-ph-ph-phetamine so good man.
Good album
A very forward thinking album that sounds like music from decades later. Clearly an influence on punk, post, indie music to come.
Our third from these guys, Lou Reed and Co. Definitely not as arresting or seminal as the banana album, and looking back I think I enjoyed the self-titled more as well, but still another great album from them. They're just a strong rock band with tinges of psychedelic, artsy-avante garde stuff. The one song I do know on here is "Here She Comes Now," prominently featured in Adventureland (one of the greatest movies ever, but that's neither here nor there). I do like that this album was only a handful of tracks, that's always fun. But yeah, a great album but personally I'd say it's the weakest of the three from VU that we've had. Favorite tracks: Here She Comes Now, The Gift, Lady Godiva's Operation, Sister Ray. Album art: It's mostly black, there's some sort of silhouette image slightly there, I can't make out what it is and I'd prefer to keep it a mystery. For some reason, in my mind I always associated this album cover with a much newer band, like mid-2000's Tom Morello type stuff. Think I was thinking of Velvet Revolver with Slash. 4/5
Velvet Underground & Nico is better but WL/WH is still a solid album.
It sounds like it was recorded in little Johnny's basement and is repetitive but somehow they make it entrancing. Good stuff.
I really liked the other VU albums on this list so I was looking forward to this one. It did not quite live up to my expectations. 5/5: (None) 4/5: White Light/White Heat, Here She Comes Now, I Heard Her Call My Name, Sister Ray Rating: 3.5
Ikkje lika bra som bananalbumet etter første gjennomlytting, men regne med da vokse på meg. Pluss for at da har ein 17 minutt lang sang, bare trist at den ikkje e tilgjengelig på musikkspilleren min
Classic
A wild and uneven record. I admire their bravery, but don't necessarily love the results. In fact, I enjoy many of the outtakes from this era, now included as bonus tracks on the super deluxe version, more than what ended up on the actual album. Those outtakes sound closer to what would come on their next album, which I adore. But I suppose they needed to get this wonky skronkfest out of their system first. This album is the audio equivalent to what I Imagine taking a speedball would be like. Let's take ALL the drugs... I would actually prefer to see these songs performed live in all their raw intensity. Rolling Stone apparently refused to even review this album when it was first released. Ha! As if you needed another reason to prove that Jann Wenner is a total wanker.
I have grown to love their other two albums. This one isn’t on the same level but I liked it enough. Between 3 and 4
4. I love it. Not entirely my favourite album of theirs but it's very good. Some songs and experimentation were awesome but bring the album down a little compared to their others for me
Obviously bold, abrasive, and wildly ahead of it's time. There is not much to the way of objective opinion that I could say that hasn't already been said to death! On a personal level, I found this a far more consistent record than their debut; the lack of Nico on this one is a big plus for me. I love the sheer spunk this record does. It spits in your eye. However, while it is more consistent than the debut, it does lack a bit of the highs it had on tracks like Sunday Morning or Venus in Furs. Overall, I think this juuuuust misses out on 5 stars for me, but lands as my overall favorite from these degenerates.
Amazing record. A noisy-weird-rock n roll-avant garde mess, and it's a beautiful thing. This is when the VU are at their best, and this album captures it brilliantly. So many brilliant bands can be traced back to this record. It's not as good as their first album, but it still bangs.
First half is like being at the dentist but the second half gets it shit together and I can see how this was a major influence on punk.
Shit, someone should tell Sonic Youth that these guys are stealing their sound!
Good album. A bit chaotic but enjoyable
Definitely very Velvet Underground! A bit cacophonous but I know that's what they were known for in their live performances, and there's still some semblance of musical structure for the most part. Such an interesting group doing interesting things that ran a bit counter to what was happening in most of the music culture at the time.
I always kind of overlook this album with the simple reduction that this is Velvet Underground's noise album, but whenever I listen to it I love it. It's aggressive, broken and overdriven and raw. It's always a rewarding listen from a great band.
De eerste keer dat ik het luisterde voelde ik pas dat ik er tegen het eind wat in kwam. Toen nog maar een keer gaan luisteren en dat beviel al beter. Het is niet ‘goed’ per se, maar het is zeker niet saai en er gebeurd veel. VU spreekt me altijd wel aan, en daarom neig ik net richting de 4
It's the avant garde nature of The Velvet Underground that wows me every single time. John Cale's voice and influence provides the edginess that's missing from the VU albums that come after this (though I love those too!). I heard about the song The Gift long before I actually heard the song because in my day, you had to actually buy music to hear music. When I finally heard The Gift, it did NOT disappoint. I'm a sucker for a long offbeat story and when you toss in a Welsh accent---swoon. Somehow the distortion and din on this album hit all the right notes with me whereas when other bands distort my ears bleed. Viva The VU!
Maybe there should be a set of rules when you get an album from the Velvets (or Lou Reed for that matter). For starters, they need multiple listens. The first time I heard this album, I hated it with the white hot intensity of 1,000 suns. But the second time through, my stance changed completely. Maybe I had better drugs this time around. That's rule number 2 by the way. The first 3 Velvet Underground albums are best experienced under the influence. Amphetamines are the obvious choice here. Like their debut album, this one's legacy is how it inspired many future bands who saw greater success than the Velvet Underground ever did. That's a shame, because no one was as successfully experimental like they were. This isn't a diss at all, but it's still my least favorite album of theirs (the experiments work better on the follow up to this one, and I always ride hard for the album "loaded" with hits). The third rule for all Velvet Underground albums is that they should only be listened to with great headphones. There's a lot happening here, I especially on both channels, and intense listening provides the greatest rewards.
Just like Sister Ray Said
Like a gift that is so revolting you actually kind of love it. Speaking of gifts that song is a wild ride. Sister Ray is a cocophone of sound but with a purpose, I enjoyed it. Lady Godiva hits for me too. The only song that really sucks is the title track
Following their abrasive and highly experimental debut, they take it even a step further with even more shocking effects, droning, and amplified distortion. Despite how hard it is to listen to, it's not as challenging as one would expect due to its short length, with just 6 tracks, and a few of them have many pop characteristics. "White Light / White Heat" is a standard garage rock song akin to many of their other songs, probably the easiest to listen to, with many catchy vocal parts and melodies. Although here we get our first signs of the distorted web, with a play on a guitar solo in the last minute. "The Gift" is vocal poetry read like a nursery rhyme, but with the distortion giving off consistent eery vibes. Doesn't really work as well as other attempts they'd make, like "The Murder Mystery." Definitely the weakest part of the album, but the story's interesting. Our next two tracks are pretty dreamy and can be seen as a pre-cursor of noise pop or shoegaze. "Lady Godiva's Operation" is pretty soothing despite the creepiness of the whispers and drones. "Here She Comes Now" is the outlier, with no unsettling noises, but some pleasant effects in the background. "I Heard Her Call My Name" is probably the most forgettable track. It's a cool bluesy garage track that reminds me of The Rolling Stones, but doesn't have much to stand out besides the crazy out-there distortion in the second half. Certainly the most chaotic. "Sister Ray" is the highlight, often regarded as one of their finest songs. The whole track is an adventure, a barely audible fuzzy movement that keeps going on-and-on in new and exciting ways. Doesn't ever get boring and leaves you immensely satisfied by the end.
Great!
Another great experimental album that does has some lengths on its second half. It also seems to me that John Cale is the more interesting character compared to Lou Reed. I enjoy his solo works a lot more.
pretty cool as expected. thought i was gonna like it a little bit more but still very good
I enjoyed the album, despite the fact that it contains a song over 17 minutes long. It turns out I like The Velvet Underground - never would have guessed it.
On tää kyllä hieno bändi hitsi sentään! Tämäkin varsin hieno levy. 4/5
Tää on kyllä tosi hyvää häröilyä. Harvoin näin sekavasta tykkään. Parempi kuin banaanilevy imo.
Kiinnostavaa tavaraa kuten bändiltä voi olettaakin. Melkoiset spoken word-setit keskellä. 4/5
Classic Velvets sound, but this one is really all about Sister Ray! That's all you've got to say I think.
Hugely influential - even among other bands that themselves were influential (Modern Lovers among others). Yes - hard to get through sometimes but worth it.
This one feels insane, bit old but you can really see why it's here. Seriously creates an atmosphere. BT - She Called My Name - The Gift
Yes it is my least favorite VU album but it is still a classic. 4.5 stars
she suckin on my ding dong
A whirlwind in the right light and temperature. A nightmare with the wrong elements.
Probably the album where my enjoyment will vary the most based on my mood. If I'm into drug based fuckery I'll throw it on. However, f I'm in any other mood...
weakest VU. idek. not my cuppa when it comes to these boys but it probably influenced alot of stuff that I really like so i will never disrespect VU by giving them anything under a 4. hard review
Incredible album. Need to listen to the first iconic album again, but I liked this way better on my first listen. The Gift is an incredible short-story song with punchy guitar behind it. Incredible. Not usually a fan of very long songs (17 min) but the last song keeps the vibe the whole way through.
Pretty great. Some long songs. Weird story song in there, but always great to hear Lou Reed.
"she's busy sucking on my ding-dong". I ask you, has a more poignant lyric ever been written? Though I love Lou Reed so very much, I do think +17 minutes for a track is way too self-indulgent. Otherwise, you're getting exactly what you'd expect from VU, skewed very far left of avant-garde and a hop/skip off the path of experimentation into full blown mad science territory. It’s oddly hypnotic and shouldn’t work but somehow it does.
I don't know. I really like VU, and I love Lou Reed. I also love the title track. As an album, though? It's a little tougher to swallow. I'm going to give this one star more than it probably deserves because of the things I just said I love.
Pas besoin d’écouter plus, 4 pour the gift parce que c’est drôle et intéressant
Gritty 60s rock, can see how it influences punk.
Låter som de vill slå sönder sitt barnrum. Kanske hela kvarteret. Mycket bra.
In many ways this even more experimental than the banana album. However the songs are a notch below and some of the singing by Cale is a bit off. Still, it's an enjoyable album and a reminder as to why the Velvet Underground stood out from many of their contemporaries.
Not quite the bannana but juicy still
Not their finest moment, but still very fine
Noisy poetic dirty fun.
These guys were on another plane
Groovy tunes
Classic
this was fucking weird.
Rock concebido e executado com arte.
It is hard to put into words the monumental impact that Velvet Underground had on music, rock, and art. Emerging from the New York Punk scene, underground tapped into Lou Reed's lyrics and artistic vision to make not only important music, but push what could be considered music.
I was so excited to finally get a Velvet Underground album on this list as I missed the last one and didn't get around to making it up yet! This one is a corker. I really love the first few tracks. The opening track especially is so warm and inviting. Really cool sound classic VU so exciting with lots of twists and turns too. I get a bit irritated by the second half ish of the album but that's only because I'm listening while working from home and not live at a gig which would be awesome.
Well this was psych experimental classic-ness wasn't it. I found the majority of it really interesting to listen to, and again another album that is so iconic of a time. Made me want to be there. Really loved the one about the story of a man who posted himself. Hilarious! Well told story too. I can see why Luke likes VU so much at times, the repetitions and just going and going leaning into a riff so much. I might not have as much appreciation for all of that at times, like the 17 min song - but on the whole I did love it
I love Velvet Underground, even today it has such an individual sound. I must say I was NOT in the mood to listen to it today but I know I love it
Pretty great follow up
Extraordinary album, one my favourites since I was young. Beautiful cutesy moments, horrible machine music moments, joyful little experiments, the odd inclusion of a Welsh accent among the squall which is deeply satisfying. Pale blue eyes is one of the simplest, nicest songs written. The album sometimes dissolves into an uncontrolled difficult morass but it reforms well. An iconic, stand out record. Although I wonder if the velvenlt underground are a five star band that only produces four start records.
Noise 101 The Beatles' first use of distortion was I Feel Fine. They approached distortion with white gloves on and everybody listened to it. The Who whacked distortion in the face with boxing gloves on in their song The OX. Nobody listened to it. They also mixed some lighter distortion in their songs they hoped would be hits and they got radio play. Lou seemingly couldn't give a fuck about radio play and gave us this opera of distortion sledgehammer style. Overall, the album feels like it's half baked although I guess noise is supposed to sound that way. Side 1 is, relatively speaking, tame. Side 2 is the ugly noise side. "I heard her call my name" ramps up the distortion level and Sister Ray is a full-on assault of noise. When listening to this, it's hard to imagine that four years later he would record Transformer and six years later, on Rock 'n' Roll Animal, he would show that he recognizes the benefits of musicians who can play, in the more typical definition of the word. I've come to realize that musicians have greatly advanced hearing so hear things that mere mortals like us don't. After so many years I can appreciate the noise assault on this album. I'm still miles away from Metal Machine Music and doubt I can ever take enough baby steps to get there.
Classique
Wacky album. I like it more than the debut. Sister Ray is a monster as is known.
Excellent, if challenging in places
Recording is shit but the album is quite great!
Love the title track, and lots of other good stuff on the album but not these versions - the production/mix on this album is awful.
I always struggle if I love or hate this one. This listen fell closer to love.
Freak classic
I think its fair to say this is the least accessible of the 4 VU albums and often gets the most kudos. The Gift annoys me a bit as you don't really want to listen to the story more than twice. Sister Ray is s behemoth. The production is deliberately rough and ready. To think this is a 1968 album takes your breath away a bit. Also Reeds guitar on "I heard her call my name" Remarkable. I feel I should like it more than I do. Still, 4.
This is their weirdest album. There's a lot that I like on it and there's a lot that i don't like. I always skip "The Gift" but the title track and sister ray are great.
You can see how this album influenced so many bands that I like now. I really like the album. Here She Comes Now is a great song, and the Nirvana cover(s) that it sparked are amazing. It may have gotten a 5 from me if it wasn't for The Gift. I just can't stand that one.
Demasiado experimental y ruidoso para el vinilo. Un 4.
Didn’t realize how much his voice sounds like Julian Casablancas at times. Biased towards live recorded albums. Noisy, fun.
3.5
A surprisingly good album. Certainly unique in relation to some songs (The Gift and Sister Ray). While not really a song in the typical sense The Gift is actually a great story that really made me enjoy the album, not for its musical value but for its entertainement and sheer courage for producing something so peculiar!
Manages to sound simultaneously of its time, modern, and like nothing else I have heard. Starts off with fairly conventional rock and roll sounds on the first track, White Light/White Heat, before giving way to a gradual descent into spoken word madness (The Gift) and then ending with lengthy proto-punk noise and feedback (Sister Ray). A big shift from the more melodic sound of their previous album. It sounds much more improvised, spiky and chaotic.
The Velvet Underground are usually remembered fondly for their innovations to the rock music canon as a whole. Grunge, no wave, post-punk, punk rock, krautrock, prog rock, alternative rock, they all trace back to White Light / White Heat in some way. People smarter and more dedicated than myself have written about it better than I ever could, but I can at least share those same sentiments. Even Sister Ray alone, the 17-minute marathon track that dominates side B, could take credit for the ways that it pushed rock music. Most "experimental" rock music could be boiled down to just a few people with instruments fucking around, but to say that about The Velvet Underground would be underselling it's historical significance. As for me, it's certainly not an album I thoroughly enjoy, but there's no denying that this record is the root of many of my favorite albums. One small step for The Velvet Underground, one giant leap for rock music.
intresting mad shit going on here. Can see why its a must listen
Such an experimental, awesome album that really provided a groundwork for so much music that I love. I think it might be my favorite VU album.
Man I played this to the death way back when. Great album.
An incredible sophomore album
Man muss definitiv in Stimmung sein für dieses Album, es ist Ausdruck der Stimmung der damaligen Jugend. Sister Ray: mitreisender Rhythmus, Text über Drogen und Sex etc. ist gemäss Reed als Witz gemeint.
It's not an "easy" listen, but it's good. I love The Velvet Underground especially when they get their drone on. I also love that this is like The Stooges play The Velvets, you can see how this inspired sooooo many artists
Nothing much is pleasant about this listening experience - the production is dense to the point of singularity and the music is loud, clangy, and crude. It's almost like the band is trying to alienate the listener, and in large part they have. That said, I see this as an even more sophisticated attempt to throw popular music on its head - while their debut at least has some 'catchy' tunes, this one dispenses with any of the trappings of musical enjoyment, dragging listeners down a dark alley, against our will, to show us smacked-out junkies and heroin whores. Its inconceivable to think this came out in 1968, and my rating here reflects the cutting edge nature of the work (if not my actual enjoyment at the listening)
Important, influential, experimental. All of these things, but it's not enjoyable. Interesting to note that Peter Gabriel might have been influenced by the "short story" narration on "The Gift." Sister Ray is a trip, but you don't need to hear it often.
I felt like I was deeply immersed in the cool 60s until Lou Reed start singing about dingdongs. Still an enjoyable listen.
3.5
Heftiges Teil mit untergründiger Schönheit - unterhalb all des glitches und fuzzes schimmert ein poppiges und fast monotonisch eingängiges Stück Rock. Nico fehlt kein Stück. Mir jedoch etwas die Abwechslung. 3.5
3.5
The first half (5 songs): clearly 5*. Had not listened to the second half for years: Sister Ray is alright but still too long. (5+3)/2 = 4.
Psychadelic rock. Guitars remind me of Cream quite a bit. Songs are all very unique, each one does it's own thing. Opens with "White light / white heat" a bit of a traditional rock tune. Followed with "The Gift" an 8 minute story/stream of consciousness while a guitar is wailing. Next is "Lady Godiva's Operation", once again a bit more of a standard tune with dueling vocalists that gets more surreal as it goes on. "Here she comes" has a summery vibe, brief tune about a beautiful hippie lady. "I heard her call my name" is a grungy tune with lots of distortion in the guitars and growling vocals that sounds a lot like Steppenwolf. Last is "Sister Ray" which plays for a whopping 17 minutes and 30 seconds. This song has some attitude, angry Organs that remind me of Ina Gatta Da Vita. Intensity increases throughout the song until a big crescendo of wailing on instruments to end. The keys are literally just holding on notes so it's a thrumming buzz with the drums and guitar going. Great jam session tune. Overall good album, was worried after the 2nd song but that was the only one that I really didn't enjoy. The rest were pretty good, though a bit too "out there" to add to the playlist.
My god the 60's in America were F'd up. The Gift epitomizes everything I've seen in movies and recordings about that era - the drugs, the sex, the grungy and wheezy guitar riffs. Listening to that track was like watching Beyond the Valley of the Dolls (a truly F'd up movie). It might've been okay if it wasn't so completely overdone (8min). But kudos to the effort and the creativity. And if I thought the Gift had edgy lyrics, Lady Godiva's Operation took me to new depths. Didn't mind the music layered in. The whole album kind of reminds me of Kanye West in that they try so hard to show how intelligent and cool they are through their lyrics and beats. Arrogant is the right word. Still, it's a solid album (minus the production value, which is nil). The title track, Here She Comes Now, and I Heard Her call My Name are all fun little tracks albeit with some excessive guitar work in all of them. Cut out the self-indulgence and depravity (see Exhibit Z, Sister Ray) and you'd have a real winner. 3.5 at least but I'll round up to 4 just to have an even more different take than others. Seems fitting given the extremes of the album.
Phenomenal beginning of noise rock. LOVE THIS
More interesting than I imagined. Very experimental and textured. Sucking on ding dongs yeah...!
Art-rock at it's artiest - but scratch the surface and there are still pop melodies hidden away. BT: White Light/White Heat, Lady Godiva's Operation, Here She Comes Now
Not my favorite VU album, but clearly very influential on a lot artist I enjoy. I do love Sister Ray though!
Interesting. Never heard it before.
Tratando de ser breve (porque es un grupo en el que me podría extender demasiado). Bowie en algún momento dijo que la influencia verdadera no eran los críticos, sino los artistas; en referencia a que Velvet Underground terminó siendo mucho más influyente que los Beatles. Decían que su primer disco solo vendió 10,000 copias pero que fue la razón de la creación de 10,000 bandas. Este segundo disco termina siendo muy muy distinto a su primer material más conocido. Tiene siento yo una cosa buena en la ruptura con Warhol y una mala en la ruptura con Nico. Aunque perdieran una voz particular es muy interesante ver el verdadero rock experimental en sus inicios. No es un disco facil o digerible, tiene todas las características temáticas del grupo y de Lou Reed (sexo, drogas, violencia y subculturas, a niveles impensables para la época y a un grado que los hizo invendibles) pero esta vez cambia lo undulante de psicodelia por lo que solo puedo llamar un caos lleno de belleza. Es necesario comprender que todo lo que se escucha era basicamente la primera vez que alguien lo intentaba, que se usaran guitarras y distorsión en ese grado, que se utilizara el feedback como parte integral de una canción, realizar un disco básicamente improvisado. Sin este disco no hay música garage, no hay música alternativa, no hay grunge, no hay punk. The Velvet Underground fue el verdadero avant garde del rock en todo lo que realmente significa el término. Lou Reed después hizo cosas muy grandes, muy influyentes en algunos ámbitos; pero el grado de impacto que esos 4 discos lanzados en 4 años consecutivos tuvieron es inmenso.
love me some lou reed
The Velvet Underground (and particularly Lou Reed) were one of my early musical icons. As great as I think this is I'm not sure I see it as the flawless masterpiece some critical reception suggests. They say it was recorded in two days and it shows. Still, a critical work of raw innovation.
The gift is a wtf story Very daring album for the time, "filthy, rough" guitar work 4 stars
Good rock album
I wouldn't say I enjoyed this album. A little to Avant Garde for my taste. It did however have some super interesting components and a sound that was probably ahead of its time. To be enjoyed as an artifact rather than for the music itself.
Great record.
It's always strange to me that I enjoy the Velvet Underground so much but have not spent much time diving into their different albums. This one is a bit tough for me to rate. I love the title track and Here She Comes Now. The Gift and Lady Godiva's Operation drag on a bit for me. It's strange how sometimes the lofi quality of the recording really seems to work for the band, while other times it really seems to hurt the quality of the music. Regardless, when Lou Reed brings the energy, he can make a track all by himself. Sister Ray makes this album, which makes sense as it is nearly half of the running time by itself. Ultimately a difficult album to rate because of its inconsistencies, but the innovative aspects of this album outweigh the negatives 4/5
I go here to escape the Velvet Underground and they follow me.
This is #day694 of my #1001albumsyoumusthearbeforeyoudie challenge, and… here's my third and final Velvet Underground record. Unhinged, abrasive, experimental lo-fi noise rock and whatever else you want to call it. It's almost as if the record is doing its very best to be unlistenable. And, in a way, it kind of succeeds. Totally different from what was going on at the time, and hugely influential on what was about to come over the next decade or two. This is a 3 out of 5. Looking forward to #day695.
3.3 2x
Not too shabby
Wish I could give half starts, it would be a 3.5. Was probably a four then the 17 minute song just got on my nerves.
3.5 Very weird, not necessarily in a bad way, i was hooked throughout and I get why these guys had such an influence. But also I don't think I'd really want to listen again
Terrible production, monotone “singing” what I expected. There is something about lady Godiva. According to Spotify only one cover but it is strangely familiar. Last song reminds me of queens of the stone ages.
Not a huge fan
Forgettable
Not the most accessible of works, feels like it’s been included due to its influence on other artists, rather than its own merit. Some interesting dimensions to it though.
Hmm, I didn’t always love this, but you can’t look away. “The Gift” reveals the gift of grisly storytelling, in kind of a Sweeney Todd way. “Here She Comes Now” is as great as ever. Torn between 3 and 4 here.
achei mais ou menos, não é meu estilo!!
Two classics bookending dross.
Probably a more challenging velvet underground album, but not terrible on the second listen
Fine enough. Less impressed here than other velvet underground or lou reed stuff. A 20 minute closer is alot man. And in theory thats the best song here. Its just too indulgent for me. Other than that lady Godivas operation is the best song. Those I will gave props to the somg about the guy mailing himself to his family. Thats just a Malcom in the middle plot. Less family friendly ending but the same play nonetheless. Just not that into the music here. Its passable but not all that engaging either. Just OK across the board. I know they have better and maybe i can hear that one with the more psychedelic cover. The last one. Maybe thats more my speed
Pretty good. I like The Velvet Underground generally, but this didn't feel like their best work and was all a bit samey.
Aside from listening to "Oh! Sweet Nuthin'" a million times, I have virtually no experience with The Velvet Underground, so this should be fine. Despite initial enthusiasm, the muddy feedback that coats all of "White Light/White Heat" was just unbearable, not rescued either by the unenthusiastic delivery of the lyrics or the repetitive slamming riff at the end; garage rock sound at it's worst. "The Gift" was like nothing I've ever heard, yet it made so much sense that something like it would exist; a story told with a backing track. Cale's voice is fitting for the story (which I now understand was written by Lou Reed!) and the backing track was great until the dog whistle screech around the 2:30 mark (continuing on and off) which completely ruined my enjoyment of it in these places; I hope something else like this exists elsewhere. My relief at "Lady Godiva's Operation" was palpable; subtle drums and bass overlayed with a pleasant reverbed guitar and fun lyrics made me fall in love with this one. For pretty much identical reasons, I enjoyed "Here She Comes Now". "I Heard Her Call My Name" with it's erratic energy feels like everything the opening track should've been but wasn't, however, it quickly ran out of the lyrics that was doing half the job of propping this up to something more enjoyable. Then came "Sister Ray"; I am always wary of these 15min+ tracks, as some of them are nothing but droning filler and others hide musical gems within. With this, it's high-pitched notes whining at 6:30 mark was the end of my enthusiasm for the track. Overall, there are some neat ideas in here and some amazing sounds, but it's sort of buried in a lot of edgy garage rock sounds that seem to do more to piss you off than entertain you. Real shame.
Not as good as the debut
Kinda sloppy. I dig their psych stuff but I’m not sure why they popped off from this record. The self titled and loaded are incredible
Had never listened to this album before, but had really enjoyed other Velvet Underground albums. Unfortunately, I was disappointed!
By far not as interesting as their debut album.
I like the first 3 songs the lasts ones are crazy and my ears hurt
166. ok
Too much noise
A good album, I liked The Gift and Sister Ray the most.
listened to again kinda drags on
Im September 1967 bezogen The Velvet Underground – eine New Yorker Band, die damals mehr Berühmtheit als Publikum besaß – die Mayfair Sound Studios in Manhattan und nahmen in knapp zwei Wochen ihr zweites Studioalbum auf. Produziert von Tom Wilson und auf Verve Records veröffentlicht, ist White Light/White Heat ein Dokument radikaler Absichtslosigkeit gegenüber dem Markt: Noise Rock, Art Rock und Proto-Punk verdichten sich hier zu einem Album, das weder Chartplatzierungen anstrebte noch auf Radiorotation ausgelegt war – und beides mit bemerkenswerter Konsequenz verfehlte. Sechs Stücke, kein Füller. Der Titelsong ist ein Amphetaminrausch mit Hookline, „Lady Godiva's Operation" gleitet zwischen Traumsequenz und Alptraum. John Cale liest auf „The Gift" eine Lou-Reed-Kurzgeschichte vom Tod – monoton, dissoziiert – während die Band im anderen Stereokanal dagegen antritt. Und „Sister Ray": siebzehn Minuten, ein einziger Take, keine Unterbrechung. Die Band spielte, bis der Raum brannte. Gary Kellgren mischte das Ergebnis mit einer Verzerrung und Kompression, die viele Beteiligte damals als Fehler betrachteten – und die sich als die präziseste Entscheidung des Albums herausstellen sollte. Es ist John Cales letztes Studioalbum mit der Band; er verließ die Velvet Underground noch im selben Jahr. Was bleibt, ist ein Album, das kaum jemand kaufte und das trotzdem den Klang von Punk und Noise Rock für die nächsten Jahrzehnte vorwegnahm. White Light/White Heat klingt heute nicht nach Vergangenheit – es klingt nach einem Zustand. Wer nach Schönheit sucht, findet hier etwas Beständigeres.
I don't have it in me to give the Velvet underground a two but this just did not hit me when I needed it to.
i'm sure it was groundbreaking because it was inappropriate at the time but wasn't my thing.
Didn't take it in. Might need to try again
I fear this drug fueled album unintentionally inspired far too many noise rock MBV style bands. On the plus side I thought “sister ray” rocked
3.5 I never listened to this before. quite a bit more experimental and out there than what I was expecting. Guitar work was cool. Ive met at handful of people who I would consider true artists and I assume that you could call the VU ensembles true artists. They are typically are typically super weird and im uncomfortable around them but you have to admire that they can think differently from the norm and usually have a bit of drive for what they want to do.
I do love some of this album and I feel like it would be worth while to listen to is many times over to get a feel for the lyrics as they are the most interesting part of it all. I do love the trippy trance like vibe to Lady Godiva. Very cool for it's time.
Title track masterpiece. The rest a little weird. But of course very cool. 3.5
I really don't know what to say about this record. Glad to have heard it, won't listen again.
The least accessible Velvet album. Interesting as a time piece punk/grunge before they were invented. Sister Ray is a rocker
3.0
6/10 As I've come to discover over the course of this project, I am a big fan of psychedelic rock. That being said, even though this album is definitely that, I struggled a bit with it. Each song individually is generally quite good, with one or two parts I wasn't particularly keen on; but when put together as an album, they don't really work. The flow is all off: some songs are too long; The Gift makes absolutely no sense surrounded by songs with actual vocals; and on occasion certain choices were made that interrupt what is actually happening in a song. This album is clearly bursting with creativity and is influential to boot, but song/album structure was put to the wayside in its development, to its detriment.
Feel 7/10:Very Beatles inspired but still good 1960’s feel Length 8/10: 6 songs and 40 minutes isn’t awful Musicality 6/10:Very good drums and guitar. The bass is ok? Flow 6/10: Songs have a good sum of space between them Understandability 6/10:Not really a clear story, at least not to be, and the whole seconds song is confusing to me Overall 7/10:Not awful but also not me feel of an album
Not sure what that 17 minute noisy messy was or how they snuck it on the album, but the rest of it was cool.
Difficult album to rate. White light / white heat was a staple tour de force live track for Bowie and the band were clearly influential, experimental and ahead of their time. Hard to love but impossible to ignore.
(не считая репа и хир ши камз) намного более в ноты чем я ожидаю от Лу Рида, но всё равно не схватило
No me ha interesado como esperaba que pudiera interesarme
I have been aware since the mid 80s, when my older brother brought home the VU and Nico record, that as good worshipers at the church of Rock, we are supposed to revere or at least honor the Velvet Underground. But I have never really enjoyed their music. Some of the tracks I like pretty well, and I really like Lou Reed's live album, Rock and Roll Animal, which is made up of VU songs. But ... thin and unpleasant tends to be my feeling about the VU I've listened to. I've never listened to this album before. It's interesting, in terms of seeing how this is a source of inspiration for future dissonant / noisy rock practitioners. The connection between Sister Ray, for example, and early Modern Lovers as well as Stereolab's Random Transient etc. .... seems unmistakable. I've always thought of their albums as poorly recorded. Reading a little bit about this album and their catalog generally, it seems like the poor sound quality is kind of intentional, like a proto-DIY aesthetic. Not sure that makes it a good idea. I'm going on to listen to The Velvet Underground, which I have also never listened to before. It's pretty good. Overall, though, my appreciation for this band is getting a modest boost, while my appetite for listening to them just really isn't.
quirky stuff
Lou Reed at his most monotonous.
This was ok. The better of the Velvet Underground releases I've heard so far. I appreciated its experimental nature. Sister Ray was pretty interesting.
Jeg respekterer den mere end jeg kan lide den
Big Lou Reed fan, never listened to this album before. Parts of it were pretty interesting but it’s pretty hardcore.
I can never tell if The Velvet Underground are brilliant, artistic visionaries or just silly noisemakers. Now that I've explored White Light/White Heat I still don't know.
This is basically a 4 for me as a certified 60s and noise rock hater. Sometimes you really do have to respect some innovation, a quality of this band that does become very apparent after listening to enough 60slop. While I have no hate towards the album, and even think it has some really cool ideas, sonically it's not something I vibe with enough to listen to on my own. Standouts: White Light/White Heat • The Gift • Sister Ray
Love the Velvet Underground but their execution is a little lacking on this. There are some fantastic moments but there's also quite a few times I'm thinking ok, I get it.
Don’t love rock but this was interesting
Great Songs: Good Songs: White Light/White Heat, Lady Godiva's Operation Mid Songs: The Gift, Here She Comes Now, I heard Her Call My Name Bad Songs:
Some very good, and some not so good. Not up to the standards set by the 1st album
I like experimental music I like the Velvet Underground But I wasn’t feeling this today. Judging on enjoyment, I think it just average. 3.1/5
Tougher, grittier music on their second offering. The only difference is that they fired Andy Warhol? Ok then... Definitely a product of its times, and its place. This screams NYC in 1968, somehow. Nothing that feels really memorable or something I'd go back to necessarily, but better than their first album. I rated that a 3 but said it was 2 1/2 with historical significance. This is probably a 3 1/2 but can't go to a 4. And am I the only one thinking the end of Sister Ray sounds like the crescendo in The End by The Doors?
Verrückt, aber es gibt besseres.
Finally one for the ding dong havers.
Good album
A much better offering from The Velvet Underground. It being so short also helped
Gruff. Velvet Underground are pretty overrated for me. I like the story of "The Gift", the rest of the album is kinda just messy. 2.8/5
Good
Liked: The Gift, Lady Godiva's Operation Added: Lady Godiva's Operation
Wow....I had only really heard the song "White Light/White Heat" and I'm not sure what to make of this album. Dark, brutal, tense are the adjectives that come to mind. Yet it has a really good sense of (dark) humor like in the story song "The Gift." Love Lou Reed's guitar on many of these songs. The last song, "Sister Ray," is a drug fueled nightmare and was like listening to a full-on panic attack. I like much of this but you definitely have to be in the right frame of mind to listen to and appreciate it.
The only other Velvet Underground I had heard before this was the album with the banana on it. While this one was much more hardcore and raw it was still pretty good and I would have been satisfied with this as a follow up.
White Light and White Heat are both nicknames Len Houmous has given to his genitalia. 2.9 6/6 Sister Ray
The Gift is cool as hell. Lady Godiva is not. I liked Sister Ray to end it, but of course I feel it goes on way longer than necessary. Too experimental for me, maybe I’d like some of their other shit I don’t know. (Listened to more later and I liked everything from other albums more than this one)
I understand that this band was a massive influence on rock and metal to come, but I dunno. I just was not feeling this album. The music was fine, it was competent and mostly sounded good. But I just did not connect with the songs. The second song is an 8 minute long affair of the singer speaking barely audibly while the band plays the same few notes over and over. A friend of mine called this album fantastic, and I'm sorry but I don't see it. 3 stars is probably being a bit generous but I'm keeping it that way for now.
Ta Bueno pero molsta un poco si estás laburando
Definitely a unique album, especially for its time. I like noise rock, and this album still sounds pretty fresh, which is surprising considering it’s, like, the first noise rock album ever. It’s bit too sparse and repetitive, especially the second track, which is 8 minutes of just spoken word with quiet music. It has its moments, but it wasn’t all that exciting. Still enjoyable. The riffs are good, although the peaks are not that high, and I like Lou Reed’s vocals. 7/10
Not bad, Far from their finest work, though.
One of the most overrated band of all time, but hey, I've seen worse here.
Decent album with one amazing track (Sister Ray). I just can't understand why this band is supposed to be THAT good.
Some great stuff on here, it seems for me a lot of the Velvet Underground albums are 50/50. Half I really like and half I'm not quite sure about.
This could have been a great album with some decent production. Lady Godiva's Operation would be a lot better with Nico on vocals. Check out the version of White Light White Heat on Rock and Roll Animal. A lot of potential here
The recording quality on VU is at time a difficult listen. I love the debut album so not quite sure why this isn’t landing. First and last track are great
I definitely preferred the last Velvet Underground album we had. There was some interesting stuff going on in this one, but I’m not sure I’d listen to it again. Fav song: White Light/White Heat Least fav: Here She Comes Now
This was a vibe and I enjoyed it more than I thought I would. I'd maybe listen again.
White Light/White Heat Lady Godiva’s Operation Here She Comes Now
Interesting, but wouldn't listen again. Sounded like people just rambling on instruments.
If I were to say anything about this album it would be that it is very creative. There are a lot of tracks that introduce you to how this band makes its music and I loved all the musical ideas and choices made. Favorite Song: White Light/White Heat. 6/10
3/5
Rambly organ rock
???? bien pour les 2 classiques dessus mais sinon pas aimé
I remember liking this more than I did this time around
Meh. It’s a little more interesting than other Velvet Underground albums, but it’s still only okay.
White Light/White Heat 3 The Gift 3.5 Lady Godiva's Operation 3 Here She Comes Now 2.8 I Heard Her Call My Name 2 Sister Ray 2.1 Score: 2.733333333
Wasn’t my mood for the day
verryr, experimental. I mean the album begins in the middle of a song.
This thing is a weird muffled mess. The mixing is a total disaster but the songs themselves are weirdly fascinating. I appreciate the commitment to being as unpolished and abrasive as possible. It’s creative, even if the audio quality is frustrating. Spins: 1 Playlist Additions - White Light/ White Heat - The Gift - Here She Comes Now
As someone who loves Lou Reeds solo work so much - you can see the origins of it here way more than Nico. And look I get it. No one is gonna listen to The Gift more than once - but still feels so important for me what rock and roll could be.
Never been a Lou Reed fan but can hear the Jazz influences and there are a couple songs that are kind of cool.
If this was supposed to mimic their live sound and be kind of loud and chaotic, I can see why the band wasn't happy with the finished product. It felt like I was listening to something in my basement from upstairs. It still had chaos and the essence of being live, but it did feel quite muffled. I thought the songs were interesting though and the album was a strange little trip into the fringes of society. I also thought The Gift was a really well told story, despite the music taking a backseat in that one. This was eclectic and creative enough for a 3, even if I wouldn't listen again.
I don’t care if its legendary, I just didn’t enjoy listening to it very much.
Here’s another for the “interesting, but I didn’t really like it” pile. Sister Ray - repetitive, inane, and long - lost some of the good will it had built prior. “Lady Godiva's Operation” took a dark turn that was kind of interesting. If nothing else, I respect the unhinged creativity of the endeavor
Good
Good i had thoughts but mostly it was just a pleasant album a good backdrop to conversation but like nothing crazy that one that was like Run chalie run or whatever was crazy but otjerwise chill
I’ll probably need to come back to this. Very noisy obviously but it’s not annoying.
Not my favourite. I appreciate the history, but probably won't listen to this one again.
Fuzzy guitars and weird British patter. Ends with a long wank about a blowjob.
68/100.
Holy jesus christ. What a headache of an experience. But also a mind bending experience. One you're not going to hear with most artists in the modern day and age. And one that will without a doubt leave an impression on you whether you like to or not.
Tunes: 3 stars... at most. Innovation and influence: 4 stars As I once read in a review, it's innovative, but is it actually fun to listen to? Same here. I love their debut and followup, but not so much this one.
I was almost immediately prepared to write this album off... "It sounds like a group of people who are infinitely ambitious but not at all talented decided to make a record" - was my first, fleeting thought. I'm glad I stuck around. I'd suggest skipping most of the album though, which feels as though it's just lowering and lowering the bar so that the monumental album closer 'Sister Ray' seems even more gargantuan than it already is in reality. Bin the rest, all my homies love Sister Ray. I'm also glad I got to hear Lou Reed talk about his ding-dong being sucked for 17 minutes. Big up.
I don't think Lou Reed was that interesting
There were parts I loved and parts that hurt my ears. All in all, it was an experience, which I think is what the group was going for.
Again, this is them trying to be cool rather than trying to make good music. The guitarist is solid, but the rest of it is just fart-smelling at its finest.
Experimental and a bit weird.
Not sure if it's good or enjoyable, but glad it's here.
Fun and freaky like a good art rock record, but it pales in comparison to their debut. Feels a little unfocused instead of just more difficult. The first and final songs were the highlights.
60’s Hendrix - Vietnam like rock
Classic Velvet Underground
Their debut with Nico I hated but this one somehow works better. I like their „I don’t give a f*ck“ attitude and Reeds singing is somehow enjoyable when others do the same it annoys me to death. Fun for one listen but never again.
Totally ok album. Not really one that should stand out. Very typical, middle of the road, 60s rock n roll.
Either a groundbreaking work of experimental genius or a bunch of nonsense. When I was younger and wanted to sound cool, I insisted that it was the former, but had to inevitably come to the conclusion that it was mostly the latter, although parts of it are still entertaining. The title track tries to encapsulate the feeling of shooting meth and admittedly I've never tried meth, but I think I'd be fine because the song itself is mundane and forgettable and not addictive in the slightest. "The Gift" is one of the most annoying songs to listen to with headphones. John Cale monotonously tells a creative writing story that Lou Reed wrote in one channel, while the band jams in the other. The jam sounds pretty good, but this is not a great way to listen to it. "Lady Godiva's Operation" is one of the earliest songs about a trans person, but don't get too excited. It's about a botched lobotomy on said person, and there's this thing halfway through where Cale sings and then Lou Reed will step in to sing like that last two words of each line flatly at a louder volume, and I can't tell you how much it drives me crazy to listen to this part of the song. "Here She Comes Now" is a light and blissful throwaway, but I have a fondness for "I Heard Her Call My Name" with it's Ornette Coleman-inspired guitar solo freakout. But then we get to "Sister Ray." How you feel the album largely consists of how you feel about this song, because it takes up almost half the running time, and thankfully, I actually kind of like it. Reed's lyrics about drugs and sex are easily ignored (if you ever thought Lou Reed was cool, please consider the repeated line "she's busy sucking on my ding-dong"), but the music, a chaotic jam conducted in one take and left untouched, warts and all, is very fun in a noise-rock way. (The album's producer, Tom Wilson, disagreed and walked out halfway through). Looking at it in total, I can't quite bring myself to see it as a work of artistic genius as much as Reed saying "let's use our cultural cache to fuck around on an album because someone is allowing us to do it." I don't think there's anything serious or ambitious here. That it's as influential as it is, is as much due to the talents of the musicians as as any particular artistic vision. I'll speak more on the Velvets when I review their other albums, but honestly I think this is my least favorite of their four Lou Reed-led releases.
White Light/White Heat will be my third and final Velvet Underground album to review. I thought VU’s self-titled album was fine, but I really enjoyed The Velvet Underground and Nico. I don’t recognize any of the songs on this album, and I’ll admit that I’m a little skeptical when I see that this album has an eight-minute song and a 17-minute song on it. I’m not sure that I trust this bunch with songs that long, but I’m curious to see how this goes. This album was no Velvet Underground and Nico, but I thought it was pretty good. Once again, I thought VU did some really awesome and groundbreaking work with their distorted guitar playing, and the bass playing and Vox organ added some nice touches to these songs as well. I thought this album was really interesting, and it’s one of the more unique things that I’ve listened to in a bit. There wasn’t really a particular song that stood out to me as my favorite, but I did really enjoy the storytelling of “The Gift.” I was really hooked by the lyrics of “The Gift,” and I was pretty shocked, and honestly a little pissed when it got to the end. Granted, in my opinion, the fact that I was mad at its abrupt conclusion goes to show how effective it was. As much as I enjoyed that song, I wasn’t as into the narrative of “Sister Ray.” The vocals on “The Gift” were so clear and crisp, but “Sister Ray” was so distorted, that it was tough to follow the lyrics. It was suspiciously clear on all the ‘sucking on a ding-dong’ lines though, so the band clearly had their priorities. I don’t think that I would listen to this album again, but I did appreciate how influential its garage rock/proto punk sound was. This album was refreshingly different, and I understand why VU is such a big deal.
The weakest of their albums (Squeeze doesn't count), but still good. The title track is an all-timer. 3.5/5
2.9/5 wasn't crazy good. It was like okay
Overall Rating - 2.92/5 (5.83/10). You can tell that they were influenced by Andy Warhol and William S. Burroughs. A weird album, but neither great nor terrible.
Kind of falls into that late 60s, Tom Robbins style of psychedelia. Not bad.
Albums like this expand my musical world, and it's straight up just noisy hedonism. "The Gift" was super grisly.
I liked their music as a teen. This round listening to them was rough for me. It all seemed very yell-heavy and disjointed. I didn't enjoy it as much as I thought I would.
5.5/10 At least it was interesting.
Well, they found Waldo :) This is the kind of 60s music I love being exposed to; experimental to the level of providing interest and pushing the genre on, but not so out there to be unpleasant. That said, I doubt I'll make an effort to listen to it again down the road, but it was a pleasant use of 40 minutes
It is honestly wild to me that something this atonal and experimental was from '68
Definitely that 60’s-70’s sound of long guitar solos and off tone singing. Overall it wasn’t a terrible album, wasn’t a great one either. It wasn’t terrible on the ears, but I think they spent to much time with the solos instead of the songs.
"You must have been sucking on my ding dong". Pretty bold for 68. Early guitar riffs that would evolve into harder and faster beats. I wasn't a fan of that second song, too much talking. But I guess that was kinda the whole album. Decent. That was a pretty grand conclusion in the final song!
This is way more interesting than their debut in my opinion. I'm a sucker for a spoken word section, so The Gift was up my alley. I love how this album is kinda bad. I think that makes it really endearing.
I was excited to revisit this album since I have underrated it in the past but unfortunately it did not win me over this time around. I fully acknowledge this album's influence on genre's like punk and noise rock, but I'm just not that into it. Definitely my least favorite Velvet Underground album (excluding you know what). Favorite track: Here She Comes Now 3.5/5
This sounds maybe even more groundbreaking than the first album but it’s not really something I would listen to again. It’s raucous and messy in a way that predates much that carries that aesthetic decades later.
It's fine
surprisingly enjoyable. i can see why they are so influential
Knowing what I do about these guys, it’s amazing that at times they can mimic the Beatles . Maybe a little less polished but nonetheless, they do a great job at that mimicking. What YOU should know is there is nothing quite like “The Gift”. That alone makes it impossible for this album to fail. A genius song. Then there is the noise aspect of the album. It just doesn’t make sense nor does it make the album better. Like 3 stars will be just holding on by a thread. These guys are so much better and have proved it with other albums. I feel like this one was a throw in to this list honestly. Choice cut: The Gift
We all need to travel in a mind-wipe time machine to hear how revelatory a lot of these early records were. Our ears are, at best, poor approximations of archaeologists or historians, even when we do our utmost to establish this mindset. It's a fact we may know intellectually, and yet it's too easy not to hear the music that way. For example, I listen to The Velvet Underground and, try as I might, during The Gift I'm relating what I hear to later echoes of it in songs by Bauhaus (a single small example when other bands might owe a larger debt for their sound). That's the tension and the problem with records and bands like this — critically important at the time and enduring, but also plagued by their own successes. As the saying (sort of) goes: The Velvet Underground didn't sell a lot of records, but everyone who bought one started a band — and many of those bands would, in turn, go on to do some facet of VU's sound and approach better than they did. The music and quality of this recording have nearly as many flaws as distorted charms to recommend it. And yet, and yet... take that mind-wipe time travel trip, and you might hear how their debut and this album cracked open the ground of popular music in new, shadowy and important ways.
It's velvet underground, funky
meh, 3 stars
Enjoyed! Would I search for it to listen again? Probs not
Ok
Eh, another one where the undeniable historical importance doesnt stop an album from.actually being quite dull. At least with Cale involved they're a bit more interesting. The Gift is enjoyably weird, WLWH has a great proto-punk vibe, and there's a few nice melodies in places, but to modern ears it just sounds like a tossed off demo. I know, at the time, hearing Sister Ray stretched out for 20 mins must have been mindblowing. Now, I just want them to get on with it. A very, very low 3. I'll say it again - for all their importance, I feel like the Velvet Underground inspired all the bands I hate the most.
Sister Ray is like Roadrunner, if it were about transvestite junkies instead of about driving around the Boston suburbs.
Too long
Having seen Jonathan Richman just last night, I have to give VU credit for everyone they inspired, but I found this one pretty unlistenable.