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 Amazon.com essential recording
If White Light/White Heat is the late night downtown scene, not so much on a Friday or Saturday, but on a Wednesday, when only the locals and the hardcore seed the bars and clubs, then this one is the lower East Side on a very hot and bright Sunday afternoon, long ago, long before our modern era of boutiques and designer pastries, but rather when the lower East Side on a Sunday afternoon was mainly deserted among the tenements, the record stores and book stores shuttered up, the drunk sprawled out across the asphalt, and the romancer heading out of his shared studio walk-up in search of his dream, flies buzzing and all the parking spaces taken.
September 21, 2008 |  | not nearly as cool as their other albums |  |
With the exception of a few brilliant songs (Candy Says, After Hours, Murder Mystery), I can pretty much live without this one, as opposed to the other 4 studio albums of theirs
April 15, 2008 | | Velvet Underground's best by a hair | |
Whether it was the maturation of Lou Reed or the departure of bassist John Cale, there must have been a reason why the Velvet Underground's third album sounds very different than what came before. Where melodies once trundled about under the ocean of scraping guitars, now they float to the surface and bounce along above the squall. It's hardly an uplifting album, but the screech and vitriol has been toned down considerably. More accessible? Yes. Less adventurous? Sure. But Reed was always the band's driving force, and the way he embraced abstract pop textures at this time was more rewarding than anything he's done before or since.
"Pale Blue Eyes," the band's best song, is a gorgeous low-tempo Reed-ish ballad. "What Goes On" is one of their most accessible and catchy rockers. And "After Hours" is an otherwise throwaway track amped up to necessity thanks to a perfectly catchy harmony. Some of Reed's finest writing is on here and the music is often quite beautiful to listen to. Not as revolutionary or influential as their red-throated debut, but an altogether more successful endeavor--by a hair.
Best cuts: "Pale Blue Eyes," "What Goes On," "After Hours," "Candy Says," "Beginning to See the Light," "Jesus," "I'm Set Free," "Some Kinda Love," "That's the Story of My Life," "The Murder Mystery"
February 13, 2008I just purchased this remastered version of the Velvets' 3rd album, which provides both good news and bad news. The good news is that the sound is definitely improved, with far greater clarity and the guitars louder in the mix. The bad news is that the original version of "Some Kinda Love" is missing. Some genius decided to replace the original with an inferior version - different instrumental track, different vocal track, and different lyrics. This new track could have been added as a bonus track if somebody felt that the world needed to hear it, but --- what were you thinking? Plus, there's no mention anywhere inside or outside the booklet that this remastered CD no longer contains the original, far superior version of "Some Kinda Love."
One star deducted for somebody messing with a rock 'n' roll classic and showing contempt for fans of the music.
November 30, 2007| | | A delicate album by the Velvets.... | |
My amazon friend Fin reminded me of this album, and I realised it's the most beautiful of the Velvet Underground's output. John Cale left the band rather acrimoniously after the White Light/White Heat sessions, and this album (with new guitarist Doug Yule, who I believe is underrated in the eyes of VU fans) came out. It's a very reflective, introspective album, which is kind of a surprise. But it's so gentle and beautiful. The opening song, Candy Says (about Candy Darling, a transvestite who used to hang out with Warhol and his crew), is really lovely. The rocker What Goes On is a bit of fluff, but it's great fluff. I love the endless rhythm guitar solo on it. I adore Pale Blue Eyes. The song Jesus is uplifting, and it wouldn't be too out of place at a church gathering. The Murder Mystery is not a particularly good song. Its concept is very good, but the execution was bad. Sterling Morrison and Lou Reed read two seperate stories at the same time to a slashing backing track (reminiscent of the White Light/White Heat album, especially The Gift). It just doesn't work here. But that song is forgotten about when you hear the wonderful, sweet After Hours. It's sung by Maureen Tucker, and although she doesn't have a great voice, it works wonderfully for this song.
This CD is a different mix than appeared on the box set. The vocals are turned down, and the guitars are brought up. I actually prefer this mix to the "closet mix" that is on the box set. That emphasizes the vocals over the instruments. Both are good to listen to, but I just prefer this one. This is the Velvet's most delicate album.
November 22, 2007More reviews at Amazon.com ...
(119 reviews)