1967-1970, three years and four albums of hedonism, decadence and transcendence.
The Warhol scene, notorious for big parties and big names was swinging at its highest peak. And the factory was the place to be for any socialite with their ear to the street. The highest royalty in the fastidiously exclusive scene were The Velvet Underground. The Factory and the bohemians that frequented it were a large source of inspiration for the Velvet’s and in many ways their discography is a reflection of those wild parties and in slightly fewer ways their discography is like a party…
The Velvet Underground And Nico- ‘67
Like the start of all good soirees the Velvet’s debut album was a mixed bag. An eclectic mix of street tales and a diverse range of sounds and atmospheres. In the corner an abuser recounts his tribulations of addiction and the trouble with his lazy dealer. A ethereal femme fatale floats through the party, dragging all eyes with her with the effortless grace of a feather floating to the ground. A hopeless romantic admits his infatuation with his dominatrix and the consuming jealousy he feels when he has to watch his fille de joie go again. ‘The Velvet Underground And Nico’ sets a scene, it establishes the rules of this party- anything goes and deviants rein free. The nebulous tranquility of ‘Sunday Morning’ and the screeching power of ‘Venus In Furs’ are only moments apart and if you haven’t got the stomach for it, you better leave.
White Light/White Heat- ‘68
Now the party is really going, charged with amphetamine the atmosphere is electric. A wild and unfettered orgy of distortion and disorder. The title track starts the blowout with a feral energy that is equally intoxicating and bewildering, it’s a lean your head back and deeply inhale through your nose moment. On ‘I Heard I Call My Name’ Reed’s jittery vocal delivery feels like he is on the verge of a speed freak out, accompanied again by discordant guitars and relentless drums. There are moments of reprieve in the chaos, ‘Here She Comes Now’ feels like the lingering split second moment of connection when lovers eyes first meet through the onslaught of mayhem surrounding them. The final track ‘Sister Ray’, a behemoth of 17 minutes is a twisted mess of improvisation and noise. Done in a single take, the instruments come in and out of the foreground, in parts Reed’s slicing, abrasive guitar rings above everything else and in others Cale’s bass thuds heavily on top of the rest of the instruments. Themes of transvestites, drugs, sex and the police, this is the parties tour de force. Turbulent, untamed and almost random, the album is spontaneous and explosive just like the best parties.
Velvet Underground- ‘69
The raging party has lost its intense momentum, the speed is wearing off and the come down has begun. A hazy cloud has settled and the atmosphere has slowed in to an ethereal, fragile contentment and the crowd are nursing themselves back to health. Regrets from the intoxicated escapades of the hours gone by manifest themselves in ‘Candy Says’ and in a moment of desperation ‘Jesus’ is even called upon to bring them through the hard hours. However it isn’t all bad, romance has been sparked and in the late hours of the party moments of emotional honesty and adminatance are facilitated in ‘Pale Blue Eyes’. The album is a lullabye after party, gentle and sweet. Like a hymn of comfort after a gospel of wild degeneracy.
‘Loaded’- ‘70
(If you thought this analogy has been pretty far fetched so far you’re in for a treat now) The party’s over and the revellers have gone home. The Velvets golden hours (years) are over and there is a shift in their chemistry and dynamic. Times have changed and they can’t be quite as odd as in their past. Sonically ‘Loaded’ is an acceptance of the pop sensibilities that the band had so vehemently rejected in their past records. The record begins with the sickeningly sweet ‘Who Loves The Sun’ a bouncy summer’s day song that would feel at home on a Beach Boys record. ‘Sweet Jane’ opens with the same sparkly water fountains of sound and continues into a basic but refined Rock & Roll classic. These comments could easily be misconstrued as criticisms, however this could not be further from the truth. The Velvets had done their intoxicating, raucous, party years, they proved that they were the best. It was time to move on, and ‘Loaded’ is them moving on. Highlights like ‘I Found A Reason’ and ‘Rock & Roll’ prove that the band could make some of the best pop rock of the golden years. It is a firmly grounded classic and the culmination of their years. ‘Loaded’ is the swan song. Now listen to ‘Oh Sweet Nuthin’ and get a bit nostalgic.