Reviews (page 6 of 8)
Wel sneu voor Waldo…
A bit odd. The Gift was oddly satisfying to listen to. Prefer their other stuff.
# Playlist track - Stephanie Says # Notes - Nah. Just a couple of OK-ish songs amongst a sea of noise. Not the cool kind of noise tho. - In all fairness, this is a bullshit Deluxe Edition with a bunch of different versions for each track, so I'm probably being unreasonable with my evaluation. - That's the only one available for me in Spotify tho. Fuck you Spotify!
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…
It was okay
honestly i had a lot of fun with this album. it's really noisey and definitely rough around the edges, but i love the way it sounds. it's a bit avant-garde, but not offputtingly so. really, it mostly feels like you took "black angel's death song" from their first album and made it an entire album. as with every velvet underground album, it just oozes cool to me. great stuff!
When the reviews mention the amount of distortion as a positive, you could be forgiven for thinking you're in for a tough listen, especially if you like your rock a little less on the fuzzy side. You were never going to get a "classic" set of tunes, following strictures like being in tune and discernable chord progressions, let's be honest. Come on, this is early VU. But if you like wailing guitars, loads of feedback, poetry recitals, and occasional interjections from Mr Reed and his attempts to... 'sing', are we calling it? Then this will be right up your strasse. And at least it's not Metal Machine Music.
Moments that the aspects of this clicked with me. Most of it was just too different though. Standout is the hilarious tale of woe in "The Gift". Musically the catchiness of "Stephanie Says" and zaniness of "Sister Ray" were memorable too.
4/5
A prophetic blast of feedback and grimy noise.
It just... is.
Spotify wil me naaien met een 126 minuten versie, maar dat kan ik me met mijn achterstand niet veroorloven. Maar zo is het album oorspronkelijk natuurlijk ook niet bedoeld. Vanaf track 2 (een langdradig kutverhaal) ben ik er aan uit dat dit album nooit op een dergelijke lijst had gestaan als het nu zou worden uitgebracht. Ongepolijste, kunstzinnige rommel die vooral legendarisch is omdat een lading boomers dat ooit heeft besloten. Af en toe krijg je bij dit soort bands het idee dat ze vooral aan het kloten waren met hun taperecorder en dat de liedjes zelf bijzaak waren. Kunnen zingen was in ieder geval geen vereiste. Het zal allemaal wel z'n plek hebben in het muzieklandschap, maar ik ervaar dit album toch weer vooral als een enorm vermoeiende schreeuw om aandacht. Dit is niet aan mij besteed. Die laatste track waar iedereen even een kwartier mag uitrazen begint wel aardig. Helaas wordt het al weer gauw een schelle kakofonie. Ik vind dit super kut. 1 ster. Kutherrie.
What the everlasting fuck?
01) White Light/White Heat - 7,0 02) The Gift - 7,0 03) Lady Godiva's Operation - 6,5 04) Here She Comes Now - 6,5 05) I Heard Her Call My Name - 5,5 06) Sister Ray - 5,0 TOTAL: 6,25 (63/100) Current ranking: 271/345
Fire
White Light / White Heat is what happens when a band decides they’re above making actual music. Lou Reed probably thought he was a genius when he recorded this, but it sounds like he tossed his instruments into a cement mixer and called it art. Every “song” is a cacophony of screeching, distorted guitars over lyrics that make zero sense. If you’ve ever wanted to know what it’s like to have your eardrums sanded down by pretentious noise, you’ve found it. Art? More like White Noise / Headache.
so fire that it's burning down the house!!!!!
Garbage. Maybe a 1.5???????? Prob not I shouldn't give it any credit
My third Velvet Underground adjacent album in like a week 😭Way different from self titled, more abstract and noisy. Layering of vocals and instrumentation still there tho. Lowkey too noisy at times but I respect the vision. Fav songs: The Gift, Sister Ray
альбом - перформанс, альбом - провокация
Not enjoyable necessarily but I'm here for this level of distortion.
I can easily imagine in 1968 that there was so little going on that someone could hear this and it could be so experimental and different and interesting that they’d be like wow this is so experimental and different and find it very entertaining, but i am listening to it in 2024 and it isnt interesting it’s annoying
This was so awful. They got rid of Andy Warhol and Nico for this album, and apparently they needed them. This was just poorly produced noise. I really have no idea why this is on the list.
I kind of hated this, but I enjoyed hating it
Este LP es esencial para la invención del Punk. Crudo, intenso, repetitivo, grosero, y perfecto. En mi opinión, este esfuerzo de Cale y Reed supera con creces a su debut, sorprendiendo con paisajes sonoros realmente innovadores para la época en que fue concebido y lanzado. Si no lo has escuchado, te has perdido una parte esencial del ethos de la música alternativa. Sumamente recomendable y un disco que realmente se gana su lugar en esta lista.
Ikke værst, men som min gamle mor ville sige "Er det ikke lidt noget støj"... Når de ikke legede smadre dine øregange, var det fast et rigtig godt lyt...
Ammen der her har trukket for meget ud... Jeg har forsøgt længe at finde en udgivelse som er kortere end 2 timer, men uden held. Albummet jeg har hørt var langt. Og træls at komme igennem. Nok især fordi jeg har forsøgt så længe, og fordi jeg burde kunne lide det...
Det er mere støj end melodi. Det har utvivlsomt været en vigtig udgivelse for eftertidens støjrockere. Men man kører jo heller ikke rundt i en Model T i dag
Far too much discussion about "suckin on ding songs" for my liking. Bring on the Nico years.
Pure genius
Probably between a 2 and a three
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.
The PT Cruiser of the music world; like it or hate it, it’s worth discussion.
I REALLY wish there were 1/2 star ratings. This one's getting two stars from me. And here's why! Much too much noise in a lot of these songs. It's just irritating. I would like it if they were more talented musicians, too. Or maybe if Lou just wrote songs for other bands and singers. I appreciate their affect on later music, for sure. Their legacy, if you will. But damn, I just don't like listening to it.
bruh this was dogshit. Why do people say something was good because it was experimental. It has to be good first, then you get extra points for doing something unique. Otherwise experiment failed. You all can boo now idc. The Waldo song is an interesting story but since when is reading a short story a song. I really don’t care for discordant noise and then people cheer cuz “wow no one else is doing this”. yea there’s a reason. Smh 1.5 if I could
So so weird and kind of tedious. I can appreciate the experimentation but it also took me three sittings to go through it! 3 for personal taste but deserves props for innovation
ma boh
1/5
Don’t know how this can make anyone’s “best” list, unless it’s best for never hearing it again.
Interesting. Heavy metal. Not my style
Edgy, avant garde, energetic
Songs are too much like talking with music in background, difficult to understand what song is. Out of tune, no melody at all.
couldn’t finish. fell asleep
Pre-listening thoughts: so I was pretty disappointed when I saw this album bc the Lou Reed solo album we got was really bad imo. But so often, a band and a solo artist that branches from it have pretty different sounds. So I’ll keep my hopes neutral. Post/during listening thoughts: 6 songs, 40 minutes. Whew boy. I liked the first song and then everything after was pretentious for pretentious sake. Ugh. Lou Reed ur officially an opp 3.5/10 DID I NEED TO HEAR THIS BEFORE I DIE: hell no Fav tracks: White Light/White Heat, Here She Comes Now Least fav tracks: The Gift, Lady Godiva’s Operation, I Heard Her Call My Name, Sister Ray (STOP MAKING SONGS LONGER THAN 10 MINUTES I BEG)
This was almost painful to listen to.
coming from someone that would usually say this as a compliment: this is just a whole bunch of noise, however.... she do be busy sucking on my ding dong 🤷🏻
For sure an album of its time. Very experimental and chaotic. It makes sense to include this on the list to see where music goes and and a lot of other things were influenced from, but I prefer their first album and where Lou went with the rest of his career.
Sounds kind of like a band just messing around, trying some stuff out. Add a dash of "not trying is cool". These guys are cool It is interesting, and probably inspired future artists, maybe not a regular listen but a calibration point to visit sometimes.
Listening to this I get why they were so influential. This album was wild. I wish I had heard it sooner.
3.5 batshit
Has its moments, but suffers in comparison to The Velvet Underground & Nico. Production isn’t good, and parts of this are too far up its own ass.
Just an absolutely genius album. What is there to say about it at this point? It’s ugly and beautiful at the same time. Amateurish and intricate all at once.
Meh, I listened to all 17 mins of Sister Ray.
Why is it I like their first album so much but find everything else insufferable
Sorry but most parts are just quite annoying.
Didnt finish it. An hour too long and it is mostly experimental noise.
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
Too long. And storytelling /talking songs are just overrated. Only thing that saved it from a 1 is that I occasionally enjoyed a guitar riff or two. 2/5
Overrated
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.
Surely the worst album that regularly pops up on "best of" lists. Monotonous, noisy, lyrically offensive. VU are like a comedian who thinks it's cool to be crass. Nah... just boring.
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.
music 2
yeah maybe firing Andy Warhol was a bad idea.
2/5. Nic szczególnego, ale też nie, żeby wyłączyć.
Ummm 30 tracks, over 3 hours? Dear god, why. OK, I'll give it a try... check back in on me in an hour or so. I'm back. This is crap. Sorry, I know I know I know Lou Reed, influencer, innovator, he took a walk on the wild side... but come on, this is crap.
4.5
Ok
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.
Look, I know Velvet Underground has a huge historical significance and huge cult following, but this album was on the wrong side of experimental rock...
White hot trash! First song was fine, then for some reason they started overusing feedback in their songs and it kept making me cringe like nails on a chalkboard. Then in another song, after a line is sung, some dude half ass repeats the word like a crappy hype man at a hip hop concert. I don’t understand how this even made the list.
Тяжело было слушать, оригинально, но видимо не мое
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"
9/5/24. I'm a big fan of Velvet Underground but I didn't like this one, just thought it was rambling and noisy. Compared to Nico and the Self Titled, this one is far behind in my opinion.
The third by the Velvet Underground to come up in fairly quick succession. Love the grungy backing (especially on Lady Godiva) but not really into the vocal styles (or lyrics) on display here. Whilst not disputing the cool vibe and their influence, it'll have to be a 3, I guess.
Interesting for sure, but much preferred the albums that came before and after. I can finally say I’ve listened to Sister Ray from start to finish, at least.
Loaded is a far better album than this hot mess.
Did not like one little bit
I can never say enough good things about The Velvet Underground, bunch of geniuses that made some of the most creative music of all time. Also Sister Ray is probably the greatest song ever made, I honestly can't think what else would take it's place.
I like The Velvets, but this album has never made an impact for me--it sounds like failing up.
💤💤
if you want to torture your ears for 40 minutes give this a listen. Might be the worst album on this list so far.
Demasiado corto.
That album is in the past and in the past it shall remain
I think I hate this. It’s repetitive, poorly recorded, and repetitive. I like VU but this is pushing the friendship. I can see how this would have been kind of cool/hip NY counterculture though.
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
To me Velvet is pne pf the most overated bands in music history. Absolutely nothing I can feel is special or sets them apart from the bunch. They are good but not what old people say about them just like greatful dead.
Noe bra resten var shoegaze
Possibly the Velvet Underground album that I have got the most out of from this list. Having said that, I am glad it finished at 28 minutes.
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.
Eh. Some was great, some was earsplitting. 2.5, really.
Yeah, the skill is certainly there, but the rest of the music just isn't for me. I can tell they are having fun, so that's cool, but I don't think I "get it."
What the hell is The Gift!? Motherfucker Lou, Sister Ray is so poorly mixed. god this stuff is a pain to listen to. Wow what a real pile of shit.
Lowkey I dug the shit out of this
Not bad, a bit droney, which I actually liked. I'll give emm 3 stars for it
It's fine. Not an overly memorable album
Full on disassociated while listening to sister ray
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
Love the Velvet Underground. Did not love this.
This was not good. I don’t love the Velvet Underground. Dont think I will ever now.
I can only speculate why this might be a "good" album. It can't be the music.
Unique sound not for me
10/10
Velvets get an instant 5. This one is probably my third favorite of theirs. I’m more of a Reed fan than Cale but Cale still absolutely crushes it on this one. It’s tough to think of anything to say that hasn’t been said. So far ahead of the curve it’s hard to comprehend. Like they turn the fuzziness of the Who all the way up into noise rock territory 15-20 years before most everyone else. Lou’s guitar on the Gift is some of my favorite too Rating: 4.8
I bet the reviews on this album were mixed.
I adore their noisy sound, although the final track on this album overstays its welcome imo
1/10…Postpunk(apokalypse)
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
Tremendously noisy album! Really enjoyed this! Squealing and squalling, rocking and rolling!
Literally a unique 60's vibe. Innovative for the time, version I listened to would have benefited from a remaster
The Velvets doing what they do. Great heady stuff.
Fav: Sister Ray Least Fav: Lady Godiva’s Operation Similar issue to the previous album but I like this one a little more
Actively bad
Over, let me introduce you to rated. The pretentious nature of this. Yes every one who watched formed a band but how many of those bands were any good? The solo work of Cale is good. There are people who love Lou Reed. Good on them. He wrote a couple of songs I enjoy. But, even if Vu were to be on the list, this isn’t the album.
That first feeling of wise wonder is elusive. You have to experience it to know if it's a 1 or a 5 for you. Listenable as an artistically playful and multilayered piece that definitely sustained my interest as their interesting parting ‘exhibit’. To paint a picture - it's a bit like going ‘up river’ to unfamiliar scenes in Coppola’s film Apocalypse Now. Instead of a frantic press dude guiding our search for Kurtz, its more a beatnik 60’s house party with a cataleptic Waldo, who’s bestial, obsessional and insecure yeanring for Marsha results in his sacrificed on her later, instead of the wide-eyed Buffalo. Trippy musical peregrinations and oblique motifs lead us to a final, cataclysmically carefree and intentionally lazy dismantling of all music, electric guitars being layered and compressed as if through a giant euphonium for a slightly Hendrix inspired rapture, while your name is being called from the surrounding tangled forest. So yeah. An interesting bonfire on which they threw all their drafts and just lit it. To be fair, the first track overtly warns “this is our trippy art project” by wrecking some bubblegum rock as a warm-up. I consensually went through the curtain. Twice. I wholy enjoyed it the first time (4-5 for the ride) and it disintegrated completely on me the second listening (1-2 and with no need to hear it again). But no damn word on Kurtz. Where is the fat bugger? Meanwhile, I am already at album 529, and no sign yet of de la Rocha, Morello or their rebel fighters! They’d be perfect for cleaning up this feudal mess.
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.
The Velvet Underground at their noisiest, wildest, and most experimental. The first time I listened to this album, I didn't vibe with it at ALL, but by the next day I loved it. Love this band and just about all their work, and this album is no exception - a true classic I'm glad to revisit.
Sure man whatever you say, this ain't for me
Sometimes good but more often pretentious garbage.
Don't listen to the linked one as it is special edition with demos that make your ears bleed, look for the full thing. Still not one of my faves but okay.
had it’s ups and downs
I think I like the idea of The Velvet Underground more than I really like The Velvet Underground. Don’t get me wrong, I still enjoy the Band and their music, but in small doses.
I get it, the noise and chaos is the point, but it’s just not good.
Parts of this are soooo good. Parts of it sound like a 15 year old with his first electric guitar.
Despite the title, it's dark, damp, and murky like a basement corner. And I kinda like it.
Failed experiment! Pretty crap and drab, not very musical and difficult to listen to. The spoken word poem is a pointless addition
I really liked this. Its so out there and it's art in music . Love Lou Reed, love the band. Brilliant
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.
“Where Waldo” meets Texas Chainsaw Massacre
It's very experimental 60s stuff, often unlistenable. This is a study on how to not improvise. Pro tip: Find the original version, and you'll only have ti listen to 49 minutes of WL/WH, and that's more than enough!
wont seek this album out again
Mostly tedious. Some moments of brilliance
3.5 - it started to drag a bit at the end, but I liked its drive and eclecticism.
Pretty good.
2.5
Sounds like someone pressed record in the rehearsal room full of drunks. I really dont get the greatness of this.
Meh
It's no wonder at all why it failed to do much commercially, but it has a ragged sort of DIY-post-abstract expressionism majesty that was (as we all know by now) huge influence on so many future rockers (some of whom were surely better suited to other lines of work). “The Gift” and “Lady Godiva’s Operation” are best cuts. “Sister Ray” fine too but pales in the shadow of an inflated reputation. Reed's vocals grate, especially his surely-meant-to-b-arty shouty ejaculations on "Lady Godiva" and the muddy, indifferent production was perhaps intentional but it adds nothing. As the few decades between VU and Sonic Youth are compressed by posterity, future critics will no doubt several of the latter’s albums to far excel this).
It's clear, and understood that a lot of drugs were used by musicians at the time. This album is a clear indication of that.
Jeez, White Light/White Heat is definitely not for me, it actively annoyed me and/or made my head hurt at times, and the rest of it was pretty inaccessible with (deliberately) sparse production and a lack of coherent structure. The Gift as a spoken word song was crap, Here She Comes Now was a load of noise, and Sister Ray is stupidly overblown and genuinely terrible in places. I am not remotely the target audience for this sort of stuff, experimental in every way, but it can get in the bin as far as I'm concerned, a 1 from me, and I'll fight you about it too. Lou Reed was a cunt and I'll fight him as well, dead or alive.
Yeah, not great. The Gift (the spoken word track that you all hated) was actually my favourite, it's not really music but it tells a story, and John Cale's Welsh accent is lovely. It's more noise than it it is music, really, it's really rough, production is bizarre. The title track is quite a gentle intro, but after that it's all noise, I Heard Her Call My Name occasionally threatens to be musical but shys away from it at the last minute. 2/5, just (saved by John Cale's lilting tones).
iconic
Many people heard something new and interesting here. Not me. It was groundbreaking at the time, I'm sure.
Big album from a big band. In what it lacks in memorability from its predecessor, it makes up for in audacity and avant garde tendencies
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.
I was interested to listen to another The Velvet Underground album, but this one was a bit rough for me. Bummer.
I can't say why but I find this album very comforting. It just works for me.
*sigh* Not really my thing.
#272. This started out bad, and only got worse. 1/5: terrible, take a lap. Song added to playlist: Sister Ray I've created a playlist on Spotify that consists of the best and/or my favorite song from each of the albums in this book. This list can be found here if you are interested: https://open.spotify.com/playlist/7MAXDGLWlwLkFLb8veGfkA?si=FqkQQPgZTFWG0jAUJXLFZA&utm_source=copy-link
Not great
Velvet Underground has long been the band I feel like I should love, but can never fully get into. There are moments that I enjoyed this album, but on the whole, it just doesn’t click for me.
Excellent.
I've never been the biggest fan of this band, but their creativity is undeniable. This is a great album.
I don’t know. I’m torn. On the one hand, I find it rather grating, on the other hand, I like it. 2.5
Juicy Noise. Like it
Very good
It's fascinating that these guys make such strange experiences seem fun and captivating. It completely smells like the 60s!
Good noise. Not my favorite noise, but good nonetheless.
Shit!
haha ding-dong
pretentious drivel
There are fleeting moments in this album that are musically good. The rest sounds like some people got drunk and recorded an album in their garage on a tape recorder with one microphone. There is absolutely no reason for a 17 minute song on here about someone sucking on your "ding dong." Be aware, the actual album has 6 songs and a run time of 40 minutes. 1001 links you to a two disk 2 hour version.
I'm old. I liked this. Especially Sister Ray. Now pass the bota bag and give me another hit off that pipe.
There were a few interesting things happening here, but then in that final track they lost me. Congrats fellas, I get the impression you didn't want me to like this, and you succeeded.
I am admittedly not in a good mood while listening to this...but much of this just sounds like noise to me. It's early punk, and I can appreciate that it was transgressive and groundbreaking in 1968, but it does not hold up well to these ears. For me, this is another case where different != good. 2.0
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.
Even if unintentional, this is a seminal in the creation of punk. I enjoyed the long form weirdness and the estranged, out there moments of improv or just sound. Not an easy listen, but not too hard
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.
Only okay
It's great but not for me I guess
They were going for something here... but I am not sure I got it. Was worth a listen but is not likely to hit the rotation.
Did not care for this.
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
This was worse than their first one we listened to. The last song should have never been made. I see why the engineer on the song left to get coffee during the recording.
Wooooaaaaaah, bloooooaaaaa, and spuuuuul is random sounds that for some reason make up this album and it is wildly confusing overall. No me gusta Velvet Underground.
Just because your music is dIfFeReNt and aRtSy doesn’t make it good. After the first song I was like oh okay maybe this won’t be that bad. This song was okay even it Reed was just repeating the same things over and over (same thing for tracks 4 and 5). Then I got to track 2. Who puts a spoken word track on an album. It was bad. The story was stupid and really depressing and had no purpose being on the album other than making me hate it. Then track 3 happened which I didn’t like either. Track 4 was okay just like track 1. Track 5 was good up until the 2 and half minute attempted guitar solo that’s was BUNS. Then track 6. I mean what the heck guys. Why. First off it’s almost 18 minutes long. Secondly it’s AGAIN the same lyrics just repeated over and over and over. Then there’s another terrible attempt at a guitar solo that hurt me inside. This album was just pathetic. Did not deserve to be on this list and don’t want to ever hear it again.
Not a fan of this “experimental rock”. It’s just noise w instruments. And I’m sorry but at nearly 20 minute “song” with just nonsense & mumbling words??? No.
There’s a reason why even the band dislikes this album, this is such a step down from their other albums and I can’t believe the same band made this album
Honestly, I only listened to like 4 songs. Not for me. 2/5
This band is crap
PA Ponzi scheme at 33rpm. So many reputations are vested in this being good, it’s well on nigh impossible to say anything else. It isn’t.
My theory still stands: experimental or new for the time doesn't mean it'll be good in 50+ years. If you like the sound of the band playing around and making stuff up before the ACTUAL song is recorded, you might like it. Maybe. I like noise with purpose, and if they meant for purpose in it, I couldn't find it.
lmao what the fuck is this shit? 8 minute long spoken word "song"? whats up with the audio quality? having no direction and no equipment to record your shit with doesnt make this groundbreaking, lmao i cant, this is fucking terrible what?? NNN what the fuck hahaha
Had it on as background, I always love that 60’s sound, but this sounded drunk. Nothing I’d probably repeat (or recommend)
Great example of incorporating noise as part of the music, but it does get boring at times.
hm i guess
This list has made me realise I can't do the Velvet Underground. It's experimental for experimental-sake. It's like getting some sixth form students together studying art with ok-ish musical ability and telling them they have 4 weeks to come up with something outside the box. This is literally that album. Waffle. Sister Ray the only bearable song, for about 7 minutes. Then it just descends into yet more shite.
I appreciate the experimental nature of this but it’s a tough listen. Tracks 3 and 4 are good tunes, though. I always liked the Nirvana cover of the latter.
This was pretty out there but decent.
What a noisy piece of art. Need to check out the mono version
I love some of the other Velvet Underground albums I've heard...this one is the weakest. Maybe I need to hear of it.... Sister Ray is the highlight. 3.5/5
Skelsættende rock, begyndelsen på punk, lidt psyk, meget distortion
Interesting at times, but I don't think that it built on the Nico album enough and just collapsed in on itself, instead.
Meh.
A few good tracks, but mostly a collection of the worst Velvet Underground songs
what a bunch of bullshit.
the poetry is good, but even the band said this record was trash and I have to agree with them.
Why are these weirdos so popular. I needed a palette cleanse after 17 minutes of noise. Best bit of trivia is the engineer left the room during recording of sister ray since he couldn't stand the noise.
Okay, okay, okay! I confess to everything just please make it stop! 1 Star or F- worst album I have ever heard, and that is saying something after Slim Shady.
Really unremarkable offering from a band I have quite enjoyed in the past. Not sure this one deserves its placement. 2.5/5
3rd album of The Velvet Underground on the list and it's a 3rd 3/5. They are so mid it's insane. Even the psychodelic parts aren't making it for me. There were just a lot of bands that did it better.
It doesn't sound that remarkable until you realize it came out before 1970 and how far ahead of their time they were.
Great but it's got nothing on their previous album. I like most of these songs better on the 1993 live album.
Spoken word is tough
Not their best
Velvet Underground is a unique band. I loved the avante garde-ness of the first album, VU&Nico. Though Andy Warhol was only a small influence, the album feels like a reflection of the dark underbelly of the 1960s NY culture. This album feels like Lou Reed was attempting to one-up their debut, but was on more drugs than the first time. The 12 stretch of The Gift and 17-min slog of Sister Ray move from being in-the-pocket jam band to elementary school band class where everyone is banging and clanging. I was left not “waiting for my man” and instead waiting for the end. The title Track and Here She Comes now are top tracks but the rest is meh. Good intention but the White Light has left the bottle and left me lukewarm.
There's the iconic debut LP featuring Nico. And then, there's this sophomore album that is the best representation of what the Velvet Underground sounded like *live*. And it's wild, man. Wild. Countless modern genres find their origin in this record (punk, noise-rock, no wave, indie rock...). The shorter tracks go from messy, animated rockers (the title track, "I Heard Her Call My Name") to abrasive-yet-stellar ballads ("Here She Comes Now", " Lady Godiva's Operation") in the vein of the band's debut. Yet it's in the two longer, fully experimental dirges ("The Gift", and the absolutely insane "Sister Ray") that Lou Reed's mad genius shines the most. After this album, John Cale would leave that freaky circus and be replaced by Doug Yule, who would help the VU record two more jewels (*The Velvet Underground* and *Loaded*). But I guess that's a story for another time, kiddies. Number of albums left to review: 184 Number of albums from the list I find relevant enough to be mandatory listens: 355 (including this one) Albums from the list I *might* include in mine later on: 204 Albums from the list I won't include in mine: 259
Just one of the best alternative albums ever made (-: The Gift: who can think of such a song comes from different planet, one I like to live in. Left the sad story, right the grungy music. Sister Ray took some time to appreciate when I first heard it long ago, but no longer now. Made me appreciate 'Noise', 'Industrial' and all music that was at least inspired by these giants,
"White Light / White Heat" is the second studio album by the Velvet Underground. What sounds like the a great grandparent to garage or grunge, this album charted worse than its predecessor. Listening to some of these tracks ("The Gift") felt more like listening to an audiobook than music. It is inconceivable and extremely burdensome that this album is 126 minutes long when the original track listing was only 22 minutes.
I remember the first time I heard The Gift, in the early 1980s, drinking cups of tea and listening to every Velvet Underground album back to back. It's the sort of track you should only listen to every decade or so in my opinion. Having said that, this album is a definite and strong five stars, way ahead of its time. Sister Ray is the obvious standout, but there's other strong songs here as well.
Love the underground
And that's being generous
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?
Listening to so many albums from the late 60’s really underscores what a creatively progressive and experimental time it was. There’s too much chaos, distortion, and spoken word for my taste- and it’s entirely too long. But I can see how this album sparked the punk movement and influenced a lot of well-formed artistry to come. 3.0
Not so much my thing, but I can appreciate it. Ah, to be young and stoned and mildly talented in in the late 60s. 3.4
Raw, scratchy, unfiltered. Definitely unique and different. Not really my thing.
SHE BEEN SUCKING ON MY DING DONG SHE BEEN SUCKING ON MY BING BONG Same as the last VU album I listened to, I can appreciate this for being edgy back in the 60s, but it doesn't make for good listening today. 2.5/5
Short album - just 6 songs. (deluxe edition quite a lot longer at 30) Already like it better than the last Velvet Underground album on here.
Not good. Fuzzy, dumb lyrics, and just generally bad music. It's got a vibe, and if you're in a trance then maybe this is for you, but I didn't really like any of it. If I had to pick a favorite, probably Here She Comes Now, party because its actually a somg, and partly because it's only 2 mins long.
Not my style.
not a fan, just felt like noise to me
etwas nervig bis schlecht
c'est tellement compliqué de faire la noise intéressante
Nope, always a nope these guys. Where's the melody?
Kind of meh. Probably won’t finish listening to it.
Revolutionary for the time it was created, but very much still noise proto-punk. That really isn't my thing. I respect it, but I don't like it.
Has continued to confirm to me that anyone who claims a Velvet Underground album as their favourite is the worst kind of tedious "arty" bore. Unlistenable for the most part, this noisy rock sound has been done 1,000 times better since 1*
The Velvet Underground continuously amaze me and this rougher, louder album really hits.
frankly bad aged
Too squeaky guitar
That's not my taste in Musik. Harsh Music.
I feel like this is one of those albums that you have to be in the right mood, atmosphere & situation to appreciate it or vibe to it. I simply was not in that mood, atmosphere or situation.
It was pretty good
Unlistenable garbage.
Ruidoso y distorsionado. No es lo mío.
Mest megnis frekar boring.
I love Lou Reed and especially John Cale, but they were both so much better without each other! Listen to their solo careers, or even the next Velvet Underground record after this one. WL/WH is too wild and horrible to be very enjoyable; nevertheless, it's not the worst noise I've heard.
Not their best effort
Sorry. Pretentious and annoying.
Noise. Someone please tell me what I'm missing.
Honestly just not for me. I would rate it a 2.5 if I could
Demasiado experimental y ruidoso para el vinilo. Un 4.
3.5 Idk I thought this was fun! The Gift is a hoot and I didn’t mind the 20-minute song about a blowjob
I prefer the banana album. Probably needed to be in the right time and right place to fully appreciate this one. Andy Warhol was a loss to this group, even though he is unlikely to have actually done anything for the sound of the band.
Bet punters were disappointed when they found out a quarter of their LP was John Cale talking over a guitar jam.
Okay
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
Ni fu ni fa.
Mostly horrible noise. Managed to listen to most of it except the last part of the last track, my ears couln't take it any more after about six minutes.
When it comes to 60s album runs that I deem to be both influential and visceral to this day, I think of the 4 (yes only 4) The Velvet Underground albums first. "White Light/White Heat" stands as easily the most challenging of their albums though, with instrumentals, ideas, and concepts to challenge listeners even to this day. It's easily their most experimental and is one of the best examples of albums commonly deemed "Proto-punk" or "early noise". God the opening title track. I love the way it sounds, it feels like the band's submerged many fathoms under the Pacific surface the entire time with these muffled instruments. It's like all the instruments blend into one large sub-bassy blob before devolving into utter chaos in the song's final seconds as the track keeps skipping. I think it says a lot about this album when I call it one of this album's most poppy, considering Lou Reed's vocals are about smoking meth. The second track is the most controversial, not because of its subject matter per se, but more because of how utterly self-indulgent it is. In the stereo version, you have this hypnotic, huffing piece of instrumentation that's insanely grainy and unsettling trucking along for 8 minutes in one ear. I love Moe Tucker's drumming on this album, it's so primal and drives these noisy grooves so naturally. Panned on the other ear though, is co-vocalist John Cale reciting a short story. In short, the story is about a dude mailing himself to his girlfriend to surprise her and then getting stabbed when she tries to open the package. It's unsettling and so beautifully complements this song's music. Grainy, hypnotic, dizzying, and noisy are all perfect adjectives to describe all the sounds on this album. But it all feels unintentional which is the best part, I'm not saying it was unintentional, it just sounds like it. Thousands of artists and musicians have tried to purposefully capture uncanny aesthetics in their music, but the naturally analog and lo-fi feel of this album's recording context plays out naturally and as a result, it amplifies this effect to unrivaled levels. The sub is so fat here it's nuts. "Lady Godiva's Operation" may be the best example of all of this. It may be my favorite song here. Not only is the riff and vocal melody here gorgeous, but the entire story is quite spine-chilling. It's about a lobotomy purposefully gone wrong (speculated to be about a transgender) with all the sound effects and gore included. I know it's probably talked about to death, but I just love Lou's interjections here, they're mixed so loudly and they so harshly clash with John's smooth and soothing singing, I love it. "Here She Comes Now" may be the most easy to digest song here. It's very serene and a nice rest from the utter chaos this album has had you (and will continue to have you) endure. It sounds like something off their debut (or their follow-up to this album). "I Heard Her Call My Name" may be the best example of proto-punk on this album. I love the call and response aspects that make this song sound almost like a garage rock song off a "The Sonics" record. Easily the best thing about this song is THAT DAMN GUITAR, it's so distorted and is composed mostly of feedback and pure noise. It's the type of shit thousands of bands try to emulate but in the mix here, it sounds impeccable. It's so disgusting and ear-shattering, I love it to death. And then there's "Sister Ray". Right when the groove kicks in, you're taken aback by the fact that it's louder than everything here. There's a subtle organ with the groove initially that only becomes more defined and prominent as the song huffs on. I love those opening seconds with the guitar. The sound, throughout the entire song, is clipping through the mix, it's blurry, it's hazy, it's utterly distorted, and disgusting. And Lou Reed's not even trying to be coherent, vocally or lyrically. He's describing an orgy that gets busted by some police, with a whole slew of colorful characters. And the best thing? This mess trudges on for 17 whole minutes and gets even messier near the end. Any semblance of a coherent groove or direction completely vanishes by the end. My favorite part about it is the synth, it's so blaring and sounds like a cheap and run-down modulated organ. This is noise music at its best, this is experimentation, and it was all done back in 1968, and I find it hard to believe. This is high art, with lyrics like "Too busy sucking on my ding dong", you can't help but gawk at its utter ridiculousness. I think this is my favorite VU album, but when I relisten to their other ones when they (inevitably) appear here, I might reassess, they're all just so incredible. This one though, is the peak of their experimentation, and I wouldn't hesitate to call it the peak of experimentation of the 60s in general.
I... don't like it. The tracks mostly feel samey, some of them are excruciatingly long or repeated. Everything has an unappealing layer of electric fuzz over it. To top that off, there seem to be random screeches and loud shouts that are at totally different volume levels.
Much as I want to rate this highly, this album is just too much of a mess to be listenable. VU have done so much better than this.
dont care for it
I get why people don't like it. But in general I think it's pretty good. Sister Ray is good. The gift is awful though.
last song dropped me to 2 stars
A bit too much freakout at times, but sister ray is a banger.
Credit for what it meant in its time.
Album was like a fever dream at 3am. Spoken word, screaming jams, noise rock, and oddly dated tunes.
Too much chaos for me. I can appreciate some elements of it but it just annoys me that it never really comes together.
I think this album had a home in the art rock of the 60's, and that probably where it should stay.
The studio version of The Gift was brilliant. Naturally I thought the live version would be even better, but instead it was 9 minutes I'll never get back. Just too much distortion and noise for me throughout the whole album. But it gets 3 stars only because of The Gift (studio version) and because Velvet Underground.
A fun and interesting listening. I didn't realize quite how noisy that band could get
Ni fu ni fa.
Too much experimentation
Inspirational
I'm getting pretty tired of this era/sound. Whoo buddy. I enjoyed the weird spoken word, but I wouldn't listen to it again. I heard her call my name was so bad I skipped it halfway through
Not too shabby until "I heard her call my name". Like a cheese grater on my eardrums.
White light white heat So distorted and compressed. Mix is terrible. Is the playing intentionally so bad? Songwriting sounds like pretentious psychedelic rock stuff or like they didn’t really even try. I just really don’t understand how something like this gets made and released. Some of the noisy feedback stuff is cool but not really in a cool context. This is so bad. The band is criminally overrated. I just don’t get it. 1
This sounds like shit! a masterclass on how to make a terrible sounding record. The recording section on wiki is kind of a funny read. Is this “the room” of albums??
This sounds absolutely horrible. In a bad way.
What a... Weird album. It's an album that gave me an experience I've never heard before, for better or for worse. The album opening based on the title's name, I found quite decent. The Gift is also one I also like, gave me Gorillaz "Fire Coming Out of the Monkey's Head" vibes. Lady Godiva's Operation... I'm not sure about, I think the first part is decent. But the second half when they transition to other singers sounds falls very flat, it doesn't blend well and is quite jarring. Here She Comes Now is kinda forgettable, I Hear Her Call My Name is when they kick the noise to the next level. They're fully committed to this bizzare direction, and... It kinda, sorta works? It's not accessible, that's for sure, but I kinda like the experimentation and just going all out with no shame. What doesn't work for me is the added lyrics, as I feel just retract from the song. And the final song... 17 minutes, 30 seconds. I will admit, I like the beat at the start. The more the song goes on, it goes even more insane, the lyrics making me laugh at points. But it isn't... Bad. It's an interesting experience, but it isn't music I'd listen to on my Playlist. It's an ambitious, bizzare, experimental album that won't appeal to a lot of folk. But I really respect what they tried to go for here, even if I don't think it's an album I'll listen to again.
Not even sure how to categorize this, but each song is amazing in its own way.
Noooooooope! Nope nope nope. If he says, "sucking on my ding dong" again, I'm flip a fucking table ⭐️
Not their greatest album.
Jack is a fan of this one but it’s so so
Experimental late 90's rock.
No
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.
I did not like this album
Absolutely love this, though I am willing to admit if this was my first time listen, I would have absolutely hated it, as there is quite a lot about this album which takes getting used to. Definitely an album one should listen to multiple times.
Good album
Feels ahead of its time in a lot of ways.
There's a time and a place
A very forward thinking album that sounds like music from decades later. Clearly an influence on punk, post, indie music to come.
some brilliance, some cacophony
Progresivos para la época, una suciedad en el sonido que le da una estética muy particular que esta buena, pero sinceramente bastante infumable de escuchar.
Didn't like this at all
not really my jam, no saves on this one for me.
White Light/ White Heat - 7.5/10 The Gift - 7/10 Lady Godiva’s Operation - 7/10 Here She Comes Now - 8/10 I Heard Her Call My Name - 6.5/10 Sister Ray - 6/10 TOTAL - 42/60
Delightfully dirty and trashy and sleazy; an oily puddle in a back alley. Must have been nothing short of revolutionary at the time.
I get why this album would be on the list, underground indie rock with (IMO) strong punk leanings but vocally and lyrically …. Not my cup of tea … i’d describe it as discordant, experimental overly indulgent in reverb/new technology for the time … wound’ve been a lot of fun in concert but outside of the experience of them live …. Not so interested …. Gives me a vibe of what Elbow would’ve been playing in high school when they were trashed in a garage before they cut the lead singer/guitar player who was on an ego trip ….
So before I listened to this album, I went back and listened to The Velvet Underground's debut album with Nico, so I'd get a sense of the band's progression with this one... My favorite quote regarding the debut album, was from Brian Eno, who said about the record only selling 30,000 copies in its first five years, "...Everyone who bought one of those 30,000 copies started a band...". As for White Light/White Heat, it was good to see them ditch Nico - which I don't think they wanted her around for the 1st album either, but Andy Warhol probably insisted... Anyways, rather than exceptionally polished, and well-done songs, this album is all about the artistic creativity and experimentation... I liked the diversity of the songs - especially the fact that there really was no format/song structure, compared to what a lot of the music sounded like back in the early-to-mid 60's... Probably prefer some of the songs on the debut album better than these, but you can hear the original strains of musical styles/approaches - that would go on to inspire other artists to continue the evolution of those sounds and approaches... Not gonna lie, in some weird way I really enjoyed "The Gift", as well as "Lady Godvia's Operation", and "Here She Comes Now" - as the lyrical content (i.e. basically the under/dark side of street life - sex, drugs, survival, etc.) was incredibly original, and a real departure from what everyone else was writing about at the time... I'm NOT saying that these are some of the most profound lyrics ever written, but the fact that Lou was writing about authentic real-life experiences/stories, in which he painted such a vivid picture - was absolutely innovative... Best song - especially instrumentally was the album's final track, the 17-minute "Sister Ray"...
From the opening of the first song, I’m struck by how New York they sound. His accent is thicker, the doo-wop sound sits at the core of the song. And then it spins out enough at the end to lead into the soft psychedelica of The Gift. Still the sounds of the city are reflected in the grinding, squealing guitars, the driving beat. It feels like you’re overhearing a conversation on the subway, while tripping the fuck out on heroin. And yet it feels years ahead of first song. It’s like the first song time warps you from the old sound, to the new sound. It’s kind of impossible to review something this perfect. This is a for-real work of art. It sounds chaotic at times, but everything is exactly where it’s supposed to be. Kinda like the city. The scope of all the artists that influenced this record, plus all the artists that this album influenced, would encompass all of music.