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White Light/White Heat
     

White Light/White Heat

4.7 3
by The Velvet Underground
 

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The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on

Overview

The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. The album opens with an open and enthusiastic endorsement of amphetamines (startling even from this group of noted drug enthusiasts), and side one continues with an amusing shaggy-dog story set to a slab of lurching mutant R&B ("The Gift"), a perverse variation on an old folktale ("Lady Godiva's Operation"), and the album's sole "pretty" song, the mildly disquieting "Here She Comes Now." While side one was a good bit darker in tone than the Velvets' first album, side two was where they truly threw down the gauntlet with the manic, free-jazz implosion of "I Heard Her Call My Name" (featuring Reed's guitar work at its most gloriously fractured), and the epic noise jam "Sister Ray," 17 minutes of sex, drugs, violence, and other non-wholesome fun with the loudest rock group in the history of Western Civilization as the house band. White Light/White Heat is easily the least accessible of The Velvet Underground's studio albums, but anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin.

Product Details

Release Date:
05/07/1996
Label:
Polydor / Umgd
UPC:
0731453125124
catalogNumber:
531251
Rank:
10165

Tracks

Album Credits

Performance Credits

Velvet Underground   Primary Artist
John Cale   Organ,Bass,Bass Guitar,Keyboards,Viola,Vocals,Multi Instruments,Electric Viola
Lou Reed   Guitar,Piano,Keyboards,Vocals
Maureen Tucker   Bass,Percussion
Sterling Morrison   Guitar,Bass Guitar,Vocals

Technical Credits

John Cale   Composer
Lou Reed   Composer
Maureen Tucker   Composer
Sterling Morrison   Composer
Moe Tucker   Composer
Val Valentin   Director Of Engineering
Tom Wilson   Producer
Gary Kellgren   Engineer
Acy Lehman   Cover Design
Billy Name   Cover Photo
Gary Kellgran   Engineer

Customer Reviews

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White Light/White Heat 4.7 out of 5 based on 0 ratings. 3 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
In my opinion, I love this album, but not as much as I loved their other albums. The songs are fantastic on it, and the entire aura of the album is grainy and wild, which gives it a certain wonderful, unabashed quality. The Velvet Underground, once again, create an amazing little masterpiece, but stacked up against their other albums, well...Sister Ray may go on a just a little bit too long. But its minor, minor flaws are easily forgivable and it is still DEFINITELY WORTH BUYING.
Anonymous More than 1 year ago