The Velvet Underground’s debut, The Velvet Underground & Nico, was largely recorded in the spring of 1966 – it’s amazing, given how groundbreaking and influential it was when it was finally released in 1967. There are some vestiges of experimentation on ‘The Murder Mystery’, with a raga rhythm and all four band members contributing vocals, but the heart of the record are Reed’s mellow and confessional ballads like ‘Pale Blue Eyes’ and ‘Jesus’. With John Cale forced out of the band, The Velvet Underground is more conventional than before – Doug Yule’s sweeter voice is used on the opening ‘Candy Says’. If the band’s most abrasive material featured on White Light/White Heat, The Velvet Underground’s third album features their mellowest work. White Light/White Heat is the band’s most out there album, but it’s not always enjoyable listening. The focal point is ‘Sister Ray’, which dominates the second side – a 17 minute tale of debauchery.
John Cale takes the lead vocal on ‘The Gift’, reciting a Lou Reed short story over feedback – it’s distinctive but doesn’t hold up to repeated listens well. It’s a six track record with punchy garage-rockers like ‘I Heard Her Call My Name’ and the title track, and two longer experimental pieces. John Cale stated that White Light/White Heat was “consciously anti-beauty”. The Velvet Underground’s second album is their noisiest and most extreme. With Mo Tucker on maternity leave, Doug Yule is highly involved – as well as playing bass, he sings lead vocals on four tracks and plays drums, keyboards, and guitar. The rest of the album is surprisingly bland – it lacks the experimentation of The Velvet Underground’s previous releases. Loaded starts with three of Lou Reed’s most accessible and memorable songs the sunshine pop of ‘Who Loves the Sun’, the indelibly simple riff of ‘Sweet Jane’, and ‘Rock & Roll’. But Loaded is a valiant attempt at a more accessible and radio-friendly Velvet Underground record. It has pleasant songs like ‘Friends’, later covered by Luna, and inspired the name of Glenn Tilbrook and Chris Difford’s new wave band.Ītlantic demanded an album loaded with hits – an odd request for an avant harde band. It’s tough to expect Doug Yule to measure up to creative giants Lou Reed and John Cale – Squeeze is a likeable album but it’s clearly lightweight compared to the band’s earlier work. Yule had contributed heavily to Loaded, but Reed wrote all the songs. This left Doug Yule as the band’s focal point. Lou Reed left the Velvet Underground in 1970, followed by Sterling Morrison. The Velvet Underground: Albums Ranked from Worst to Best #5 Squeeze The Velvet Underground only made five studio albums, although a couple of 1980s compilations ( Another View and VU) mopped up outtakes, including a scrapped fourth album. Reed and Morrison left after 1970’s Loaded, leaving replacement bassist Doug Yule in charge for their final record.
The band gradually lost key members – John Cale left after their second record, forced out of the band by Reed, who wanted to make the band more accessible. Brian Eno is often quoted as saying – “the first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band.” The Velvet Underground are famous for their influence – despite a lack of commercial success during their tenure, they’re now critically revered. He also introduced the band to German vocalist Nico, who sang three songs on their debut record. The band were introduced to artist Andy Warhol, who negotiated a recording contract and showcased them in his multimedia road shows, which combined his films with the band’s music. The pair recruited guitarist Sterling Morrison and drummer Moe Tucker and The Velvet Underground was formed. Cale had worked with experimental composers John Cage and LaMonte Young, and Reed’s interest in alternative guitar tunings and drone notes provided common ground. The Velvet Underground began as a collaboration between frustrated songwriter Lou Reed and classically trained John Cale.
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