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Lista de canciones

1The Gift
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling Morrison
8:14
2White Light/White Heat
Words By, Music By – Lou Reed
2:44
3I Heard Her Call My Name
Words By, Music By – Lou Reed
4:05
4Sister Ray
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling MorrisonWords By – Lou Reed
17:00
5Lady Godiva's Operation
Words By, Music By – Lou Reed
4:52
6There She Comes Now
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling MorrisonWords By – Lou Reed
2:00

Versiones

CategoryArtistTitle (Format)LabelCategoryCountryYear
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Eas)Verve RecordsV6-5046US1968
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, RE, Oak)Verve RecordsV6-5046USUnknown
23 91 328The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Polydor23 91 328Spain1985
CategoryArtistTitle (Format)LabelCategoryCountryYear
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, RE, Oak)Verve RecordsV6-5046USUnknown
23 91 328The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Polydor23 91 328Spain1985
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Verve RecordsV6-5046US2000
CategoryArtistTitle (Format)LabelCategoryCountryYear
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Eas)Verve RecordsV6-5046US1968
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
23 91 328The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Polydor23 91 328Spain1985
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Verve RecordsV6-5046US2000
CategoryArtistTitle (Format)LabelCategoryCountryYear
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Eas)Verve RecordsV6-5046US1968
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
B0019338-01The Velvet Underground White Light/White Heat ‎(2xLP, Album, Dlx, RE, 45t)UMe, Verve RecordsB0019338-01US2013
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, RE, Oak)Verve RecordsV6-5046USUnknown

Créditos

  • Cover [Cover Concept]Andy Warhol
  • Design [Cover]Acy R. Lehman
  • Engineer [Director Of]Val Valentin
  • Engineer [Recording]Gary Kellgren
  • PercussionMaureen Tucker
  • Photography By [Cover]Billy Name
  • Photography By [Liner]Mario Anniballi
  • ProducerTom Wilson
  • Vocals, Guitar, Bass GuitarSterling Morrison
  • Vocals, Lead Guitar, PianoLou Reed
  • Vocals, Viola [Electric], Organ, Bass GuitarJohn Cale
  • Design [Cover]Acy R. Lehman
  • Engineer [Director Of Engineering]Val Valentin
  • Engineer [Recording]Gary Kellgren
  • PercussionMaureen Tucker
  • Photography By [Cover]Billy Name
  • Photography By [Liner]Mario Anniballi
  • ProducerTom Wilson
  • Vocals, Guitar, Bass GuitarSterling Morrison
  • Vocals, Guitar, PianoLou Reed
  • Vocals, Viola [Electric], Organ, Bass GuitarJohn Cale
  • Engineer [Director]Val Valentin
  • Engineer [Recording]Gary Kellgren
  • PercussionMaureen Tucker
  • Photography By [Cover Photo]Hamish Grimes
  • Photography By [Liner Photo]Mario Anniballi
  • ProducerTom Wilson
  • Vocals, Guitar, Bass GuitarSterling Morrison
  • Vocals, Guitar, PianoLou Reed
  • Vocals, Viola [Electric], Organ, Bass GuitarJohn Cale
  • Engineer [Director]Val Valentin
  • Engineer [Recording]Gary Kellgren
  • PercussionMaureen Tucker
  • ProducerTom Wilson
  • Remastered ByGreg Calbi
  • Vocals, Guitar, BassSterling Morrison
  • Vocals, Guitar, PianoLou Reed
  • Vocals, Viola [Electric], Organ, BassJohn Cale
  • Written-by [Music]John Cale (tracks: A2, A4, B2), Moe Tucker (tracks: A2, A4, B2), Sterling Morrison (tracks: A2, A4, B2)
  • Written-by [Words, Music]Lou Reed
  • Concept By [Cover Concept]Andy Warhol
  • Design [Cover]Acy R. Lehman
  • Engineer [Director Of]Val Valentin
  • Engineer [Recording]Gary Kellgren
  • PercussionMoe Tucker
  • Photography By [Cover]Billy Name
  • Photography By [Liner]Mario Anniballi
  • ProducerTom Wilson
  • Vocals, Guitar, BassSterling Morrison
  • Vocals, Lead Guitar, PianoLou Reed
  • Vocals, Viola [Electric], Organ, BassJohn Cale
  • Written-by [Music]John Cale (tracks: A1, A4, B2), Moe Tucker (tracks: A1, A4, B2), Sterling Morrison (tracks: A1, A4, B2)
  • Written-by [Words & Music]Lou Reed (tracks: A1 to B2)

Notas

UK Stereo Reissue:
- Visible skull tattoo on front cover.
- spine reads "WHITE LIGHT/WHITE HEAT / THE VELVET UNDERGROUND 2353 024"
- Back cover says it is manufactured by Polydor B.V.
- Labels say record is manufactured and distributed in the UK by Polydor LimitedSide 1 plays in mono, side 2 plays in stereo.

Cover and labels: V6/5046, the stereo catalog number. Side 1 plays mono.
Side 1 matrix: V5046 Side 1 MG1258. Label credits Oakfield Avenue Music ( A1, A4 to B2) and Three Prong Music (A2, A3).
Side 2 matrix: V6-5046 Side 2 MGS1259. Label credits Three Prong Music.
Both runouts have the block S shape denoting MGM's Bloomfield, NJ plant.
Cover: skull is distinct. Front cover slick folds over; V-5406 may be revealed on bottom right of back cover.
Credits corrected: No Warhol credit. "Here She Comes Now" on back cover.

Side 1 is a dedicated mono mix. Side 2 never received a dedicated mono mix--mono versions have a fold-down.Original US stereo pressing (East Coast):
- Visible skull tattoo on front cover.
- Tracklisting on back mis-titles "Here She Comes Now" as "There She Comes Now"
- Back cover credits Lou Reed for "Lead Guitar" rather than just "Guitar"
- Andy Warhol is credited on back cover
- spine reads "V6-5046 WHITE LIGHT/WHITE HEAT THE VELVET UNDERGROUND VERVE"
- "Three Prong Music" publishing credit on all tracks.

®© Metro-Goldwyn-Mayer Inc./Printed in U.S.A.Originally released in 1968.

Manufactured for Polygram Inc. and distributed by Polygram Distribution Inc.

Made in Canada.Mid-price reissue.
"Here She Comes Now" misprinted as "HER SHE COMES NOW" on back cover.

Códigos de barras

  • Matrix / Runout (A-Side): SPELP73A//1v420w 11
  • Matrix / Runout (B-Side): SPELP73B//1v420w 1 3
  • Matrix / Runout (Runout side A): V5046 Side 1 MG1258
  • Matrix / Runout (Runout side B): V6-5046 Side 2 MGS1259
  • Matrix / Runout (Label side A): MGS-1258
  • Matrix / Runout (Label side B): MGS-1259
  • Rights Society: BMI
  • Rights Society: BMI
  • Matrix / Runout (A-Side Label): MGS-1258
  • Matrix / Runout (B-Side Label): MGS-1259
  • Matrix / Runout (A-Side Runout Etching): V6-5046 SIDE 1 MGS-1258 11 [block-shaped 'S']
  • Matrix / Runout (B-Side Runout Etching): V6-5046 SIDE 2 MGS-1259 11 [block-shaped 'S']
  • Matrix / Runout (A-Side Runout, Variant II): V6-5046 SIDE 1 MGS-1258 [etched] 12 [stamped] [block-shaped 'S']
  • Matrix / Runout (B-Side Runout, Variant II): V6-5046 SIDE 1 MGS-1258 [etched] 12 [stamped] [block-shaped 'S']
  • Barcode: 0 422-825119-4 2
  • Matrix / Runout (Side A runout stamped, variant 1): SPELP73A // 1 ∇ 420 W 1
  • Matrix / Runout (Side B runout stamped, variant 1): SPELP73B // 1 ∇ 420 W 1
  • Matrix / Runout (Side A runout stamped, variant 2): SPELP73A // 1 ∇ 420 W 11 1
  • Matrix / Runout (Side A runout stamped, variant 2): SPELP73B // 1 ∇ 420 W 1 1 2
  • Matrix / Runout (Side A runout stamped, variant 3): SPELP73A // 1 ∇ 420 W 11 1 1
  • Matrix / Runout (Side B runout stamped, variant 3): SPELP73B // 1 ∇ 420 W 1 1 3
  • Price Code: Polydor Mid-Price

Empresas

  • Record Company – MGM Records
  • Record Company – Metro-Goldwyn-Mayer, Inc.
  • Copyright (c) – Metro-Goldwyn-Mayer, Inc.
  • Published By – Three Prong Music
  • Manufactured By – MGM Records Division
  • Pressed By – MGM Record Manufacturing Division
  • Phonographic Copyright (p) – PolyGram Records, Inc.
  • Published By – RCA Music Ltd.
  • Manufactured By – Polydor Ltd.
  • Distributed By – Polydor Ltd.
  • Marketed By – Polydor Ltd.
  • Lacquer Cut At – CTS Studios
  • Pressed By – PRS Ltd.
  • Record Company – MGM Records
  • Record Company – Metro-Goldwyn-Mayer, Inc.
  • Manufactured By – MGM Records Division
  • Copyright (c) – Metro-Goldwyn-Mayer, Inc.
  • Published By – Oakfield Avenue Music
  • Published By – Three Prong Music
  • Pressed By – MGM Record Manufacturing Division

Vídeo

Información

The Velvet Underground - Lady Godiva's Operation. Как может не нравится White Light Я в машине подпеваю постоянно. 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 LightWhite Heat was a no-holds-barred. It was the band's last studio recording of new material with bassist and founding member John Cale. The performance, apparently from John Cale's collection, was recorded at the Gymnasium in New York in April, 1967 two of its songs previously appeared on the 1995 Peel Slowly and See box set. The Velvet Undergrounds second studio album, White LightWhite Heat, is undoubtedly one of the noisiest, most experimental, and most controversial albums of the 1960s. The performance, apparently from John Cale's collection, was recorded at the Gymnasium in New York in April, 1967 two of its songs previously appeared on the 1995 Peel Slowly and See box set. White LightWhite Heat. The Velvet Underground - Sister Ray. And while beauty is certainly in the eye of the beholder, anything in the world can be quantified and standardized to a point-nine-nine-nine degree sense of objectivity, if so desired. We're intrinsically attracted to certain ratios of size, distance, shap. year White LightWhite Heat came out. White LightWhite Heat - The Velvet Underground. The Velvet Underground - I Heard Her Call My Name 04:36, 320Kbs. Said Lou Reed of the album, No one listened to it, but there it is forever the quintessence of articulated punk. After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico 1967, the band's relationship with Andy Warhol deteriorated. In honor of the albums 50th anniversary, here are 10 things y. Album: White Light, White Heat 1968. The Velvet Underground - I Heard Call My Name. Lou Reed. The Velvet Underground. Humans are easy to please. By the time the song appeared on The Velvet Underground in 1969, it had become lither and wittier, and Reed had sharpened a few of its lyrics this broad-shouldered, clomping version is distinctly not there yet, but everything the Velvets released on their official albums is so canonical that it's strange and heartening to realize that their songs didn't just. White LightWhite Heat is the second studio album by American rock band the Velvet Underground, released in 1968 by record label Verve. 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 LightWhite Heat was a no-holds-barred. After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico 1967, the band's relationship with Andy Warhol deteriorated. White LightWhite Heat stands against beauty, like Frankenstein masquerading behind the withered portrait of Dorian Grey. And no one goes near it. Most important - you can download the album White Light, White Heat to your computer or phone absolutely free of charge, and without registration. The Velvet Underground - Lady Godiva's Operation. It's not a matter of finding that hidden, inner beauty there is no inner beauty on this album. And sadly, for most of the world, that statement was not too far off. Ищете треки из альбома White Light, White Heat исполнителя The Velvet Underground Тогда заходите на наш сайт - слушайте музыку онлайн и скачивайте бесплатно. By the time the song appeared on The Velvet Underground in 1969, it had become lither and wittier, and Reed had sharpened a few of its lyrics this broad-shouldered, clomping version is distinctly not there yet, but everything the Velvets released on their official albums is so canonical that it's strange and heartening to realize that their songs didn't just. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. frontal assault on cultural and aesthetic propriety. The Velvet Underground - Sister Ray 17:28, 320Kbs. Girl, and a two-LP recreation of the bands much-mythologized lost album from 1969. It was the band's last studio recording of new material with bassist and founding member John Cale. Regardless of its lack of commercial success, the anti-beauty album is a true cult-favorite and one of the most. Inspired by media hype, and encouraged by deceitful songs on the radio Airplane, Mamas and Papas, Eric Burdon, teenage ninnies flocked from Middle-America out to the coast, Velvets guitarist Sterling Morrison remembered in Victor Bockris and Gerard Malangas Uptight: The Velvet Underground Story. They toured throughout most of 1967. Many of their live performances featured noisy improvisations that. When the Velvet Underground entered New Yorks Mayfair Sound Studios to begin work on the album in September 1967, the vaunted Summer of Love was still grooving in San Francisco and blissed-out hippie scenes were something the Velvets wanted absolutely no part of. White LightWhite Heat at Number 293 on its list of the 500 Greatest Albums of All Time. Ну а Here She Comes проста поэтому всем и нравится. 1 - White Light White Heat : 00:00 2 - The Gift : 02:49 3 - Lady Godiva's Operation : 11:09 4 - Here She Comes Now : 16:07 5 - I Heard Her Call My Name : 18. White LightWhite Heat is a six-song album by a New York band and an ugly album at that. According to SoundScan, It was the lowest selling studio album released by the VU at least in the USA. Формируйте собственную коллекцию. 1 - White Light White Heat : 00:00 2 - The Gift : 02:49 3 - Lady Godiva's Operation : 11:09 4 - Here She Comes Now : 16:07 5 - I Heard Her Call My Name : 18. Listen online and stay in a good mood. The Velvet Underground - White LightWhite Heat 02:45, 320Kbs. The Velvet Underground - Here She Comes Now

Descargar The Velvet Underground - White Light/White Heat

Artista: The Velvet Underground

Título: White Light/White Heat

País: US

Etiqueta: Verve Records

Estilo: Experimental, Garage Rock, Psychedelic Rock

Catálogo: V6-5046

Género: Rock

Tamaño MP3: 1633 mb

Tamaño FLAC: 2207 mb

Clasificación: 4.4 / 5

Votos: 763

Fuente de los registros: Vinyl, LP, Album, Reissue, Stereo, Mono, Oakfield mispress, East coast pressing

Relacionado con los The Velvet Underground - White Light/White Heat

Pryl
Can anyone help me positively identify my copy of this?Everything is exactly the same on my copy as this release down to the last detail except the runout is one digit different. The 11s after MGS-1258 & MGS-1259 in the runouts, are 12s on my copy. Would you consider that a seperate release, a runout variation, or not different enough to note?
Pryl
Can anyone help me positively identify my copy of this?Everything is exactly the same on my copy as this release down to the last detail except the runout is one digit different. The 11s after MGS-1258 & MGS-1259 in the runouts, are 12s on my copy. Would you consider that a seperate release, a runout variation, or not different enough to note?
Kadar
this record made me return to techno besides Silver Apples, Miles Davis, Amon Düül I + II, Frank Zappa - reppetive grooves of Sister Ray are marvellous, jazzy instruments solo changes. Very strong music capturing a weird feeling
Kadar
this record made me return to techno besides Silver Apples, Miles Davis, Amon Düül I + II, Frank Zappa - reppetive grooves of Sister Ray are marvellous, jazzy instruments solo changes. Very strong music capturing a weird feeling
Vosho
What is the original inner sleeve for this LP ? Plan white or the Verve "jazz" inner sleeve ? Help me.
Vosho
What is the original inner sleeve for this LP ? Plan white or the Verve "jazz" inner sleeve ? Help me.
Ese
Just chiming in to say that it's the same with my copy. Has a Verve Jazz inner sleeve which looks like it's the original.
Ese
Just chiming in to say that it's the same with my copy. Has a Verve Jazz inner sleeve which looks like it's the original.
Anarus
I have the Verve Jazz inner sleeve with my copy and I assumed that was the original. The sleeve certainly looks like it’s from ‘68.
Anarus
I have the Verve Jazz inner sleeve with my copy and I assumed that was the original. The sleeve certainly looks like it’s from ‘68.
Ielonere
No idea, I was wondering also. Did u ever find out?
Ielonere
No idea, I was wondering also. Did u ever find out?
Dori
Help me out! My copy's spine says: V6-5046 WHITE LIGHT/WHITE HEAT VERVE. No Velvet Underground mentioned! Everything else points it to be US 1. press. And no visual "skull tattoo" on the cover either.
Dori
Help me out! My copy's spine says: V6-5046 WHITE LIGHT/WHITE HEAT VERVE. No Velvet Underground mentioned! Everything else points it to be US 1. press. And no visual "skull tattoo" on the cover either.
Gavirgas
Check out https://www.discogs.com/The-Velvet-Underground-White-LightWhite-Heat/release/2203913 . It fits your description so far but you'll want to compare the quality of the labels too. Best regards / M
Gavirgas
Check out https://www.discogs.com/The-Velvet-Underground-White-LightWhite-Heat/release/2203913 . It fits your description so far but you'll want to compare the quality of the labels too. Best regards / M
Khiceog
Once upon a time in America, back when there were actual records, music was new, and exploration was more then half the fun, there was a chain of music stores called Tower Records, who catered to those of us who walked around with big pieces of plastic, like they were badges of honor. I had my first experience with Tower in Los Angeles ... where you could actually go into the store and ask to hear an album before you purchased it. Along one side of the store were these rooms, not much bigger then a telephone booth, each room had a turntable, and that’s where we'd spin record after record, finding what was hip, and what was a waste of time. Now don’t go thinking this was all fun and games, it wasn’t. Listening like this required stamina, fortitude, and commitment ... because while you could stay and listen for as long as you wanted, in each booth burned a one hundred and fifty watt light bulb, and if you tried to leave the door open to get some cool fresh air, the turntable would stop spinning. So while the concept was outstanding, they wanted to get you in and out as fast as possible. But not me ... some slick baby cakes showed me how to put a piece of masking tape over the button on the door, holding it down, the turntable on, and the door cracked just enough to make it all bearable. And here is where I heard “White Light White Heat” for the first time ... so you can dig the connection between the album and the listening experience.The first thing that hit me was how completely different this release was, as compared to their first outing. And even today, the albums of the Velvet Underground remain as distant, and all but forgotten landmarks of the bohemian underground that existed in New York City during the last half of the 1960’s. Non of my friends got what I was hearing ... remember, this was the hippie generation, flower power, love, and extended rolling jams designed to facilitate your trip. But “White Light, White Heat” was a nightmare set to music, with themes of death, incest, sex, and violence, all fueled by speed and heroin. Unlike “The Velvet Underground with Nico,” there were no hits to be found here for radio air play, the songs seemed incomplete, and open ended, reminding me of movie “cliff hangers,” where words like “Stay Tuned” would be plastered across the screen at the end of the show.I guess what I’m saying is that The Velvet Underground should be seen [or heard] as expansive. Certainly they drew from the times, and “Sister Ray,” a seventeen minute orgasm is the prime example. Here they take jamming to the next level, Maureen Tucker’s drumming is so crude it’s almost delicious, while the guitar distortion of Morrison and Reed finds a groove that metal artist would use for the next forty years. Surprisingly many of the songs possess a tender side, with graceful harmonies, upstaged only by the interlacing of guitar patterns, which at times have the feel of tape loops ... something John Cale would explore in much greater detail on his solo works.While as brilliant an album as “White Light, White Heat” was, I place it right beside The Beatles’ “Sgt. Pepper,” with its strength being the influence it had, rather then the lasting listenability of the record. I know that it sounds as if I’m sidestepping the importance and magic of this album ... I’m not. This is a body of work that is passionately held by all of those who discover it. But I tell you true, with the passing of time, the memory of the music, and the memory of the lyrics ... all that they inspired in my young head, were far better then actually listening to the record.Don’t go searching for meaning, “White Light, White Heat” is not the Holy Grail, it just is what it is, and the fact that it has stood the test of time, is all the testament that is needed. Never the less ... this is a once in a life time release, where each member of the band was on the same page at the same time, and an album that needs to be part of everyone’s collection, as it's a footprint from the rock and roll evolution. I’m just happy to say that I was there when it all broke free, and if that sounds like I’m bragging, well then maybe I am.*** The fun facts: In 1968, The Velvet Underground released White Light/White Heat with a seemingly all-black album cover. If you take a closer look, though, you can see a faint image of a skull tattoo on Andy Warhol collaborator Joe Spencer's arm. "After the first album came out, Lou [Reed] said the he would like me to be responsible for the album art for the second album,” explained Billy Name, photographer and former manager of Andy Warhol's Factory, who said, Why don’t you look through my negatives, see if you find something you like, and he found this one and pointed to it. It turned out to be a tattoo that was on Joe Spencer’s arm, his bicep. So I had to blow it up from a 35 millimeter negative, meaning that it came out pretty grainy. So we decided to do a black on black.” The darkened image is really hard to spot unless you know what you're looking for or you place the album cover under a black light. The reissue features a more pronounced tattoo image.Review by Jenell Kesler
Khiceog
Once upon a time in America, back when there were actual records, music was new, and exploration was more then half the fun, there was a chain of music stores called Tower Records, who catered to those of us who walked around with big pieces of plastic, like they were badges of honor. I had my first experience with Tower in Los Angeles ... where you could actually go into the store and ask to hear an album before you purchased it. Along one side of the store were these rooms, not much bigger then a telephone booth, each room had a turntable, and that’s where we'd spin record after record, finding what was hip, and what was a waste of time. Now don’t go thinking this was all fun and games, it wasn’t. Listening like this required stamina, fortitude, and commitment ... because while you could stay and listen for as long as you wanted, in each booth burned a one hundred and fifty watt light bulb, and if you tried to leave the door open to get some cool fresh air, the turntable would stop spinning. So while the concept was outstanding, they wanted to get you in and out as fast as possible. But not me ... some slick baby cakes showed me how to put a piece of masking tape over the button on the door, holding it down, the turntable on, and the door cracked just enough to make it all bearable. And here is where I heard “White Light White Heat” for the first time ... so you can dig the connection between the album and the listening experience.The first thing that hit me was how completely different this release was, as compared to their first outing. And even today, the albums of the Velvet Underground remain as distant, and all but forgotten landmarks of the bohemian underground that existed in New York City during the last half of the 1960’s. Non of my friends got what I was hearing ... remember, this was the hippie generation, flower power, love, and extended rolling jams designed to facilitate your trip. But “White Light, White Heat” was a nightmare set to music, with themes of death, incest, sex, and violence, all fueled by speed and heroin. Unlike “The Velvet Underground with Nico,” there were no hits to be found here for radio air play, the songs seemed incomplete, and open ended, reminding me of movie “cliff hangers,” where words like “Stay Tuned” would be plastered across the screen at the end of the show.I guess what I’m saying is that The Velvet Underground should be seen [or heard] as expansive. Certainly they drew from the times, and “Sister Ray,” a seventeen minute orgasm is the prime example. Here they take jamming to the next level, Maureen Tucker’s drumming is so crude it’s almost delicious, while the guitar distortion of Morrison and Reed finds a groove that metal artist would use for the next forty years. Surprisingly many of the songs possess a tender side, with graceful harmonies, upstaged only by the interlacing of guitar patterns, which at times have the feel of tape loops ... something John Cale would explore in much greater detail on his solo works.While as brilliant an album as “White Light, White Heat” was, I place it right beside The Beatles’ “Sgt. Pepper,” with its strength being the influence it had, rather then the lasting listenability of the record. I know that it sounds as if I’m sidestepping the importance and magic of this album ... I’m not. This is a body of work that is passionately held by all of those who discover it. But I tell you true, with the passing of time, the memory of the music, and the memory of the lyrics ... all that they inspired in my young head, were far better then actually listening to the record.Don’t go searching for meaning, “White Light, White Heat” is not the Holy Grail, it just is what it is, and the fact that it has stood the test of time, is all the testament that is needed. Never the less ... this is a once in a life time release, where each member of the band was on the same page at the same time, and an album that needs to be part of everyone’s collection, as it's a footprint from the rock and roll evolution. I’m just happy to say that I was there when it all broke free, and if that sounds like I’m bragging, well then maybe I am.*** The fun facts: In 1968, The Velvet Underground released White Light/White Heat with a seemingly all-black album cover. If you take a closer look, though, you can see a faint image of a skull tattoo on Andy Warhol collaborator Joe Spencer's arm. "After the first album came out, Lou [Reed] said the he would like me to be responsible for the album art for the second album,” explained Billy Name, photographer and former manager of Andy Warhol's Factory, who said, Why don’t you look through my negatives, see if you find something you like, and he found this one and pointed to it. It turned out to be a tattoo that was on Joe Spencer’s arm, his bicep. So I had to blow it up from a 35 millimeter negative, meaning that it came out pretty grainy. So we decided to do a black on black.” The darkened image is really hard to spot unless you know what you're looking for or you place the album cover under a black light. The reissue features a more pronounced tattoo image.Review by Jenell Kesler
Mr.Savik
Can someone recommend a version of this album that sounds good on vinyl? I know it's not the best recording but I've tried two versions of this album, stereo versions, one from '85 and one from '90 and neither sound that good. The polygram reissue from '85 is ok. Wondering if the mono versions are better?
Mr.Savik
Can someone recommend a version of this album that sounds good on vinyl? I know it's not the best recording but I've tried two versions of this album, stereo versions, one from '85 and one from '90 and neither sound that good. The polygram reissue from '85 is ok. Wondering if the mono versions are better?
Fearlesshunter
So far the original copy sounds the best. I have a US yellow Verve label "DJ Copy" of this and it sounds the best so far. I haven't heard all the variations of this of course so I'm only speaking from limited experience.
Fearlesshunter
So far the original copy sounds the best. I have a US yellow Verve label "DJ Copy" of this and it sounds the best so far. I haven't heard all the variations of this of course so I'm only speaking from limited experience.
Faugami
Kind of noisy album, anyway it would feel engaging if not for lazy and very out of tune voices, making it difficult to even hear sometimes.Sister Ray is the most interesting theme in this release.3 of 10
Faugami
Kind of noisy album, anyway it would feel engaging if not for lazy and very out of tune voices, making it difficult to even hear sometimes.Sister Ray is the most interesting theme in this release.3 of 10
Silvermaster
That's why it's so highly revered as avant-garde. Great music incorporates the genuine voice, the rawness of sound, the energy of the brash and-not least-the absolute genius of original lyric and story.
Silvermaster
That's why it's so highly revered as avant-garde. Great music incorporates the genuine voice, the rawness of sound, the energy of the brash and-not least-the absolute genius of original lyric and story.
Angana
Why the Blu-Ray Audio edition is not listed yet?
Angana
Why the Blu-Ray Audio edition is not listed yet?
Simple fellow
Cuz you haven't entered it. Who wants Blu Ray audio, though! This is supposed to be heard on a crappy old turntable turned up to 10!
Simple fellow
Cuz you haven't entered it. Who wants Blu Ray audio, though! This is supposed to be heard on a crappy old turntable turned up to 10!
Mmsa
The reflection of the photographer in the cover image here looks like something else entirely.
Mmsa
The reflection of the photographer in the cover image here looks like something else entirely.
Rageseeker
Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian
Rageseeker
Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian
Kemath
You are the proud owner of a mis-pressed copy of WL/WH. This is the so-called 'black label Hollywood reissue' from the early 70s.According to Olivier's site anyway - link here http://olivier.landemaine.free.fr/vu/discog/lps/usa/lpsusa.htmlVerve V6-5046, early 70sblack label "Hollywood" reissueSide 1: 'k' V6-5046 MGS 1258Side 2: k V-5046 MG1259Front cover with skull, V6-5046 on top left.Back cover has V/V6-5046 on top right and V-5046 written upside down on lower right hand corner. It reads There She Comes Now, Lou Reed lead guitar credit, Warhol credit.Spine reads: V6-5046 WHITE LIGHT/WHITE HEAT THE VELVET UNDERGROUND VERVE.Black Verve label with Hollywood label address.Another mispressing!! Side 1 is stereo and side 2 mono.I have the previous mis-pressing of this album where side 1 is mono and side 2 is stereo.Both strange beasts to be sure. I've no idea how many were pressed and no idea of value either.
Kemath
You are the proud owner of a mis-pressed copy of WL/WH. This is the so-called 'black label Hollywood reissue' from the early 70s.According to Olivier's site anyway - link here http://olivier.landemaine.free.fr/vu/discog/lps/usa/lpsusa.htmlVerve V6-5046, early 70sblack label "Hollywood" reissueSide 1: 'k' V6-5046 MGS 1258Side 2: k V-5046 MG1259Front cover with skull, V6-5046 on top left.Back cover has V/V6-5046 on top right and V-5046 written upside down on lower right hand corner. It reads There She Comes Now, Lou Reed lead guitar credit, Warhol credit.Spine reads: V6-5046 WHITE LIGHT/WHITE HEAT THE VELVET UNDERGROUND VERVE.Black Verve label with Hollywood label address.Another mispressing!! Side 1 is stereo and side 2 mono.I have the previous mis-pressing of this album where side 1 is mono and side 2 is stereo.Both strange beasts to be sure. I've no idea how many were pressed and no idea of value either.
Coirad
Hi there, I also have this pressing. Has anyone tracked down more info?
Coirad
Hi there, I also have this pressing. Has anyone tracked down more info?
Jelar
Hi Dave, it seems to be a second pressing of the album from 1970. I am trying to get more info on this but it has the black verve label and A side is stereo and B side mono which seems to be what the 2nd pressing was like.
Jelar
Hi Dave, it seems to be a second pressing of the album from 1970. I am trying to get more info on this but it has the black verve label and A side is stereo and B side mono which seems to be what the 2nd pressing was like.
Shezokha
Hi Thanks for the info but mine is not that version. I have owned my copy since the mid 1980's and it was second hand then whereas that version was produced in 1998. Also the front and spine do not say "Legacy cat#: V6/5046" it just says V6/5046 on it. Thanks for the suggestion though.
Shezokha
Hi Thanks for the info but mine is not that version. I have owned my copy since the mid 1980's and it was second hand then whereas that version was produced in 1998. Also the front and spine do not say "Legacy cat#: V6/5046" it just says V6/5046 on it. Thanks for the suggestion though.
Yozshunris
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Yozshunris
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Fordrellador
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Fordrellador
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Nothing personal
Hi Ian,I've just come across your post regarding White Light/White Heat, black cover without the skull. Like you I am going around in circles trying to find out when this was pressed and what it is. Did you ever get to the bottom of this? I'd appreciate any info you might be able to pass on.Thanks for your help,Dave ians4464 Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian
Nothing personal
Hi Ian,I've just come across your post regarding White Light/White Heat, black cover without the skull. Like you I am going around in circles trying to find out when this was pressed and what it is. Did you ever get to the bottom of this? I'd appreciate any info you might be able to pass on.Thanks for your help,Dave ians4464 Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian