Product Details
Artist : The Velvet Underground
Binding : Audio CD
EAN : 0731453125223
Label : Verve
Number of Discs : 1
Product Group : Music
Release Date : 2008-03-17
UPC : 731453125223
ASIN : B000002G7G
Track Listings for
Disc-1
1. Candy Says
2. What Goes On
3. Some Kinda Love
4. Pale Blue Eyes
5. Jesus
6. Beginning to See the Light
7. I'm Set Free
8. That's the Story of My Life
9. Murder Mystery
10. After Hours
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Editorial Reviews
From Amazon.co.uk
Released in 1969 to an almost total lack of critical acclaim or consumer interest, the Velvet Underground's third album may well be the finest record of the band's career. Without the sonic terrorism of The Velvet Underground & Nico and White Light/White Heat or the ill-conceived commercial concessions that marred Loaded, the album's songs are free to stand on their own merit. And stand they do: "What Goes On" and "Beginning to See the Light" may be the finest flat-out rockers in the band's catalogue, while "Pale Blue Eyes", "Jesus", and "Candy Says" are some of the most delicately gorgeous songs Lou Reed has ever penned. There's no evidence here of any of the psychedelic effects and hippie sloganeering that marked most late-1960s rock releases, which is probably why the record still holds up today. --Dan Epstein
Amazon.com essential recording
Released in 1969 to an almost total lack of critical acclaim or consumer interest, the Velvet Underground's third album may well be the finest record of the band's career. Without the sonic terrorism of The Velvet Underground & Nico and White Light/White Heat or the ill-conceived commercial concessions that marred Loaded, the album's songs are free to stand on their own merit. And stand they do: "What Goes On" and "Beginning to See the Light" may be the finest flat-out rockers in the band's catalog, while "Pale Blue Eyes," "Jesus," and "Candy Says" are some of the most delicately gorgeous songs Lou Reed has ever penned. There's no evidence here of any of the psychedelic effects and hippie sloganeering that marked most late-1960s rock releases, which is probably why the record still holds up today. --Dan Epstein
Un Essentiel amazon.fr
Avec ce troisième album du Velvet Underground, Lou Reed affirmait sa prise de pouvoir sur le quatuor new-yorkais. John Cale vient de quitter le navire, emportant avec lui la froideur abrasive de sa présence vocale et instrumentale. Le Lou devient donc le seul maître à bord, et va imprimer dès lors une veine mélodique encore plus marquée. C'est ici que le jeune intello, hanté par ses démons (les drogues dures, les créatures de la nuit...), va livrer ses compositions les plus bouleversantes. Avec une structure basique, trois accords de guitare et un tambourin hypnotique, il murmure des couplets définitifs intitulés "Candy Says" ou "Pale Blue Eyes". Et même un titre comme "Jesus", chanté à deux voix, montre un Lou Reed d'une sensibilité inconnue. Son tempérament iconoclaste prend parfois le dessus et, si "What Goes On" ou "Beginning To See The Light", autres compositions reprises du Velvet, semblent relativement modérées dans leur emportement, "The Murder Mystery" dérape dangereusement vers le bruit blanc que poursuit Reed dans ses rêves les plus fous. C'est bien un album où l'artiste va également démontrer une méthode de guitare hypnotique primitive, dépouillée, comme un pendant obsédant à cette voix nasillarde, référence ultime de toute une génération de chanteurs qui ont suivi. --José Ruiz
Customer Reviews
Another side of the Velvet Underground (2007-04-14)  That could've been the title of their third album. With John Cale and his viola gone, the Velvets trade their electric guitars for acoustic and commit a beautiful suite of songs to record. It's too easy to say this is Lou Reed & his backing band. The duelling guitars on the majestic What Goes On and Moe Tucker's spooky drumming on The Murder Mystery shatter that myth. Also credit newcomer Doug Yule for his delicate reading of the opener, Candy Says, about one of Andy Warhol's tranvestites.Simply put, these are beautifully written songs and their understated production only enhances each melody and lyric. Even "rockers" like I'm Beginning To See the Light are simple and restrained. The finger-picking of Jesus elevates the song to a hymn. I'm Set Free features the most gorgeous guitar solo I've ever heard. Moe Tucker's sweet vocal on the closer, After Hours, recalls Ringo's Good Night on The White Album (released just weeks before this record).All in all, this is a hopeful record, never saccharine, but affirming and sincere. It's like the Velvets woke up after the speed-induced frenzy of their previous record, WHITE LIGHT/WHITE HEAT and, with clear heads, picked up acoustic guitars.Enjoy.
Velvety (2005-02-20) After the unfortunate departure of John Cale, the Velvet Underground had a musical revamp -- their third album, "The Velvet Underground" is smoother and less gritty. Stripped of the shock value, the best of the Velvet Underground shines through -- great musical skills and beautiful songwriting. That change is evident from the very start, "Candy Says," which is sort of the musical musings of transsexual Candy Darling. Rather than playing this for shock value, the way the Velvets did earlier -- see songs like "Heroin" and "Venus in Furs" -- it's soft, sweet and a bit poignant, ending with "Maybe when I'm older/What do you think I'd see/If I could walk away from me." That mellower tone sets the stage for the rest of the album, which relies on poetic lyrics and strong music -- they no longer sing about S&M and drugs, but about self-examination and redemtpion. The Velvets' rock sound is less jagged and more laid-back, and they even take a foray into twangy country music in "Some Kinda Love." A few songs hint at the earlier work that the Velvets did, with tambourines and blurred, high vocals from Lou Reed. But can you imagine the Velvet Underground, in their first album, ever singing a non-satirical song about Jesus Christ, as they do in one haunting ballad on here? I certainly can't, and it seems to be a part of the pensive, self-examining mood that permeates this album. The one exception is "The Murder Mystery." It's literally impossible to understand the "right voice" and "left voice" speaking in this song. It's interesting, but completely unintelligible. However, this is amply made up for in the mature instrumentation and lyrics; while Doug Yule was not as great as John Cale, he does a good job with the organ. The fuzzy edge of Velvet Underground rock is retained, while they branched out into ethereal ballads and pretty acoustic songs. Reed's lyrics betray a greater maturity, and maybe greater poignancy. "One minute born, one minute doomed,/One minute up, one minute down/What goes on in your mind?" he ponders at the start of the album. He sings some of the songs, sounding surprisingly melodic, since his voice was kind of creaky; on the other hand, Moe Tucker provides some fair vocals for songs like "After Hours." The Velvet Underground hit another peak in their self-titled album. Softer, more thoughtful, this shows them off at their best.
4.5 stars - severely underrated gem (2004-06-28)  Velvet Underground (1969.) Velvet Underground's third album. The Velvet Underground released their first album in the mid-late sixties, and disbanded in the early seventies. Their days as a band were extremely short, but in that limited time that they were together, they managed to be extremely influential and diverse. The band only released four original studio albums, but NO TWO OF THEM SOUND ALIKE. They went through more transitions in their short career than most artists do in long careers! Their second album, White Light/White Heat, was a complete hundred and eighty degree turn from what they did on their debut, Velvet Underground And Nico, and with the third release the band does another complete turn with their sound. Also, for this album, John Cale was replaced with Doug Yule. Read on for my review of the Velvet Underground's self-titled third album. When I heard that the Velvets had decided to go on without John Cale, I was a bit shocked. He had been such an important part of the band. But, the band's chosen replacement for Cale, Doug Yule, was a worthy individual nonetheless. Sure, Cale's viola would be missed, but this was a new beginning for the band (actually, all of their albums were like new beginnings!) Because of Cale's absence from the band, Lou Reed became more involved in the songwriting process, and this ended up paying off. The songwriting is much more mature than on earlier albums. This album was released to a fairly large lack of interest, which is a real shame, because it's one of their finest efforts. From the beautiful ballad Candy Says, right up to the closer After Hours (sang by female drummer Mo Tucker), this album serves up some damn fine music. It's not quite as good as their debut (in my eyes), but it's definitely close to being the VU's finest recording. Like with the previous album, White Light/White Heat, the only version of this album readily available in America is the remastered standard version. I was hoping these remasters would contain some bonus tracks, but oh well. We can't have it all, I guess. There IS a version of the album that contains bonus tracks, but it's only available in the band's box set. So, if you're just a casual or mid-level fan of the band, the standard version will do just fine. The Velvet Underground is a damn fine classic pop-rock act, and they demonstrate it beautifully on their self-titled third album. If you're a fan of the band, I strongly recommend adding it to your collection. If you're new to the band, though, start with their debut, 1967's Velvet Underground And Nico. Lou Reed and his VU cohorts were all musical geniuses, and you can see why on these recordings.
Greatest Album of the 60's (2004-06-16) Seroiously. Sit down in your room and listen. The Rolling Stones and the Beatles got NOTHING after the Velvets made this masterpiece of pop & rock & roll. It's lucky that the Velvets got to release this one album in the final year of the 1960's (it happened to be the greatest period in music history). An easy runner up is the first Stooges record. It's a surprise that the Velvets made their best music surprisingly soon after losing their core member John Cale (of course he was busy producing a record I just mentioned earlier). The first two Velvet albums are essentials as well, but this album just has so much powerful song writing and the very rare moment in music history can you hear pain and pleasure draped in black & white. Can anyone not tear up upon hearing Moe Tucker sing "Afterhours?".
Another classic. (2004-05-27) This is a must own for classic rock fans. It is, in my opinion, one of the five greatest albums from the sixties. This is in no particular order, they are all five equally essential 1) Let It Bleed---The Rolling Stones 2) Bringing It All Back Home---Bob Dylan 3) Revolver---The Beatles 4) Highway 61 Revisited---Bob Dylan 5) The Velvet Underground---The Velvet Underground
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