"© 2017 Universal Records, a Division of UMG Recordings Inc., Booadway, New York, NY 10019-USA. "823 290-1 STEREO" catalog number on top left, barcode on top right. Gatefold cover with pelable banana sticker.īack cover with Emerson. Unauthorised copying, hiring, lending, public peformance and broadcasting prohibited. "© 2016 Universal Records, a Division of UMG Recordings, Inc. "536 836-8 STEREO" catalog number on top left, barcode on top right. "Back To Black | UNIVERSAL | UNIVERSAL MUSIC GROUP INTERNATIONAL | INCLUDES A VOUCHER TO DOWNLOAD MP3 VERSION OF THE ALBUM | 180 Gram Heavyweight Vinyl | | b2b_redeem_stk" black sticker and red "Coloured Vinyl | 5368368" pasted on shrink wrap.īack cover with Emerson. Gatefold cover with peelable banana sticker. "© 1967 Universal Records, a Division of UMG Recordings, Inc. "371 710-8 STEREO" catalog number on top left, barcode on top right. "45th ANNIVERSARY VERSION | NEWLY RE-MASTERED FROM ORIGINAL TAPES | ORIGINAL ARTWORK | 180 GRAM HEAVYWEIGHT VINYL | INCLUDES A VOUCHER TO DOWNLOAD AN MP3 VERSION OF THE ALBUM" black sticker and "THE VELVET UNDERGROUND & NICO" clear sticker pasted on shrink wrap.īack cover with Emerson. Includes a voucher to download an mp3 version of the album. "Back To Black" picture-disc in clear vinyl sleeve with "Back To Black" sticker. Album DescriptionThe Velvet Underground LPs European Union See More Your browser does not support the audio element. This album sounds less like the Velvet Underground than any of their studio albums, but it's as personal, honest, and moving as anything Lou Reed ever committed to tape. "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. (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. 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. 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. Purchase and download this album in a wide variety of formats depending on your needs.
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