Editorial Review

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Features

• Original recording remastered

Reviews (166)

Covers the basics, but Legacy: The Absolute Best is a better comp
Okay, don't get me wrong, I love the Doors - they made some of the greatest American music (along with Dylan and the Velvet Underground) during the British Invasion days, and their music has not dated in the least. And this two-disc, nineteen-track comp does do a good job of rounding up the bare essentials (Light My Fire, Break On Through, The End, Love Me Two Times, The Unknown Soldier, Five to One, Hello I Love You, Touch Me, Roadhouse Blues, Riders on the Storm, L.A. Woman), it's missing some very important songs, most notably Peace Frog (an inexcusable omission), plus Soul Kitchen, Not to Touch the Earth, Moonlight Drive, Twentieth Century Fox, Back Door Man and a few other good ones that managed to make it on Legacy: The Absolute Best. And why Alabama Song was included in the place of any of the above songs is simply inexcusable - in my mind, that's one of the group's weaker songs (along with Touch Me, while I'm ranting). That said, it's not at all a bad way at all to get into the Doors, and tends to be less expensive than Legacy. So if you need the absolute basics, and nothing more, this would be a good way to get them in one fell swoop. But if you want to dig a bit deeper, that's what Legacy's for.

For your own good, please don't buy this!
This two disc set just barely brushes the surface of what the Doors have to offer.Here are some awesome, essential Doors songs you'll be missing out on, just to name a few:
A papier mache hero.
The "Lizard King" was a hero of the "counterculture" until 3/1/1969.Then, he turned into a cowering wimp!!!When it came to assaulting traditional American values, the "Lizard King" was awesome.See: the Ed Sullivan Show, the Singer Bowl riot, his Oedipal days at the Whiskey, etc.However, when the powers that be finally decided to push back, the "Lizard King" became a professional victim-a misunderstood artist who simply had "something to say."He whined about how everyone was out to get him.That's why the "conterculture" failed.They were good at pushing, but, when it came to pushing back, they were exposed for what they were: a bunch of bed-wetters.Thirty-eight years on, it's no surprise that America never "broke on through."Hey Ray, John, and Robbie: your fearless leader turned into a gutless turd!!! ... Read more

Subjects:  1. Album Rock    2. Hard Rock    3. Pop    4. Pop/Rock    5. Popular Music    6. Proto-Punk    7. Psychedelic    8. Rock    9. Rock & Roll    10. Rock/Pop   

Editorial Review

When the Velvets recorded this debut, they were best known as the protégés of Andy Warhol (who designed the sleeve), and as a grating, combustive live band. Fueled by drummer Moe Tucker's no-nonsense wham and John Cale's howling viola, some of the straight-up rock & roll and arty noise extravaganzas here bear that out. But before Lou Reed was singing about sadomasochism and drug deals and writing lyrics inspired by his favorite poets, he was a pop songwriter, and this album has some of his prettiest tunes, mostly sung by Nico, the German dark angel who left the band after this disc. Even the sordid rockers are underscored by graceful pop tricks, like the two-chord flutter at the center of the classic "Heroin." Read more

Features

• Original recording reissued
• Original recording remastered

Reviews (247)

Velvet Underground and Nico
When this album came out in 1967, it changed rock and roll and added a new dimension to the rock lyricism. People who listened to it wanted to form rock and roll bands. This was the beginning of proto-punk and experimental rock. If it werent for VU & Nico, there wouldnt be any Sonic Youth, MC5, New York Dolls, and Alice Cooper. Avant-garde music for real music fans. Favorite songs are There She Goes Again, Sunday Morning, Femme Fatale, Run Run Run, I'm Waiting for the Man, and Heroin.

This album may take some time to "break in"
A common reaction to this album is initial hatred, followed by becoming curious enough about it to want to give it a few more listens, follwed in turn by fascination with the album, followed by simply loving it. Such was my reaction. The lyrics are about dark topics such as drug addiction and S&M and they're very frank and direct, without any sugarcoating. There is good use of feedback, distortion, and noise in many of the songs, and this album ended up turning me on to that kind of thing. Check out European Son and marvel at the fact that every little bit of feedback in that track was supposed to be there in the first place.

Warning: NOT FOR EVERYONE.
If your idea of rock is good-timey, happy and fun, avoid. To quote one of the group's most famous songs, "Sick and dirty" is a good way to describe The Velvet Underground and Nico. Themes of choice include kinky sex, drug abuse and murder. Not exactly the Monkees.
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Subjects:  1. Experimental Rock    2. Folk-Rock    3. Pop    4. Proto-Punk    5. Rock    6. Rock & Roll    7. Rock/Pop    8. United States of America   

Editorial Review

After flirting with heavy guitar rock ("The Man Who Sold the World") and lighter pop ("Hunky Dory"), Bowie found middle ground on Read more

Features

• Enhanced
• Original recording reissued
• Original recording remastered

Reviews (178)

a masterful work
This is a perfect album...and I am not even a big Bowie fan! Sonically, production wise, musically, the arrangements, the pacing as well as the strength of the songs...this is a brilliant work.
Stardust Memories
David Bowie's fifth LP transformed him into (duh) a rock 'n roll star. There was much promise of him becoming one with his third CD, The Man Who Sold the World. However, he then backed up a bit - in terms of volume, not quality - with the unbelievably masterful Hunky Dory, a mosaic of rock, pop, folk, psychedelia, and whatever else was in arm's reach. On The Rise and Fall of Ziggy Stardust & the Spiders From Mars, Bowie's flair for the dramatic became a full-blown obsession. While uptempo hard rock once again formed the core of the record, gentle acoustic numbers and genuine pop was not neglected. The result was what may or may not be his greatest record, but it is certainly his definitive one, ie, it is the one that best defines him.
Bowie Rules
Bowie has staying power.His art, genius, humor, talent shine through in this collection.Rock and Roll Suicide may have saved my life 30 years ago.I am grateful for the joy he has shared through his music and voice. ... Read more

Subjects:  1. Album Rock    2. England    3. Glam Rock    4. Hard Rock    5. Pop    6. Pop/Rock    7. Prog-Rock/Art Rock    8. Proto-Punk    9. Rock    10. Rock/Pop    11. Singer/Songwriter   

Editorial Review

Anyone who owned the vinyl copy of Read more

Features

• Live
• Original recording remastered
• Extra tracks

Reviews (148)

A Cd marvel
I'm not particularly impressed by CD releases of old stuff. But having seen the Who twice at Tanglewood in Lenox Mass about the time of Tommy I can vouch for the feracity of their playing. Heaven and Hell they opened with in one show and I always wondered why it wasn't released. After seeing Entwistle with dual Sunn amps and a Fender bass I was led to buy a 2000S and Precision myself and played for quite a while with this combination. They had it right back then and even though the openers wereBB King, Jefferson Airplane, Jethro Tull in either venue,they remain the greatest live band in my mind. Just watching Keith Moon do a rim shot and blow his stick into the air and catch it on the way down without blowing the song was worth the price of admission for me. This album brings it all back.

put that cigarette out...
Better than the original if only because there is more of it. Young Man Blues has to be one of the great rock covers and beats any Jimi you may want to compare it with (in my view). Fortune Teller is less than I expected (having read much about its role in the Who's development but never having heard it) and the version of A Quick One is not as good as the Kids Are Alright/Rock'n'Roll Circus version (the best rock TV performance ever - except for Iggy doing I;m Bored on Countdown in 1978 maybe). It's Meaty Beaty Big Bouncy and FAST. Love it or it'll kill ya.

Take That, Bootleggers
Originally released as a means to have an official live album in the catalog, The Who are heard in their sonic splendor mixed with the straight-ahead R&B roots in the Leeds University concert from February 1970.
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Subjects:  1. Album Rock    2. British Invasion    3. England    4. Hard Rock    5. Mod    6. Pop    7. Pop/Rock    8. Prog-Rock/Art Rock    9. Proto-Punk    10. Rock    11. Rock & Roll    12. Rock/Pop   

Editorial Review

On their 1967 debut album, the Doors more than fulfilled the promise of their infamously challenging gigs around Los Angeles throughout the previous year. Whether belting out a standard like "Back Door Man" or talk-singing such originals as "The Crystal Ship" and "I Looked at You," leather-clad vocalist Jim Morrison exuded both sensuality and menace. The mixture, on the outsize album finale, "The End," helped rewrite the rules on rock song composition. None of this would have worked, though, were it not for the highly visual instrumental work of keyboardist Ray Manzarek, guitarist Robbie Krieger, and drummer John Densmore, whose work on tracks such as "Take It As It Comes" and the lengthy hit "Light My Fire" virtually defined the rock-blues-jazz-classical amalgam that was acid-rock. Read more

Reviews (281)

One of the best alblums ever
I started off with the doors at a young age, maybe around 8 or 9 becuase my dad was always playing his "Best of the Doors" cd in his car. Immedietly when i heard their sound, i was entranced by the music i have grown to love even more. I got this cd on a trip one year and it has become one of my favorites, i am even listening to it as i type this review. Here is an overview of the songs.
Jim Morrison is the man
First of all the idiot who said this is the most overrated album of the 60's is a complete fool. That is the worst review I have ever read.
The Doors Debut Masterpiece
The Doors debut record has to arguably be one of the greatest debut records of all time, up there with The Mothers of Invention's `Freak Out' (1966) The Velvet Underground's `Velvet Underground & Nico' (1967) Jimi Hendrix's `Are You Experienced?' (1967) The Clash's `The Clash' (1977) and Black Flag's `Damaged' (1981). The thing it lacks is the influential stature of some of the above albums but it had the chart success.
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Subjects:  1. Album Rock    2. Hard Rock    3. Pop    4. Pop/Rock    5. Proto-Punk    6. Psychedelic    7. Rock    8. Rock & Roll    9. Rock/Pop    10. United States of America   

Editorial Review

The precursor to Bowie's masterpiece, The Rise And Fall of Ziggy Stardust And The Spiders From Mars, Hunky Dory points in many of the same musical directions as Ziggy, with Bowie camping it up outrageously through a mixture of cabaret piano, coquettish lyrics and soaring vocals. After the hard rock "The Man Who Sold The World", Mick Ronson's guitar is turned down in favour of plenty of piano and acoustic guitar, as Bowie proves his mettle as a masterful singer-songwriter. Not a dull note is struck on the whole album, which flits from opener "Changes" to the vampy "Oh! You Pretty Thing" to the heart-wrenching "Life On Mars" with a seemingly impeccable ear for a tune. Flirty, sexy and irresistibly seductive. Read more

Features

• Enhanced
• Original recording reissued

Reviews (88)

love this album
amazing. rick wakemen from yes plays piano in this and plays better than I have ever heard him play in anything else that he did apart from yes. intenese and unique. listen to this. a genuine record. harmonies and instruments fit together perfect the sort of intensity that only Bowie could pull off. best songs are life on mars, andy warhol, and the bewley brothers, and oh you pretty boy. i enjoy the lyrics. anyone have anything to reccomend to me?

Some fine moments but not as strong as ZIGGY overall
Those pointing out this disc is not a 'rocker' are correct: Mick Ronson's guitar is seldom allowed to strut his stuff here so those who only like jam-o-ramas will think this one is "weak". Instead, there's a lot of focus on strong piano lines to guide the melodies here (YES' Rick Wakeman on the ivories). Midtempo poppers like the well-known "Changes" and "Oh! You Pretty Things" exemplify the sound here.
Unbelievable!!!
Uhhhh... The word WOW comes to mind! And, it's not just because I'm drunk! I Love this album! Trust me, this is David at his best! ... Read more

Subjects:  1. Album Rock    2. British Folk-Rock    3. England    4. Glam Rock    5. Pop    6. Pop/Rock    7. Popular Music    8. Prog-Rock/Art Rock    9. Proto-Punk    10. Rock    11. Rock/Pop    12. Singer/Songwriter   

Editorial Review

Even darker than their purple-hued debut, the Doors' follow-up, Read more

Reviews (98)

Strange Days, Indeed
Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The original of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
One of the essential 60's albums.
I like most of the Doors albums--they all have certain qualities that make them unique. But "Strange Days" is on a level all by itself...not only when compared to other Doors albums, but all albums of this genre. As my poor mother said when she heard me playing it for the first time back in '67: "He sounds like a depressed crazy." She must have heard "Horse Latitudes!" Back then when parents would say something like that, you knew you were on to something! This is just a deeply dark, emotional piece of art set to haunting rhythms...the Doors "blue period"...even the bluish hued album cover conjures memories from the movie "Freaks." If I were to leave a time capsule from the 60's, I'd almost be afraid to put this ablum in the capsule just because the finders would think we were a bunch of depressed psychotics! Without going through all the songs, since this album is truely on a par with "Abbey Road" in that everyone is very familiar with all of the songs on this album--but from beginning to end each song paints a blue image in black light psychedelia of existing and impending doom...with the exception of "Love me Two Times" which, when compared to the other songs, sounds light hearted! Written by Robby Krieger, it seems a little misplaced on this album. Robby Krieger finally stepped to the foreground and played some great 60's, west coast guitar, something that was pretty much missing from the first album; I always thought the first album was a little heavy with the organ and a little light with the guitar...that evened out with Strange Days. This is an essential 60's album; without it, your collection is missing the dark psychedelic mood that sometimes permeated the 60's not to mention several great great songs. Besides, this album contains the audible "scream of the butterfly"--probably the only time it has been heard since time began. This album came at a time when the Doors were at their creative peak; before all the drugs, booze and notariety took its inevitable toll. I think it is their most creative and interesting album.

Beautiful, Dark Psychedelia
The Doors had already achieved mainstream success with their smash hit album "The Doors", and from the hype that came of that exceptional studio album, they knew their follow-up album would have to be commercially appealling. "Strange Days", while producing several radio hits, can ultimately be seen as the band's most eerie, psychedelic work.
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Subjects:  1. Album Rock    2. Hard Rock    3. Pop    4. Pop/Rock    5. Popular Music    6. Proto-Punk    7. Psychedelic    8. Rock    9. Rock & Roll    10. Rock/Pop   

Features

• Original recording remastered

Reviews (3)

Not as good as the Buddah releases but....
I bought this new version because of the great job Buddah Records did a few years back with Rock and Roll Heart and The Bells in remastering. I was hoping for more of the same from RCA/Legacy but it's not quite as good.
Amazing job -- get this!
Great sound, and the 6 bonus tracks are really quite terrific -- 3 of them were available on his box set or as a b-side or on comps, and those are tremendous. Then there are 3 others that were never before available and they're unbelievable, too!
huge sound improvement
you will be floored, the sound improvement over the original release is unreal....this is one of his best...this and "blue mask" ... Read more

Subjects:  1. Album Rock    2. New York Punk    3. Pop    4. Pop/Rock    5. Proto-Punk    6. Rock    7. Rock/Pop    8. Singer/Songwriter   

Editorial Review

Best known for their alumni (Rod Stewart, the Stones' Ron Wood, the Who's Kenny Jones), the Faces' brief early '70s run was as musically rewarding as it was boozy and sideshow spectacular. A revamped, bluesier edition of '60s English pop notables the Small Faces, the Faces established a rollicking musical identity that threatened to overshadow the Stones at their own game. Though the group dissolved under the pressures of Stewart's burgeoning solo career and Wood's recruitment into comfortable career Stonedom, the Faces were about much more than just individual talents. The folksy vulnerability of the late bassist, songwriter, and vocalist Ronnie Lane (well-represented here by "Debris" and "Ooh La La") kept the lads close to roots both geographical and class, while keyboardist Ian McLagen alternated between barrelhouse-boogie and Hammond B-3 soulfulness and Jones loosely locked into irresistible grooves. They could pillage Motown ("Three Button Hand Me Down") and Chuck Berry ("Cindy Incidentally") for riffs, and turn from countrified blues ("Sweet Lady Mary") to the breakneck boogie of "Too Bad" in a heartbeat. They may have been cheated of hits, but the Faces' music remains warm, heartfelt, and enthusiastic--a legacy that's aged much better than the cheap hootch they once drowned themselves in. Read more

Reviews (31)

Classic Rock And Roll
Though their popularity was somewhat overshadowed by the solo success of lead singer Rod Stewart, The Faces were truly a great band. There were all about making great music and having a good time, and that shows on this 19 track best-of.
More than boozy bawdy tales........
If you loved The Faces in "the good old days", but never got around to buying/hearing all their albums, Good Boys....When They're Asleep is an excellent starting place to revisit them.
A Definite Desert Island CD ..You Can Bring the Gin as well..
What we have here are the standout tracks from one of the better UK bands that graced the world of rock.
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Subjects:  1. Album Rock    2. Hard Rock    3. Pop    4. Proto-Punk    5. Rock    6. Rock & Roll    7. Rock/Pop   

Editorial Review

The last official Doors studio album, Read more

Reviews (138)

Thanks, Jim!
Jim Morrsion died while this album was climbing the charts.I can't listen to "L.A. Woman" without mixed feelings of joy and sadness.Joy- because the music, lyrics, and vocals are so fantastic.Sadness- because this is the last Doors studio album.
LA Woman LA Woman
This was by far the best Doors album that they put out. After everything that they went through putting up with Jim this was a masterpiece. This album really showd that Jim could write some amazing songs.
An uneven, but worthy, finale
At this point, Jim Morrison had pretty well drank himself to the state of uselessness, at times showing up for sessions late (or not at all) and not usually cooperating when he did. So it's a surprise that there's anything even remotely listenable about this album. And there is - six of ten songs are quite good, but this one's still quite overrated.
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Subjects:  1. Album Rock    2. Hard Rock    3. Pop    4. Pop/Rock    5. Popular Music    6. Proto-Punk    7. Rock    8. Rock & Roll    9. Rock/Pop   

Editorial Review

Some contend Roxy Music peaked on their first two LPs, the ones with Brian Eno. Others contend they were best on their next two LPs, without Eno. Read more

Features

• Original recording reissued
• Original recording remastered

Reviews (35)

The Roxy Masterpiece- 5 stars ain't enough!
This album is by far the best of Roxy's catalogue (I own all their albums except Heart Still Beating and Live 2001). It deserves 10 STARS! If you buy only one Roxy studio album (hard not to, they're all bloody brilliant, even a few tracks of Manifesto), this must be it! Here are my opinions on the tracks:
What a Great Album!
This album is everything that is good about Roxy Music. It's hard to imagine any album that so perfectly encompasses what they're all about. Don't let the racy sleeve make you think this album is trying to sell itself on that. It rocks all the way through, and it just sounds like a great exercise in how to sound stylish and not at all boring.
It's the COUNTRY LIFE for me !!
For the fan of ROCK and ROLL who loves immediately memorable hooks accompanied with amazingly hard driving Pop Rock.No one who LOVES rock and roll couldn't love "The Thrill Of It All" or "Casanova" or any other song on this superb album.This is the hot whip crack ROXY MUSIC; the band that does not have a bad album, but despite the bickering between fans that occur due to allegiances to particular incarnations (all the way through AVALON) COUNTRY LIFE is undoubtedly one of their very best.Brian Ferry could not stop writing wonderful, masterful, Rock and Roll songs, exploring all of their roots, which come to fruition with this album and Roxy's next masterpiece SIREN.COUNTRY LIFE is one of the 1970s most fun, resonant, compelling, and, well, offensively wrapped albums...please note only BLIND FAITH's eponymous album cover was presumed more scandalously overt (or maybe Lennon and Ono's TWO VIRGINS which was, however, discreetly blank on the outside)...okay, I expect Brian Ferry did not mean to offend, but merely to lampoon his lusty ideals.One cannot listen to this album, look at that cover, and not love the 1970s and ROXY MUSIC, and this HOT as HOT POP ROCK CAN GET record album.And ROXY MUSIC, at that point, would apparently do nearly anything ("All I Want Is You") to chart a record in the USA...and they did, with those booby models on the cover, this record album peaked in March of 1975 at number 37 on the BILLBOARD Top 40 Albums chart with a mere 3 weeks on that chart (and there were still no USA single hits at this point).There were a lot of great albums out there in 1974 and 1975.Even with its scandalous (so to speak) cover, COUNTRY LIFE was overlooked in the USA, yet, relentlessly, has slowly floated to the surface, elbowing its way past contemporaries to be recognized as one of the VERY BEST of that year and that decade.You can hear everybody who was influenced by it...just listen to it!!
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Subjects:  1. Album Rock    2. Glam Rock    3. Pop    4. Pop/Rock    5. Prog-Rock/Art Rock    6. Proto-Punk    7. Rock    8. Rock/Pop   

Editorial Review

Always up for messing with the formal expectations of rock, Bowie teamed up with Brian Eno for three frustrating but compelling albums, starting with Read more

Features

• Enhanced
• Original recording reissued

Reviews (87)

Bowie and Eno Deliver the Unexpected
David Bowie's first collaboration with Brian Eno holds up remarkably well. Released in 1977, "Low" mixes the experimental with commercial pop -- leaning heavily toward atmospheric instrumentals. Highlights include "Speed of Life," "Always Crashing in the Same Car," "Be My Wife" and the classic "Sound and Vision." Not for all tastes, but a must for any Bowie aficionado.

Portrait of Another World
The cover is the clue to this iconoclastic album. It's an altered still from "The Man Who Fell to Earth". When this was released on LP, the songs of the first side were leftovers from more commercial albums (somewhat like the second side of Abbey Road, where small piece of unfinished songs were turned into one of the must successful musical montages ever committed to vinyl.) Though Bowie presents more finished pieces, they are short but strange vignettes (my favorite is Always Crashing in the Same Car). But side two is where Eno steps in, and it helps to know that Eno and Bowie were continuing the mythology presented in "Man Who Fell to Earth". It's the portrait of an ancient, sophisticated world, tribal evidently, whose sun is becoming a red giant. Warzawa captures the spirit of this civilization. Art Decade is the memory of it's great past, in better times. Weeping Wall is conflict as water disappears and a planet loved by it's inhabitants dies before their eyes. Subterraneans are the temporary survivors, forced underground to eke out a much reduced life away from the sun that will eventually consume their world. The music is heart-breakingly noble, eloquent, tragic, melancholy. It's a history. A portrait of ending. And a tribute to a beautiful thing, now past. I recommend it to anyone who wishes to hear in music the the soul and spirit of an alien world.

A Visionary Masterpiece
Out of my ridiculously extensive record collection, "Low" is in my Top Ten. I was floored when it was released because it combines the talents of two of my very favorite artists. This is the first album in what is now referred to as the Berlin Trilogy, Bowie's collaboration with composer/ambient god/theorist/producer Brian Eno. "Low" was followed by "'Heroes'" in '78 and "Lodger" in '79 and the subsequent music got progressively (regressively?) more pop/rock and less experimental. I should note that "Low" came out at the (arguable) height of the punk movement so it sounded like nothing out there at the time and after the hit-and-miss blue-eyed soul of "Young Americans" and "Station To Station", this was a consistently brilliant surprise.
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Subjects:  1. Album Rock    2. Experimental    3. Experimental Rock    4. Pop    5. Pop/Rock    6. Popular Music    7. Prog-Rock/Art Rock    8. Proto-Punk    9. Rock    10. Rock/Pop    11. Synthesizer   

Editorial Review

One of Bowie's more stellar moments working with Brian Eno, Read more

Features

• Enhanced
• Original recording reissued

Reviews (53)

Bowie and Eno's sophomore effort.
In 1977, David Bowie and Brian Eno were riding a creative wave-- their first collaboration, "Low", was an artistic triumph and stands among the best work in the catalog of either musician.The followup, "Heroes", nearly equalled their first collaboration.
There's no "Sense of Doubt" about this album: It's a classic
David Bowie and Brian Eno improved upon the already perfect 1977 album LOW with the ambitious HEROES. The album starts off with the legendary "Beauty and the Beast," and from that moment on it's obvious that this album defines Bowie's excursions in electronic, German-influenced music. It's the best Bowie album in the entire catalogue besides ZIGGY STARDUST, and one listen to each of the album's tracks is all it takes to realize this.
Highroad Gone Right
Though Bowie laments about his highroad gone wrong in the opening track of this album, the general consensus is that his better music requires some insanity on the side.
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Subjects:  1. Album Rock    2. Art-Rock/Experimental    3. Experimental    4. Experimental Rock    5. Pop    6. Pop/Rock    7. Popular Music    8. Prog-Rock/Art Rock    9. Proto-Punk    10. Rock    11. Rock/Pop   

Editorial Review

Released in 1969 to an almost total lack of critical acclaim or consumer interest, the Velvet Underground's third album may well be the finest record of the band's career. Without the sonic terrorism of Read more

Features

• Original recording reissued
• Original recording remastered

Reviews (107)

Sublime
Although not quite as utterly phenomenal as their peerless debut, and hardly comparable to the abrasive sonic assault of White Light/White Heat, the Velvet's epynomous third album does indeed stand up on its understated, simple, yet hauntingly poignant set of folk and garage inspired rock/pop. Despite their avant-garde inclinations, most of Lou Reed and Co's (of course this being the first album without John Cale) songs were still elementally 'pop' - with recogniseable song structures, melodies.etc. This probably refines and simplifies that which was glimpsed at in the Velvet Underground and Nico.