The Velvet Underground Album: “The Velvet Underground & Nico [Remaster]”

In all honesty, I must confess that I didn't much like this album when I first heard it. For years I had heard about the legendary group but hadn't actually listened to their music. I had only heard Velvet Underground cliches, like, "one of the most influential bands of all-time," "genius," "avant-garde masterpiece," so on and so on.

So I decided to give the Velvet Underground a try and was not initially all that impressed. I think the reason that I was not initially blown-away by this album has to do with what I am used to and expectations. As a kid growing up in the 90s, I am used to instant gratification-albums with excellent production that get straight to-the-point. When I heard "The Velvet Underground and Nico" my initial thoughts were, "this is boring and the production stinks". I really didn't "get it" at first. But, as a younger listener not familiar with the Velvet Underground, I think this is an album that takes time and a few listens to really appreciate.

For me, experiencing this album was like having a few Alabama Slammers. At first you're like, "what's the big deal?" but once it hits you, it hits you.

Once I finally "got it," I find that this album is quite deserving of all the praise it's afforded.

Throughout their career, The Velvet Underground underwent many different personal changes. It was their debut, however, that saw the band at its strongest lineup. The poetic Lou Reed, with his dry flat Dylan-like delivery. John Cale, the most artistic and musically gifted of the bunch. Sterling Morrison, an underrated and underappreciated founder. Maureen Tucker, whose drumming on "Heroin" is indispensable. And finally Nico; the German-born actress/singer who was installed in the band by producer Andy Warhol. Her icy beauty and delivery helped make "The Velvet Underground and Nico" the classic that it is.

With repeated listens, I grew an appreciation for the album's sound and its production. While I initially thought the quality of the recoding was poor-I now feel the low-fi sound gives the album a certain effect, a certain vibe. The low-fi quality makes the songs sound genuine and lived in.

This album serves as a time capsule of the bohemian underbelly of New Your City in the late 60s. It is a chaotic time. While you are bombarded with peace and love and "flower power," there is a sense of disharmony and an annalistic apprehension. Images of Vietnam, conformity and consumerism abound. Struggling artists try to make sense of what they see around them and try to express their struggles and lifestyle. From this atmosphere, from these set of circumstances-"The Velvet Underground and Nico" is born.

I see "The Velvet Underground and Nico" as being the antithesis of another classic album released the same year, Love's "Forever Changes." The two albums seem to contrast each other in every single way possible-themes, location, production, and atmosphere.

"The Velvet Underground and Nico" begins much like a fresh new day for a small child might begin-peaceful, serene. "Sunday Morning" sounds almost like a lullaby. The slightly underwhelming guitar solo towards the middle of the song is the perfect touch.

One of the major themes of the album-drugs-is established right away with "I'm Waiting for the Man." While the song and its lyrics are relatively straight forward, they are also unforgettable. The description of how the deal works is rich in detail. The piano towards the end gives the song a sense of urgency.

The Nico sung "Femme Fatale" is one of the album's highlights. Nico was born to sing this song. She comes across like a black widow. Her icy voice, flat and cold, over the gentle melody is the perfect contrast.

"Venus and Furs" examines the seductive, dark side of human lust and sexuality. While it may seem tame by today's standards, it was most unheard of to have a song about S&M in 1967.

"Run Run Run" sounds a bit like a stripped down version of the Doors "LA Woman" (released four years later). The repetitive strumming riff is almost hypnotic. The distortion towards the end gives the song an almost chaotic impression.

Nico sounds subdued, yet dominant in "All Tomorrows Parties." This mid-paced song takes a few listens to really appreciate. There is a lot musically going on, with guitars overlaying the piano and so on. This number deals with anxiety of the anticipation of what the future will bring.

Without doubt, "Heroin" is the albums highlight. This is one of, if not the best Velvet Underground song ever recorded. It's a masterpiece, pure and simple. It is simply one of the most intense songs ever recorded. The song itself seems to emulate (to some extent) what the user feels like while using heroin. One of the reasons that this song is so intense is it starts out so un-intense. It starts out calm and peaceful, relaxed, and then gets more and more intense as it moves along. The percussion which emulates a heartbeat over the distorted viola just gets more and more extreme, until the climax, to the point of total pandemonium...and then back to relaxation, release. By listening to this song, the listener can see why heroin is so sought after. The world is in chaos with-"all the politicians makin' crazy sounds, and everybody puttin' everybody else down, and all the dead bodies piled up in mounds." The listener starts to understand the lifestyle that these bohemians choose.

After the brilliant "Heroin," the album comes down to earth with the pop-savvy "There She Goes Again" which is a good way for the listener to take a breather after the intense "Heroin". It also helps to keep up the momentum.

The third and final Nico song is the beautiful "I'll Be Your Mirror." Nico comes across as warmer than she did on the other two songs.

"The Black Angels Death Song" is a rather obscure song, whose true meaning I have yet to fully grasp. It's a random catharsis of bedroom poetry. Its off-beat extreme nature gives the album an extra edge.

The album winds down with "European Son." While it starts out relatively straight-forward, it soon takes a left turn. With all the effects (breaking glass etc), it is probably the most avant-garde track on the album. It is also a good way to conclude the album as it leaves a lasting impression.

In conclusion, although it took me a few listens to appreciate "The Velvet Underground and Nico," I know recognize it as the masterpiece that it is. If you are looking for instant gratification, you best look elsewhere. But for a truly magnificent experience, listen to this album-not just once, but several times. Once it clicks and it hits you, you will see why this album is so highly regarded.

The Velvet Underground is probably one of the most written about bands of all-time. Their influence and genius is well-known so I won't bore the reader with tired truisms about the band. Instead, this review will be very meat-and-potatoes, focusing on the content, and pros and cons of this box set.

"Peel Slowly and See" (1995) is a five disc box set and includes all four Lou Reed era albums that were commercially released while the Velvet Underground was an active band; "The Velvet Underground and Nico," (1967) "White Light/White Heat" (1968) "The Velvet Underground" (1969) and "Loaded" (1970). While the first disc is a collection of demos, disc 2-5 each contain a complete album, with a lot of bonus material. The bonus material includes live cuts, demos, and finished studio tracks that were recorded between the third album "The Velvet Underground" and the fourth and final Lou Reed era album "Loaded," (this material can be found on the "lost" Velvet Underground album "VU" (1985) and its follow-up "Another VU" (1986).

If you are a fan of the Velvet Underground "Peel Slowly and See" is highly recommended. While it would be cheaper to just pick up the four studio albums individually, it is better to spend a little more money on this set and get a ton on bonus songs ($60.00 as opposed to $40.00). The demos are great, as you get an inside look at history being created and it's cool to hear songs as works-in-progress. The live songs sound great and should no doubt please fans of the band. The bonus material, selections from "VU" and "Another View" stand as some of the band's best recordings and are generally just as good as what's on the first four albums.

While the value of the material on this set is indisputable, the way the box-set is compiled is flawed. Except for "Loaded," each disc does not start with the studio album, which is a bit annoying, but not really a big deal as the tracks of the albums are in order and you can just start the CD where the album begins. The biggest flaw, however, is that this set only contains selections from "VU" and "Another View." It would have been far more desirable if both albums were included in their entity, so the consumer would have the complete works of the Reed-era available in one place.

It also would have been great if the Velvet Underground's fifth, post-Reed-Morrison-Tucker; now out-of-print album "Squeeze" (1973) had been included. While "Squeeze" has a reputation of being utterly awful, it is still part of the band's history and should be available. I have recently acquired a bootleg CD of "Squeeze" and it's nowhere near as bad as people say it is. While it is nowhere near as brilliant as the band's other work, (it's basically a Doug Yule solo album, Deep Purple's Ian Paice plays drums) it's still pretty cool in its own right and should be available for fans to hear.

One criticism of this set that I don't agree with is that it contains a "closet mix" of the band's third self-titled album, which sounds a bit stuffy compared to the original release. This isn't really a problem though, as the non-"closet mix" is still in-print and readily available. Both versions are worth owning.

Despite a few flaws in the way this set in set-up, it's still most definitely worth owning, as it contains all four albums and a vast array of bonus material.

Here is what I recommend you do:

Buy "Peel Slowly and See," along with "VU," "Another View" and the non-"closet-mix" of "The Velvet Underground" in order to get a complete collection.

Of the many impressive facets of the Velvet Underground's debut, perhaps the most impressive of all is how completely undated it sounds. While those who followed in the VU's footsteps often sounded retro -- often purposefully so -- this gritty, thirty-five year-old creation seems not to have aged a day.

Polydor's latest double-disc reissue collects both the mono and stereo mixes of the original album, digitally remastered, and adds contemporaneous singles and a quintet of VU-powered tracks from Nico's subsequent "Chelsea Girl" album. The package is enveloped in a foldout digipack (with or without peelable banana artwork), with a thick booklet that includes newly penned liner notes from Dave Thompson, photos, song lyrics and recording credits.

Of particular interest to U.S. buyers is the mono album mix, previously available only outside the U.S. This is the band's vision of the album, later remixed into stereo by MGM staff producer (and, at the time, Simon & Garfunkel producer) Tom Wilson. The mono version is tougher, and in the opinion of the band's label at the time, too limiting for American audiences (both for its intensity, and for the US's burgeoning interest in stereo). The difference in atmosphere is a terrific lesson in how mixing affects an album, and how visceral mono recordings can be.

The bonus tracks include five sides waxed by Nico with the original lineup of the Velvet Underground for her solo debut. Recorded in April 1967, they followed the band's original recording dates by exactly a year (the VU debut, recorded in April 1966, did not see release until March of the following year). The songs, from Reed, Cale and Sterling Morrison are rendered lightly, with strings and flutes (apparently much to Nico's displeasure), a minimum of Reed's guitar, and no drums. The VU's more ferocious and dissonant side really only turns up on "It Was a Pleasure Then." Combining these sides with the original album provides a nice opportunity to listen to the original VU lineup's entire ouevre.

The singles offer a chance to hear "All Tomorrow's Parties" shaved down from it's original 5:58 to a 45's worth of 2:49. Less radically, the single release of "I'll Be Your Mirror" resolves with a chord, rather than a fade as on the album. Even more minor is the two seconds of what seems to be engineer's chatter (announcing the tape roll) that precedes the single release of "Sunday Morning." The fetishism of collecting these minute differences seems like a natural fit for VU fans.

Those looking to hear this watershed album for the first time will likely be just as happy with the single-disc 1996 reissue. For those who've loved (and lived) this album over the last thirty-five years, the opportunity to view it from a new angle shouldn't be passed up.

After buying the lp, the first cd and the box set, I've been hard pressed at justifying this purchase. I spotted a used copy at the local swap shop; the guy at the counter asked (in so many words) "Is this really going to improve your love life?" No, and it won't get me into a band with Brian Eno either.

But I've always found the standard release of this classic album pretty brittle on the sonic side, especially on Nico's numbers. So when I read that there was an "original mono" version of the disc, I've really been curious as to whether this would be any significant improvement.

It is. Nothing is ever going to turn the original primitive tapes into ECM ambiance, but it is also clear that Tom Wilson's stereo re-mix was enough to edge lo-fi into no-fi back when. Besides some noticable reduction of distortion, the guitars are now front and center, while the vocals sound stronger.

Is it worth the extra purchase? Hard to say. It would be nice if the mono version was available as a single disc, or part of the box set. If you are a hard core VU fan you should try to hear this version sometime.

Anyone who wants to know where "alternative" music came from should be pointed in this direction. Released in 1967, this album was a good 20 years ahead of its time, and still packs enough punch to blow away today's wanna-be rock bands. It has influenced acts from Talking Heads to Nirvana. In fact, the fall-out left from the impact of this album is still felt today. "Heroin" is famous for its naked honesty of a drug fix, but just as riveting is "Venus in Furs," a twisted, sado-masochistic verse that would make David Lynch drool with envy. Another drug reference song, "I'm Waiting for the Man," with Lou Reed's nervous guitar lick, perfectly captures the moment. Not that this group was all kinky business, though. Reed swipes the intro to Marvin Gaye's "Hitch Hike" to fuel "There She Goes Again." "Sunday Morning" plays like the calm before the storm with its evocation of the perfect sunrise, while "I'll Be Your Mirror," and "Femme Fatale" are other achingly beautiful songs sung by chanteuse Nico. And John Cale adds his avant-garde flavour to "European Son". Moe Tucker stakes her claim as the greatest under-rated drummer in rock. A tremendous album, and one of the best debuts ever.