THE VELVET UNDERGROUND The Velvet Underground LP MGM 1969 US orig+Promo+stereo
£
100
$
133
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Description
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THE VELVET UNDERGROUND
DOUG YULE, STERLING MORRISON, LOU REED, MOE TUCKER
The quintessential bohemian New York band of the '60s that fused art, rock,
and poetry in a fashion that proved incalculably influential
"THE VELVET UNDERGROUND"
1969 LP MGM RECORDS SE-4617 STEREO
PRINTED IN U.S.A. ORIGINAL STEREO PRESSING
PROMOTIONAL COPY YELLOW LABEL
This version: "M-G-M SPECIAL DISC JOCKEY RECORD Not For Sale" on centre labels
A-side label lists What Goes On as 3:35 instead of 4:52 as correctly listed on back cover
THICK CARDBOARD COVER (AMERICAN STYLE)
With company inner sleeve
Barcode and Other Identifiers
LABEL: MGM - YELLOW LABEL - BLACK TEXT
Catalog on cover: SE-4617
Catalog on labels: SE4617 (MGS 1824 / MGS 1825)
Matrix / Runout (Side A, Etched): SE-4617 SIDE-1 MGS-1824 REV FINAL
Matrix / Runout (Side B, Etched): SE-4617 SIDE-2 MGS-1825 REV FINAL
On labels: M-G-M SPECIAL DISC JOCKEY RECORD Not For Sale
MGM Records
A Division Of Metro-Goldwyn-Mayer Inc.
Made in U.S.A.
All Selections Comp. By The Velvet Underground
All Selections Publ. By Virpì, Inc.-BMI
Arr. & Cond. By The Velvet Underground
On front cover: ®© Metro-Goldwyn-Mayer, Inc./Printed in U.S.A.
On back cover: Manufactured by MGM Records Division
Metro-Goldwyn-Mayer, Inc., 1350 Avenue of the Americas, New York, N.Y. 10019
from my records collection
tracklisting
Side A: CANDY SAYS - WHAT GOES ON
SOME KINDA LOVE - PALE BLUE EYES - JESUS
Side B: BEGINNING TO SEE THE LIGHT - I'M SET FREE
THAT'S THE STORY OF MY LIFE - THE MURDER MISTERY - AFTERHOURS
grading
RECORD VG+ but (please, read above description)
SLEEVE STRONG VG+ but (please, see pictures and read above description)
Upon first release, the Velvet Underground's self-titled third album must have surprised their fans nearly
as much as their first two albums shocked the few mainstream music fans who heard them.
After testing the limits of how musically and thematically challenging rock could be on Velvet Underground & Nico
and White Light/White Heat, this 1969 release sounded spare, quiet, and contemplative, as if the previous albums
documented some manic, speed-fueled party and this was the subdued morning after.
(The album's relative calm has often been attributed to the departure of the band's most committed avant-gardist,
John Cale, in the fall of 1968; the arrival of new bassist Doug Yule; and the theft of the band's amplifiers shortly
before they began recording.) But Lou Reed's lyrical exploration of the demimonde is as keen here as on any album
he ever made, while displaying a warmth and compassion he sometimes denied his characters.
"Candy Says," "Pale Blue Eyes," and "I'm Set Free" may be more muted in approach than what the band
had done in the past, but "What Goes On" and "Beginning to See the Light" made it clear the VU
still loved rock & roll, and "The Murder Mystery" (which mixes and matches four separate poetic narratives)
is as brave and uncompromising as anything on White Light/White Heat....(All Music)
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