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 Shades their debut and they out Dylan Dylan. Has their greatest song too. Sep 21, 2009
Having recently decided to check out this band's work despite never hearing them before (sure, I'd heard OF them, but they never get played on commercial radio here in Australia), I found myself likening lead singer Lou Reed's style and lyrics to Bob Dylan's...but better. Dylan's lyrics often button-holed you when you would rather let them wash over you...like in his worst excesses on "Blood on the tracks" (which I go into in a review at this site). Personally, I find this album to be better than Dylan's "Blood on the tracks", as it has none of the guff of that latter album. Both albums are pleasingly mellow though. The Velvet's 3rd album is a return to the atmosphere of their first album, after taking a right-angled turn for their second album, which proved less effective, in my view (as I state in my review of that here, recently). Listening to their self-titled third album, about mid-way through it I was thinking it was probably just as good as their debut, but I was looking at marking it down, because their debut had 'been there, done that' first. One song changed that and made me give this album a perfect score:
Their greatest song:
The murder mystery - coming in at an epic 8:56 minutes in length, this is perhaps the most aesthetically pleasing example of 'experimental' music I've ever heard (granted, my repertoire is small!). A while back I reviewed a Moldy Peaches album and was particularly taken with one song, which had duelling vocals. Perhaps this Velvet's song is the first of its kind in modern music and maybe inspired the Moldy Peaches. Musically, it featured a catchy guitar for the low-end sounds, as well as an organ. The last two minutes of this song has a different character...features the piano. Honestly, this is a song I could have still gladly embraced had it been twice the length, which is rare for me to say. In fact, they should re-record this with double the length! The duelling vocals perhaps bury some unpleasant lyrics, but that doesn't detract from the majesty of this song. On their second album, "Lady Godiva's operation" puts those 'off' lyrics front and centre, which maybe marks that song down in my estimation. On this song, they do everything right.
The next best songs:
What goes on - uptempo track, with dual guitars, which sound 'jaunty' later. Organ also features, and that instrument, as well as the vocals prove a bit catchy. The ending to the song seems to feature brush drum sticks, which perhaps swoosh side to side, jazz style.
Pale blue eyes - a very mellow, and soothing track, which is why I like this kind of stuff and rate their albums highly, despite them not have classically 'great' songs, which you get in Classic Pop/Rock. Dual guitars feature again, picking notes. Think I hear a tambourine playing in this. The guitar notes are vaguely like "In my life" by The Beatles.
Jesus - dual lead guitar note picking, again. Dual vocal harmonies too. One lead guitar has a melody which reminded me of "Day after day", I think (Google tells me that this is a Badfinger song). Since V.U has often mixed easy listening, mellow music with slightly dodgy lyrics, perhaps this song was an attempt to appeal to a more mainstream, Christian audience?
On second listen, this was also a good song:
Beginning to see the light - a folk rocky, jaunty song with catchy guitar and vocals. Dylanesque, with some of Dylan's trademark quirks, like laughing at his own lyrics. As I found this song catchier the second time around (it's probably the second best song on the album, now), I get the feeling that this is the shadow of a great pop song...maybe the band couldn't, or wouldn't search harder to find that pop gem.
The rest:
Candy says - a pleasant, mellow dual guitar note picking song, with a soft brush drum beat. Interesting lyrics, and the first song on this album (literally) to have a touch of "In my life" by The Beatles about it.
Some kinda love - dual lead guitars, with a little country style twang to them. Has a deep beat to it as well as a Knights Of Nee beat to it.
I'm set free - pleasant, ethereal dual lead guitars. Notable drum patterns, which I quite liked. For some reasons I've joined a line between this song and "Jesus"...not sure why now. Because I like the drumming? Oh well.
That's the story of my life - another mellow track. Sounds like the drummer is using glass lids or something for percussion. Interesting. Oddly, when you press "back" to re-listen to the start of this song, you miss the first three seconds and some lyrics. Not sure why that would be...it doesn't happen when you press "forward" from the previous track...where you get the full song. Hmmm.
After hours - a Moldy Peaches sounding song, as far as the female vocals go (of course, they came after V.U, but I heard them first). A pleasant song in any case. Features a tuba, I think, which does sound distorted on this track.
Recommendations:
The Velvet Underground & Nico
The Moldy Peaches
The Dandy Warhol's "Thirteen tales" and "Come down"
Radio Birdman "Radios appear". An Australian punk band, but they have some jazzy, pleasant sounding tracks on that album.
Television "Marquee moon". Called a punk band for some reason, this album is easy listening and features dual guitars too. Not a favourite album of mine, but some might like it a lot more than me...critics love it.
Linger on, your pale blue eyes Jul 13, 2009
The Velvet Underground is the band's eponymous 1969 album, their third studio album. John Cale was gone, replaced by Doug Yule on bass and organ. The personnel were now Lou Reed, who wrote all the songs, plays guitar and sings, Sterling Morrison on guitar, Maureen Tucker on drums, and Doug Yule. Making this album was a happy experience with everyone working together. The album is a departure from their first two, mainly because the songs are quieter and calmer. They have gone from songs about heroin making you feel like Jesus' son to songs about Jesus, with no apparent irony. Though Rock Critic Lester Bangs didn't even like the song when the album first came out, "Pale Blue Eyes" has proved to be the most enduring track, with several bands and performers covering it. It has appealed to punk rockers, country singers, R.E.M., and Courtney Love of Hole.
"What Goes On" is also popular, in a medium tempo rock groove that is catchier than you think. It sneaks up on you, and before you know it, you're hooked on the hook. "Beginning to See the Light" is in a similar vein. Funny that both songs rip off lyrics from jazz standards, with "Beginning to See the Light" also being the title of a Duke Ellington number, and the refrain of "What Goes On" saying "Lady Be Good," which is a Gershwin tune.
In my review of The Days of Wine and Roses by The Dream Syndicate I ranted about how unoriginal it was to take titles from old songs as the basis for your own songwriting, but I guess they were only following Lou Reed's lead. The Dream Syndicate wanted so bad to be The Velvet Underground, but in that they showed excellent taste. I was just kidding around in that review, but I got nothing but negative reaction. One comment simply called me an idiot.
The drummer, Maureen Tucker, sang the final song, "After Hours" because Lou Reed felt it needed a pure and innocent voice, not a sneering and cynical one. Maureen sings it as a happy little ditty, somewhere between a show tune and a summer camp sing along.
"The Murder Mystery" is an eight minute plus experimental track that soon grows tiresome, but other than that, all the songs are listenable, with a few real gems.
"Candy Says"
Candy says I'd like to know completely
what others so discretely talk about
Doug Yule sang this one, the opening track, with a sweet and pretty voice. It's about Candy Darling, who was a Warhol hanger on, and s/he would also make an appearance in "Walk On The Wild Side" in 1972.
"What Goes On"
What goes on in your mind?
I think that I am upside down.
Lady, be good, do what you should, you know it will work out right.
This is my second favorite song on the album. It has a sloppy but good groove, and the guitar (or is it an organ?) solo really knocks me out. It is very simple, but it says so much.
"Some Kinda Love"
and some kinds of love
the possibilities are endless
and for me to miss one
would seem to be groundless
I like this one, it is a very loose groove, with the words flowing, seemingly at random.
"Pale Blue Eyes"
It was good what we did yesterday.
And I'd do it once again.
The fact that you are married,
Only proves, you're my best friend.
But it's truly, truly a sin.
Linger on, your pale blue eyes.
Linger on, your pale blue eyes.
"Pale Blue Eyes" was inspired by Shelly Albin who had pale blue eyes. She was his girlfriend from college, and some of Lou's other songs are also about her. I wonder if she later got married but still saw Lou, as the lyrics state. This song is really a great song, in my opinion. It has just enough detail in the lyrics to sketch a picture, but whoever sings it can bring their own emotions to it. Eric Andersen, Alejandro Escovedo, Neil Finn, Counting Crows, Hole, Marisa Monte, R.E.M., Tom McRae and Patti Smith have all covered "Pale Blue Eyes." In Julian Schnabel's 2007 film The Diving Bell and the Butterfly there is an instrumental version, and the song was also used in the 2008 film August.
"Jesus"
Jesus, help me find my proper place
Help me in my weakness
'Cos I'm falling out of grace
Jesus
Jesus
Those are just about the complete lyrics to this song, and it repeats that same set of lyrics a few times through. Lou Reed sings this one in a very pretty voice, and the arrangement is very beautiful.
"Beginning to See the Light"
Some people work very hard,
But still they never get it right.
Well, I'm beginning to see the light.
I like this song just as much as "What Goes On" but that is because they are practically the same song.
"I'm Set Free"
And now I'm set free
I'm set free
I'm set free to find a new illusion
This song didn't make much of an impression on me. I can only conclude that it is one of the weaker links in the Velvet Underground chain.
"That's the Story of My Life"
That's the story of my life
That's the difference between wrong and right
But, Billy said, Both those words are dead
That's the story of my life
The story of his life is very short, as it just repeats these few lines a few times. "Jesus" used the same strategy, I mean Lou Reed used the strategy in writing his song entitled "Jesus." Lather, rinse, repeat. This song is less effective than "Jesus."
"The Murder Mystery"
Objections suffice apelike and tactile bassoon oboeing me cordon the virus' section off to the left is what is not right
"The Murder Mystery" goes on like that for eight minutes. It makes very little sense, so either it is a code, or else, it is just a bunch of words thrown together at random over equally random noise. The latter theory gets my vote.
"After Hours"
Accompanied by acoustic guitar and bass guitar Maureen Tucker sings the final number. She sounds very young, and perhaps even a little bit naive. Lou Reed didn't want to sing this one. He felt like he couldn't sing it -- it needed someone pure and innocent.
If you close the door, the night could last forever
Keep the sunshine out and say hello to never
All the people are dancing and they're havin such fun
I wish it could happen to me
But if you close the door, I'd never have to see the day again.
This song has also garnered some unusual covers. Meg White of The White Stripes and The Red Hot Chili Peppers to name but a few.
The Velvet Underground & Nico
White Light/White Heat
Loaded
Alejandro Escovedo - Bourbonitis Blues
Eric Andersen - Waves
R.E.M. - Dead Letter Office
Hole - Ask for It
Bryan Ferry - The Bride Stripped Bare
Dils - Dils Dils Dils
The Dream Syndicate - The Days of Wine and Roses
---------------
Wine in the mornin', and some breakfast at night.
Well, I'm beginning to see the light.
=========================
2 of 2 found the following review helpful:
 Valentine mix versus Closet mix of this album, be careful. Jul 05, 2009
My brother bought this CD on the original Verve label in the early 90's with the Valentine mix. This version on Polydor has the Closet mix by Lou Reed. I really prefer the Valentine mix which is warmer, softer and more sensual particularly with the song Some kinda love. The Lou Reed mix of this same song is dry in comparison. If you are enough lucky for finding the Valentine mix, you should buy it.
a lifelong fan May 16, 2009
the reason i dabbled in music myself. this is my all time favorite CD ever, solid air comes in second
Swoop Swoop Apr 24, 2009
Loath though I am today of all days to preach to the converted but may I take the trouble of aiming this review only towards those hairballs, headbangers, single-gear cyclists and space cadets out there who actually like and maybe even love The Velvet Underground and own a bunch of their albums and/or tapes? Right then, the first thing is line yourself up six entirely free from interruption hours--work works for me but be creative here, in the end neither location nor occupation is as important as continued access to some kind of stereo. In any case approach your sound system and start with this eponymous record right here--the third studio effort and quite a serene and downbeat acoustic retreat from the Velvets' last sonic assault whose closing track Sister Ray is for my dosh the most studiously entertaining indoor jam slam Lou and the band ever laid down and appropriately enough the raucous ditty spends over seventeen minutes cranking out the entire length and breadth of one of rock music's crunchier moments. Any old hoo, when After Hours on number three finally winds up bung in VU which is some sort of collection of previously unreleased recordings but honestly in fact a fantabulous bleeding album--studio again--and then when that one is finished have a go at Another View which many felt dredged the recording barrel but which I actually loved for all those songs and instrumentals I'd never even heard before. Only then do you see, do you go live. 1969 first--that terrific live twofer right there covers close to three-quarters of the studio songs you've just heard and they sound frankly unbelievable. What Goes On live just gets up and goes on and on, spectacularly. I've always thought so ever since I first thought so. Really though most of the smaller songs from these earlier records get done like they're showstoppers. And, unsurprisingly, they are emphatically just that, showstoppers. Bliss. You arrive eventually and at last at that other more recent twofer Live MCMXCIII and Some Kind of Love jumps all over everyone and on disk 2 there are twenty sublime and driving minutes at least of Hey Mr. Rain which previously appeared in fact in two different versions on the same album and which I just so happened to love playing the both of at the same time back in the late 80s when I owned two Toshibas and was smart enough to get the electrics rigged right. All in all then seven disks for a total of half a dozen hours during which I took today the rarest measure of ease is how in the end I'd like to memorize how I personally celebrated William Shakespeare's birthday.
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