The Velvet Underground ~ USA ~ New York City, New York

The Velvet Underground (1969)

I had no intention of listening to The Velvet Underground today. But yesterday I found the 5xCD box set for 69 cents (in mint shape no less). I already have the first two in the collection, and I'll revisit those at another time (one is recent, see below). But I've never heard the next two, nor any archival material. I know they are radically different than the two I'm familiar with, but still are highly regarded. Let's see how the 1969 album goes, and I'll go for the other two in the following weeks.

My cynical side tells me that if this wasn't a Velvet Underground album, no one would give a rats about it. But then again, there really wasn't that much like this in the late 60s either. It's almost a throwback to the Greenwich Village folk scene from the early part of the decade. However it has this loner approach, that wasn't to find its audience for another 20 years. It's so different than what had transpired prior you wonder why they didn't just rename the band. Truth of the matter is, The Velvet Underground weren't all that popular in their day. They were more famous than profitable, and none of their albums charted high, if at all. It wasn't until many years later that they found their audience, long after they were an entity. I'm not really a folk nut, much less a lo-fi indie guy. And that's where this album sits. The great exception is 'The Murder Mystery', a lengthy track that hints at what could have been a successful 3rd avant rock album. I do think people work much harder at appreciating this album than they would for some unknown during the same era. RYM, for their part, has this as the 5th highest rated album for 1969. Completely absurd from my vantage point. Would I keep this album were it not part of the box set? Nope. No chance. At least I won't be tempted to keep an original LP if the situation presents itself.

The bonus tracks are primarily culled from the VU outtake comp from the mid 80s. The studio selections were recorded a few months after the album above. They are much more upbeat, with a blues, garage, and psychedelic focus, recalling the earlier sound of the band.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Eight bonus tracks.

12/1/25 (acquired / review)

 

White Light / White Heat (1968)

The Velvet Underground's second album is most fascinating to me on how far MGM / Verve were willing to take things in the late 60s. Considering they also had Zappa / The Mothers in the ranks too. This album is as underground as anything ever released in America on a major label - thinking competition would be from RCA's Friendsound for example. Side 2 is just insane really.

I'm also very intrigued by what is considered highly collectable today versus what isn't: Subversive disposition. Whether it be jazz, psychedelic, folk, rock, country, or metal - the less regard one has for civilized society, the more desirable the LP. Especially from the 1950s and beyond. Anything that's mainstream and wholesome has almost no intrinsic value. Doesn't matter what color you are - or race or religion - just be sure to stick it to the man somehow, someway. Sometimes I wonder if the 50 cent records of today will be highly sought after in 20 years (especially after guys like me basically give them away, or even have to toss), and records by groups like The Velvet Underground will all be worthless (or illegal - hey you never know!). Universal consciousness is cyclical. White Light / White Heat is as rebellious as it gets.

Ownership: 

1968 Verve (LP). First pressing. 

1995 Polydor (CD). Peel Slowly and See box set.

1985 (reissue LP acquired); 1995; 4/3/21 (original LP acquired / review)

Also own and need to review: The Velvet Underground & Nico; Loaded (1970); Peel Slowly and See (archival disc).

4/3/21 (new entry)