The Velvet Underground Discography

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Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group's lot to be ahead of, or at least out of step with, their time. The mid- to late '60s was an era of explosive growth and experimentation in rock, but the Velvets' innovations – which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics – were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. the Velvets' music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years. By the 1980s, they were acknowledged not just as one of the most important rock bands of the '60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales.
Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group was uncompromising in their music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But their colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives have come to define street-savvy rock & roll.
Reed loved rock & roll from an early age, and even recorded a doo-wop type single as a Long Island teenager in the late '50s (as a member of the Shades). By the early '60s, he was also getting into avant-garde jazz and serious poetry, coming under the influence of author Delmore Schwartz while studying at Syracuse University. After graduation, he set his sights considerably lower, churning out tunes for exploitation rock albums as a staff songwriter for Pickwick Records in New York City. Reed did learn some useful things about production at Pickwick, and it was while working there that he met John Cale, a classically-trained Welshman who had moved to America to study and perform "serious" music. Cale, who had performed with John Cage and LaMonte Young, found himself increasingly attracted to rock & roll; Reed, for his part, was interested in the avant-garde as well as pop. Reed and Cale were both interested in fusing the avant-garde with rock & roll, and had found the ideal partners for making the vision (a very radical one for the mid-'60s) work; their synergy would be the crucial axis of the Velvet Underground's early work.
Reed and Cale (who would play bass, viola, and organ) would need to assemble a full band, making tentative steps along this direction by performing together in the Primitives (which also included experimental filmmaker Tony Conrad and avant-garde sculptor Walter DeMaria) to promote a bizarre Reed-penned Pickwick single ("The Ostrich"). By 1965, the group was a quartet called the Velvet Underground, including Reed, Cale, guitarist Sterling Morrison (an old friend of Reed's), and drummer Angus MacLise. MacLise quit before the band's first paying gig, claiming that accepting money for art was a sellout; the Velvets quickly recruited drummer Maureen Tucker, a sister of one of Morrison's friends.
Even at this point, the Velvets were well on their way to developing something quite different. Their original material, principally penned and sung by Reed, dealt with the hard urban realities of Manhattan, describing drug use, sadomasochism, and decadence in cool, unapologetic detail in "Heroin," "I'm Waiting for the Man," "Venus in Furs," and "All Tomorrow's Parties." These were wedded to basic, hard-nosed rock riffs, toughened by Tucker's metronome beats; the oddly tuned, rumbling guitars; and Cale's occasional viola scrapes. It was an uncommercial blend to say the least, but the Velvets got an unexpected benefactor when artist and all-around pop-art icon Andy Warhol caught the band at a club around the end of 1965. Warhol quickly assumed management of the group, incorporating them into his mixed-media/performance art ensemble, the Exploding Plastic Inevitable. By spring 1966, Warhol was producing their debut album.

Warhol was also responsible for embellishing the quartet with Nico, a mysterious European model/chanteuse with a deep voice whom the band accepted rather reluctantly, viewing her spectral presence as rather ornamental. Reed remained the principal lead vocalist, but Nico did sing three of the best songs on the group's debut, The Velvet Underground & Nico, often known as "the banana album" because of its distinctive Warhol-designed cover. Recognized today as one of the core classic albums of rock, it featured an extraordinarily strong set of songs, highlighted by "Heroin," "All Tomorrow's Parties," "Venus in Furs," "I'll Be Your Mirror," "Femme Fatale," "Black Angel's Death Song," and "Sunday Morning." The sensational drug-and-sex items (especially "Heroin") got most of the ink, but the more conventional numbers showed Reed to be a songwriter capable of considerable melodicism, sensitivity, and almost naked introspection.
The album's release was not without complications, though. First, it wasn't issued until nearly a year after it was finished, due to record-company politics and other factors. The group's association with Warhol and the Exploding Plastic Inevitable had already assured them of a high (if notorious media) profile, but the music was simply too daring to fit onto commercial radio; "underground" rock radio was barely getting started at this point, and in any case may well have overlooked the record at a time when psychedelic music was approaching its peak. The album only reached number 171 in the charts, and that's as high as any of their LPs would get upon original release. Those who heard it, however, were often mightily impressed; Brian Eno once said that even though hardly anyone bought the Velvets records at the time they appeared, almost everyone who did formed their own bands.

A cult reputation wasn't enough to guarantee a stable livelihood for a band in the '60s, and by 1967 the Velvets were fighting problems within their own ranks. Nico, never considered an essential member by the rest of the band, left or was fired sometime during the year, going on to a fascinating career of her own. The association with Warhol weakened, as the artist was unable to devote as much attention to the band as he had the previous year. Embittered by the lukewarm reception of their album in their native New York, the Velvets concentrated on touring cities throughout the rest of the country. Amidst this tense atmosphere, the second album, White Light/White Heat, was recorded in late 1967.
Each of the albums the group released while Reed led the band was an unexpected departure from all of their other LPs. White Light/White Heat was probably the most radical, focusing almost exclusively on their noisiest arrangements, over-amped guitars, and most willfully abrasive songs. The 17-minute "Sister Ray" was their most extreme (and successful) effort in this vein. Unsurprisingly, the album failed to catch on commercially, topping out at number 199.
By the summer of 1968, the band had a much graver problem on its hands than commercial success (or the lack of it). A rift developed between Reed and Cale, the most creative forces in the band and, as one could expect, two temperamental egos. Reed presented the rest of the band with an ultimatum, declaring that he would leave the group unless Cale was sacked. Morrison and Tucker reluctantly sided with Lou, and Doug Yule was recruited to take Cale's place.

The group's third album, 1969's The Velvet Underground, was an even more radical left turn than White Light/White Heat. The volume and violence had nearly vanished; the record featured far more conventional rock arrangements that were sometimes so restrained it seems as though they were making an almost deliberate attempt to avoid waking the neighbors. Yet the sound was nonetheless effective for that; the record contains some of Reed's most personal and striking compositions, numbers like "Pale Blue Eyes" and "Candy Says" ranking among his most romantic, although cuts like "What Goes On" proved they could still rock out convincingly (though in a less experimental fashion than they had with Cale). The approach may have confused listeners and critics, but by this time their label (MGM/Verve) was putting little promotional resources behind the band anyway.

Even in the absence of Cale, the Velvets were still capable of generating compelling heat on-stage, as 1969: Velvet Underground Live (not released until the mid-'70s) confirms. MGM was by now in the midst of an infamous "purge" of its supposedly drug-related rock acts, and the Velvets were setting their sights elsewhere. Nevertheless, they recorded about an album's worth of additional material for the label after the third LP, although it remains unclear whether this was intended for a fourth album or not. Many of the songs, though, were excellent, serving as a bridge between The Velvet Underground and 1970's Loaded; a lot of it was officially released in the 1980s and 1990s.

The beginning of the 1970s seemed to herald considerable promise for the group, as they signed to Atlantic, but at this point the personnel problems that had always dogged them finally became overwhelming. Tucker had to sit out Loaded due to pregnancy, replaced by Yule's brother Billy. Doug Yule, according to some accounts, began angling for more power in the band. Unexpectedly, after a lengthy residency at New York's famous Max's Kansas City club, Reed quit the band near the end of the summer of 1970, moving back to his parents' Long Island home for several months before beginning his solo career, just before the release of Loaded, his final studio album with the Velvets.

Loaded was by far the group's most conventional rock album, and the most accessible one for mainstream listeners. "Rock and Roll" and "Sweet Jane" in particular were two of Reed's most anthemic, jubilant tunes, and ones that became rock standards in the '70s. But the group's power was somewhat diluted by the absence of Tucker, and by the decision to have Doug Yule handle some of the lead vocals. Due to Reed's departure, though, the group couldn't capitalize on any momentum it might have generated. Unwisely, the band decided to continue, though Morrison and Tucker left shortly afterward. That left Doug Yule at the helm of an act that was the Velvet Underground in name only, and the 1973 album that was billed to the group (Squeeze) is best forgotten, and not considered as a true Velvets release.
With Reed, Cale, and Nico establishing important solo careers of their own, and such important figures as David Bowie, Brian Eno, and Patti Smith making no bones about their debts to the band, the Velvet Underground simply became more and more popular as the years passed. In the 1980s, the original albums were reissued, along with a couple of important collections of outtakes. Hoping to rewrite the rules one last time, Reed, Cale, Morrison, and Tucker attempted to defy the odds against successful rock reunions by re-forming in the early '90s (Nico had died in 1988). A European tour, and a live album, was completed in 1993 to mixed reviews; before a planned American jaunt could start, Reed and Cale (who have feuded constantly over the past few decades) fell out yet again, bringing the reunion to a sad close. Sterling Morrison's death from illness in 1995 seems to have permanently iced any prospect of more projects under the Velvet Underground name, although a few of the surviving members played together when they were inducted into the Rock and Roll Hall of Fame. By that time, an impressive five-CD box set (containing all four of the studio albums issued when Reed was in the band, as well as a lot of other material) was available to enshrine the group's legacy for the ages.

by Richie Unterberger, Allmusic

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The Velvet Underground — американская рок-группа 1960-х и 1970-х годов, стоявшая у истоков альтернативной музыки. Название часто сокращают до V.U. или The Velvets. Ключевые участники Velvet Underground — Лу Рид и Джон Кейл, относительно успешно продолжающие сольную карьеру после ухода из группы.
Несмотря на то, что пластинки группы продавались небольшими тиражами, Velvet Underground оказали огромное влияние на судьбу рока. Хорошо демонстрирует влияние Velvet Underground известная фраза (которую часто приписывают Брайану Ино) о том, что мало кто покупал пластинки Velvet Underground в то время, когда они выходили, но каждый, кто купил, основал свою собственную группу. Критики соглашаются, что творчество группы стало поворотным моментом в истории рок-музыки. Velvet Underground были одной из первых групп, экспериментировавших в авангардном направлении. Сложный и экспериментальный звук, как и реалистичные тексты Лу Рида, повлиял на развитие панка, нойз-рока и альтернативного рока. Медитативность, тягучесть композиций первого альбома группы повлияла на становление пост-панка. Эксперименты с фидбэком и нойзом на втором альбоме — на нойз-рок, особенно на главную группу нойз-попа Jesus And Mary Chain.

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Forty-fifth anniversary box set release from The Velvet Underground & Nico featuring the latest remastering. Set consists of 6 discs includes 29 unreleased tracks in a 92-page hardcover book packaging with a sticker of banana. Japanese edition features the high-fidelity SHM-CD format (compatible with standard CD player). The set includes both stereo and mono versions of the album "The Velvet Underground & Nico" (Disc 1-2), as well as Nico's 1967 solo debut CD "Chelsea Girl" (Disc 3), a studio session at Scepter Studio recorded to acetate, and unreleased recording footage from rehearsal at Andy Warhol's Factory in January 1966 (Disc 4), and a live show from Columbus, Ohio (Disc 5-6).

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One would be hard-pressed to name a rock album whose influence has been as broad and pervasive as The Velvet Underground & Nico. While it reportedly took over a decade for the album's sales to crack six figures, glam, punk, new wave, goth, noise, and nearly every other left-of-center rock movement owes an audible debt to this set. While The Velvet Underground had as distinctive a sound as any band, what's most surprising about this album is its diversity. Here, the Velvets dipped their toes into dreamy pop ("Sunday Morning"), tough garage rock ("Waiting for the Man"), stripped-down R&B ("There She Goes Again"), and understated love songs ("I'll Be Your Mirror") when they weren't busy creating sounds without pop precedent. Lou Reed's lyrical exploration of drugs and kinky sex (then risky stuff in film and literature, let alone "teen music") always received the most press attention, but the music Reed, John Cale, Sterling Morrison, and Maureen Tucker played was as radical as the words they accompanied. The bracing discord of "European Son," the troubling beauty of "All Tomorrow's Parties," and the expressive dynamics of "Heroin" all remain as compelling as the day they were recorded. While the significance of Nico's contributions have been debated over the years, she meshes with the band's outlook in that she hardly sounds like a typical rock vocalist, and if Andy Warhol's presence as producer was primarily a matter of signing the checks, his notoriety allowed The Velvet Underground to record their material without compromise, which would have been impossible under most other circumstances. Few rock albums are as important as The Velvet Underground & Nico, and fewer still have lost so little of their power to surprise and intrigue more than 40 years after first hitting the racks.

by Mark Deming

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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 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.

by Mark Deming

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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. 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. (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. "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. 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.

by Mark Deming

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After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio – and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and there's no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything he's ever recorded. And if this release generally maintains a tight focus on the sunny side of the VU's personality (or would that be Reed's personality?), "New Age" and "Oh! Sweet Nuthin'" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. Sterling Morrison once said of Loaded, "It showed that we could have, all along, made truly commercial sounding records," but just as importantly, it proved they could do so without entirely abandoning their musical personality in the process. It's a pity that notion hadn't occurred to anyone a few years earlier.

by Mark Deming

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The Velvet Underground - Squeeze (1974) [16bit/44KHz Vinyl Rip}[/b]
Flac(Image) + Cue & iPod M4A(Tracks) & MP3 CBR 320Kbps
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Rock / Art Rock / Experimental Rock / Avantgarde

Not as bad as you might think doesn’t seem like high praise, but when it comes to Squeeze – the album Doug Yule released under the Velvet Underground’s name after the departure of Lou Reed – it kind of is. Commonly regarded as an opportunistic, misguided disaster, a boneheaded attempt to carry on the legendary Velvets sound without any of the original members, the reputation of Squeeze is nothing short of abysmal – but the thing about that reputation is that it comes from people who have never heard the album. Most people have never heard the album – it’s been buried and rarely heard, so it’s been accepted as common knowledge that it’s awful and the truth is, it’s not. Now, it’s not great, it may not even be good, and in many ways, it is indeed a bit of a sacrilege to what Lou, John, Sterling, and Mo created, a comparison Doug Yule courts by going out of his way to create a commercial rewrite of Loaded, almost following its flow and topics track by track. The plagiarism is shameless – and also misguided, because if nobody bought Loaded in the first place, who would want a glossy version of it? – but it’s also the charm of Squeeze because Yule and his studio cats, headed by Deep Purple drummer Ian Paice, do create something that’s a square, cheerful knock-off of Loaded, containing none of the depth or innovation, but a little bit of its sunny swing. That’s hardly enough to make it unfairly maligned – after all, it doesn’t just ride the coattails of VU’s legacy but deliberately co-opts their achievement – but it’s listenable, something its reputation never suggests, and in a way, it’s almost fun to hear Yule ape Reed, provided that such shameless mimicry does not offend your sensibilities.

by Stephen Thomas Erlewine

Tracklist:

01 Little Jack 3:25
02 Crash 1:21
03 Caroline 2:33
04 Mean Old Man 2:51
05 Dopey Joe 3:05
06 Wordless 3:02
07 She'll Make You Cry 2:44
08 Friends 2:38
09 Send No Letter 3:13
10 Jack And Jane 2:57
11 Louise 5:37

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DR11 0.00 dB -12.84 dB 3:25 01-Little Jack
DR14 0.00 dB -17.72 dB 1:21 02-Crash
DR10 0.00 dB -11.29 dB 2:33 03-Caroline
DR11 0.00 dB -13.26 dB 2:51 04-Mean Old Man
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The Velvet Underground Live with Lou Reed (1969) [2009, UICY-93898/9]
XLD Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
2 x SHM-CD | Universal Music, UICY-93898/9 | ~ 594 or 602 or 296 Mb | Scans Included
Rock / Art Rock / Experimental Rock / Avantgarde

Sadly, outside of a handful of audience tapes of extremely variable fidelity, no one thought to make a live recording of The Velvet Underground during their 1967-68 peak period with John Cale prodding Lou Reed into remarkable flights of noise-rock fancy. However, in 1969 a VU fan who was a recording engineer brought a reel-to-reel tape machine to two shows the band played during an engagement at a club in Dallas called The End of Cole Avenue; a few months later, the band played The Matrix in San Francisco, where a tape machine had been installed into the hall's sound system, and the band was allowed to record their set. Five years later, long after The Velvet Underground had collapsed and Lou Reed's solo career was on the rise, Mercury Records compiled highlights of the Dallas and San Francisco tapes into a two-record set, 1969: Velvet Underground Live, and it is without question the best (legally-released) document of this band's considerable strengths as a live act. While they were a somewhat more sedate band with Doug Yule on bass rather than Cale, they still had plenty of life left in them at this stage of the game; there are few voyages into the sonic unknown here, but Lou Reed and Sterling Morrison had matured into one of rock's most potent guitar combinations, Maureen Tucker was as distinctive a drummer as anyone who picked up a pair of mallets, and with Doug Yule at her side they comprised a truly superb rhythm section. Sounding tight, confident, and passionate on every cut, this set finds the band visiting highlights from all four of their studio albums, as well as a handful of previously unreleased numbers. From the delicacy of "New Age" and "I'll Be Your Mirror" to the rave-up energy of "What Goes On" and "White Light/White Heat," 1969: Velvet Underground Live captures the many sides of their musical personality with commendable skill, and while it isn't their best album, it's one of the best places for a beginner to explore their body of work.

by Mark Deming

Tracklist CD1:

1. Waiting For My Man
2. Lisa Says
3. What Goes On
4. Sweet Jane
5. We're Gonna Have A Real Good Time Together
6. Femme Fatale
7. New Age
8. Rock And Roll
9. Beginning To See The Light
10. Heroin

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Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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-=== DO NOT EDIT THIS FILE! ===-

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––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / 1969 - The Velvet Underground Live (Disc-1)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
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Official DR value: DR11

Samplerate: 44100 Hz
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Bits per sample: 16
Bitrate: 672 kbps
Codec: FLAC

Tracklist CD2:

1. Ocean
2. Pale Blue Eyes
3. Heroin
4. Some Kinda Love
5. Over You
6. Sweet Bonnie Brown - It's Just Too Much
7. White Light/White Heat
8. I Can't Stand It
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XLD

X Lossless Decoder version 20100323 (116.7)
XLD extraction logfile from 2010-04-18 19:51:36 +0600
The Velvet Underground / 1969 - The Velvet Underground Live (Disc-2)
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Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 48
Max retry count : 100
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 00:00:37 | 10:58:27 | 37 | 49413
2 | 10:58:64 | 05:53:30 | 49414 | 75918
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7 | 41:53:29 | 08:37:38 | 188504 | 227316
8 | 50:30:67 | 07:55:05 | 227317 | 262946
9 | 58:25:72 | 02:21:05 | 262947 | 273526
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End of status report

Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-

Path: …\1969 - The Velvet Underground Live (UICY-93898) - CD2 - flac

01 -=- The Velvet Underground - 1969 - The Velvet Underground Live (Disc-2).flac -=- CDDA (100%)

60263988

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log date: 2013-01-25 11:27:10

––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / 1969 - The Velvet Underground Live (Disc-2)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -1.65 dB -14.44 dB 10:58 01-Ocean
DR12 -1.27 dB -15.91 dB 5:53 02-Pale Blue Eyes
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DR9 -1.08 dB -12.23 dB 7:55 08-I Can't Stand It
DR12 -2.01 dB -17.22 dB 2:21 09-I'll Be Your Mirror
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR11

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 653 kbps
Codec: FLAC

===========================

×

The Velvet Underground Discography

Close

The Velvet Underground - Live MCMXCIII (1993) [Sire/Warner Bros., 9362-45464-2]
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
2CD | Sire/Warner Bros., 9362-45464-2 | ~ 855 or 860 or 321 Mb | Scans Included
Rock / Art Rock / Experimental Rock / Avantgarde

If you stepped out on your back porch one morning and saw Pegasus contentedly munching your crabgrass shortly before taking flight, you'd sound a bit churlish if you pointed out that his figure-eight was not perfectly executed. Similarly, in 1992 the prospect of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker burying the collective hatchet and mounting a concert tour as the Velvet Underground seemed only marginally more likely than the previous scenario, so perhaps the most remarkable thing about this live document of the briefly reunited VU performing for a wildly enthusiastic crowd in Paris is that it exists at all. Anyone hoping for a hi-fi re-creation of this band's astounding 1966-1968 live shows is pretty much out of luck; Live MCMXCIII is short on exploration of the outer limits of noise, and long on tightly paced songs, with all of the "hits" featured prominently. What's more, Reed often seems to be having a hard time with his vocals, Cale's singing makes him sound like an especially pretentious veteran of the Old Vic, and Morrison should have spent a bit more time wood-shedding before taking the stage for the first time in two decades. But when they come together, with Tucker's always-steady beat behind them, something remarkable happens – they become the Velvet Underground, perhaps older and a bit worse for wear, but still sounding like one of the greatest rock bands of all time, and when the spirit is with them, they can still make the earth shake. Neophytes and the casually interested should check out 1969: Velvet Underground Live instead, but for longtime fans, Live MCMXCIII is an enjoyable and unexpectedly moving performance, as four of rock's unsung heroes take one last stroll through the songs that made them belatedly famous…and finally get the ovations they deserve.

by Mark Deming

Tracklist CD1:

01. We're Gonna Have A Real Good Time Together (3:15)
02. Venus In Furs (5:20)
03. Guess I'm Falling In Love (3:09)
04. After Hours (2:41)
05. All Tomorrow's Parties (6:37)
06. Some Kinda Love (9:06)
07. I'll Be Your Mirror (3:06)
08. Beginning To See The Light (4:59)
09. The Gift (10:34)
10. I Heard Her Call My Name (4:38)
11. Femme Fatale (3:23)

EAC

EAC extraction logfile from 17. July 2007, 15:34 for CD
The Velvet Underground / Live MCMXCIII

Used drive : _NEC DVD_RW ND-4571A Adapter: 2 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 48
Overread into Lead-In and Lead-Out : No

Used output format : Internal WAV Routines
44.100 Hz; 16 Bit; Stereo

Other options :
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Installed external ASPI interface


Range status and errors
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Peak level 98.8 %
Range quality 100.0 %
CRC DB1C5178
Copy OK

No errors occured

End of status report

Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-

Path: …\1993 - Live MCMXCIII (cd 1) - flac

01 -=- The Velvet Underground - Live MCMXCIII (cd 1).flac -=- CDDA (100%)

240455460

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foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-01-25 11:29:55

––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / Live MCMXCIII (cd 1)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.20 dB -10.95 dB 3:15 01-We're Gonna Have A Real Good Time Together
DR11 -0.20 dB -12.69 dB 5:20 02-Venus In Furs
DR10 -0.20 dB -11.48 dB 3:09 03-Guess I'm Falling In Love
DR12 -1.34 dB -16.20 dB 2:41 04-After Hours
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DR10 -0.20 dB -12.97 dB 3:06 07-I'll Be Your Mirror
DR9 -0.20 dB -10.57 dB 4:59 08-Beginning To See The Light
DR11 -0.66 dB -12.74 dB 10:34 09-The Gift
DR10 -0.10 dB -10.99 dB 4:38 10-I Heard Her Call My Name
DR9 -0.20 dB -11.31 dB 3:23 11-Femme Fatale
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 11
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 884 kbps
Codec: FLAC

Tracklist CD2:

01. Hey Mr. Rain (15:42)
02. Sweet Jane (5:21)
03. Velvet Nursery Rhyme (1:32)
04. White Light/White Heat (4:22)
05. I'm Sticking With You (3:23)
06. The Black Angel's Death Song (4:12)
07. Rock & Roll (6:13)
08. I Can't Stand It (4:21)
09. I'm Waiting For The Man (5:15)
10. Heroin (10:00)
11. Pale Blue Eyes (6:15)
12. Coyote (5:26)

EAC

EAC extraction logfile from 17. July 2007, 15:52 for CD
The Velvet Underground / Live MCMXCIII Disk Two

Used drive : _NEC DVD_RW ND-4571A Adapter: 2 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 48
Overread into Lead-In and Lead-Out : No

Used output format : Internal WAV Routines
44.100 Hz; 16 Bit; Stereo

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Delete leading and trailing silent blocks : No
Installed external ASPI interface


Range status and errors
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Peak level 97.7 %
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CRC F1FEA2F4
Copy OK

No errors occured

End of status report

Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-

Path: …\1993 - Live MCMXCIII (cd 2) - flac

01 -=- The Velvet Underground - Live MCMXCIII (cd 2).flac -=- CDDA (99%)

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foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-01-25 11:30:25

––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / Live MCMXCIII (cd 2)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
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DR10 -0.20 dB -11.11 dB 5:21 02-Sweet Jane
DR11 -0.20 dB -15.44 dB 1:32 03-Velvet Nursery Rhyme
DR10 -0.20 dB -11.25 dB 4:22 04-White Light/White Heat
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DR11 -0.20 dB -13.03 dB 5:15 09-I'm Waiting For The Man
DR10 -0.20 dB -14.18 dB 10:00 10-Heroin
DR11 -0.20 dB -14.08 dB 6:15 11-Pale Blue Eyes
DR13 -0.20 dB -15.33 dB 5:26 12-Coyote
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 12
Official DR value: DR11

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 881 kbps
Codec: FLAC

===========================

×

The Velvet Underground Discography

Close

The Velvet Underground - VU (1985) [2009, UICY-93900]
XLD Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
SHM-CD | Universal Music, UICY-93900 | ~ 202 or 204 or 101 Mb | Scans Included
Rock / Art Rock / Experimental Rock / Avantgarde

Composed principally of songs that would have appeared on the Velvet Underground's unreleased fourth MGM album, this is only slightly less impressive than their first three LPs, striking a balance between the searing pre-punk of their first two efforts and the calm eloquence of the third. "Lisa Says," "Ocean," and "Stephanie Says" are some of Lou Reed's greatest ballads; "I Can't Stand It" is one of the Velvets' toughest and best conventional hard rock songs. Some of the other tunes are slight (if engaging) in comparison with the Velvets' prime work. Many of the tracks were re-recorded by Reed on his early solo albums, and in every instance, the Velvets' versions are better.

by Richie Unterberger

Tracklist:

01. I Can't Stand It
02. Stephanie Says
03. She's My Best Friend
04. Lisa Says
05. Ocean
06. Foggy Notion
07. Temptation Inside Your Heart
08. One Of These Days
09. Andy's Chest
10. I'm Sticking With You

XLD

X Lossless Decoder version 20100401 (117.0)
XLD extraction logfile from 2010-04-21 11:37:40 +0600
The Velvet Underground / VU
Used drive : OPTIARC DVD RW AD-5670S (revision 2AHH)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 48
Max retry count : 100
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 00:00:37 | 03:23:50 | 37 | 15311
2 | 03:24:12 | 02:50:63 | 15312 | 28124
3 | 06:15:00 | 02:48:72 | 28125 | 40796
4 | 09:03:72 | 02:55:03 | 40797 | 53924
5 | 11:59:00 | 05:11:72 | 53925 | 77321
6 | 17:10:72 | 06:43:50 | 77322 | 107596
7 | 23:54:47 | 02:30:28 | 107597 | 118874
8 | 26:25:00 | 03:52:50 | 118875 | 136324
9 | 30:17:50 | 02:52:10 | 136325 | 149234
10 | 33:09:60 | 02:27:25 | 149235 | 160284
Track 01
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/01 - I Can't Stand It.flac
Pre-gap length : 00:02:37
CRC32 hash (test run) : 564A4959
CRC32 hash : 564A4959
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Atom jitter error (maybe fixed) : 0
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Duplicated bytes error (maybe fixed) : 0
Inconsistency in error sectors : 0
Track 02
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/02 - Stephanie Says.flac
Pre-gap length : 00:01:64
CRC32 hash (test run) : A27C0760
CRC32 hash : A27C0760
CRC32 hash (skip zero) : 18733907
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->Track not present in AccurateRip database.
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Inconsistency in error sectors : 0
Track 03
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/03 - She's My Best Friend.flac
Pre-gap length : 00:01:44
CRC32 hash (test run) : 0A2F18AD
CRC32 hash : 0A2F18AD
CRC32 hash (skip zero) : 66DCB75C
AccurateRip signature : A77470C5
->Track not present in AccurateRip database.
Statistics
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Track 04
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/04 - Lisa Says.flac
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Statistics
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Inconsistency in error sectors : 0
Track 05
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/05 - Ocean.flac
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Track 06
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/06 - Foggy Notion.flac
Pre-gap length : 00:01:59
CRC32 hash (test run) : D5CC8D86
CRC32 hash : D5CC8D86
CRC32 hash (skip zero) : CD1DB911
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->Track not present in AccurateRip database.
Statistics
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Track 07
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/07 - Temptation Inside Your Heart.flac
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Track 08
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/08 - One Of These Days.flac
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CRC32 hash (skip zero) : 1FE49800
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->Track not present in AccurateRip database.
Statistics
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Inconsistency in error sectors : 0
Track 09
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/09 - Andy's Chest.flac
Pre-gap length : 00:01:59
CRC32 hash (test run) : 5C5A59B9
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Track 10
Filename : /Users/gubarenko/Desktop/The Velvet Underground - VU/10 - I'm Sticking With You.flac
Pre-gap length : 00:01:57
CRC32 hash (test run) : 4F7A656D
CRC32 hash : 4F7A656D
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->Track not present in AccurateRip database.
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No errors occurred
End of status report

Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-

Path: …\1984 - VU (2009. UICY-93900) - flac

01 -=- The Velvet Underground - VU.flac -=- CDDA (100%)

100080148

DR

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-01-25 11:29:03

––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / VU
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -2.40 dB -16.63 dB 3:24 01-I Can't Stand It
DR13 -4.00 dB -19.81 dB 2:51 02-Stephanie Says
DR13 -2.40 dB -17.96 dB 2:49 03-She's My Best Friend
DR13 -2.40 dB -18.71 dB 2:55 04-Lisa Says
DR13 -3.31 dB -20.04 dB 5:12 05-Ocean
DR12 -2.78 dB -16.87 dB 6:44 06-Foggy Notion
DR15 -2.40 dB -19.32 dB 2:30 07-Temptation Inside Your Heart
DR13 -2.40 dB -17.35 dB 3:53 08-One Of These Days
DR14 -4.26 dB -19.88 dB 2:52 09-Andy's Chest
DR11 -4.90 dB -21.69 dB 2:27 10-I'm Sticking With You
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 10
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 732 kbps
Codec: FLAC

===========================

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The Velvet Underground Discography

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The Velvet Underground - Another View (1986) [2009, UICY-93901]
XLD Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
SHM-CD | Universal Music, UICY-93901 | ~ 212 or 214 or 103 Mb | Scans Included
Rock / Art Rock / Experimental Rock / Avantgarde

After 18 years of having little or no idea of what to do with the Velvet Underground, sometime in 1985 it seems to have suddenly dawned on Verve Records that they had the back catalog of one of America's greatest and most influential rock bands languishing in their vaults, and they began to act accordingly; remastered (and budget-priced) versions of the group's first three albums were released, as well as VU, a superb collection of unreleased Velvet Underground tracks, most of which were recorded for a fourth Verve album that never saw the light of day. Commendably, the label went back to their tape archives a year later looking for more VU goodies, and Another View was the result. One thing that's obvious from the outset is the cream of the band's unreleased material had already been skimmed off for VU, and several of the tracks on Another View are rough demos for which the group never even recorded vocals ("Guess I'm Falling in Love," "Ride Into the Sun," and "I'm Gonna Move Right In" all have lyrics, but you don't hear 'em here). And while the non-bootleg emergence of "I Can't Stand It," "Foggy Notion," and "Temptation Inside Your Heart" made VU a major addition to the Velvet Underground's catalog, it's unclear how many fans were clamoring for an authorized release of second-string tunes like "Ferryboat Bill" and "Coney Island Steeplechase." But if Another View is marginalia, it's marginalia from a truly great band; the rough but rocking takes of "We're Gonna Have a Real Good Time Together" and "Rock & Roll" are great fun, and the two versions of "Hey Mr. Rain" are beautiful explorations of the band's psychedelic undercurrent. Another View isn't essential Velvet Underground, but it's still well worth a listen.

by Mark Deming

Tracklist:

01. We're Gonna Have A Real Good Time Together
02. I'm Gonna Move Right In
03. Hey Mr. Rain
04. Ride Into The Sun
05. Coney Island Steeplechase
06. Guess I'm Falling In Love (instrumental)
07. Hey Mr. Rain
08. Ferryboat Bill
09. Rock And Roll

XLD

X Lossless Decoder version 20100401 (117.0)
XLD extraction logfile from 2010-04-21 12:14:52 +0600
The Velvet Underground / Another View
Used drive : OPTIARC DVD RW AD-5670S (revision 2AHH)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 48
Max retry count : 100
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 00:00:00 | 02:57:40 | 0 | 13314
2 | 02:57:40 | 06:31:65 | 13315 | 42704
3 | 09:29:30 | 04:43:03 | 42705 | 63932
4 | 14:12:33 | 03:26:02 | 63933 | 79384
5 | 17:38:35 | 02:28:38 | 79385 | 90522
6 | 20:06:73 | 03:30:57 | 90523 | 106329
7 | 23:37:55 | 05:29:18 | 106330 | 131022
8 | 29:06:73 | 02:14:65 | 131023 | 141137
9 | 31:21:63 | 05:15:22 | 141138 | 164784
Track 01
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/01 - We're Gonna Have a Real Good Time Together.flac
Pre-gap length : 00:02:00
CRC32 hash (test run) : 44620C77
CRC32 hash : 44620C77
CRC32 hash (skip zero) : 090A394E
AccurateRip signature : CF3A40D1
->Accurately ripped! (confidence 1)
Statistics
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Inconsistency in error sectors : 0
Track 02
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/02 - I'm Gonna Move Right In.flac
Pre-gap length : 00:00:16
CRC32 hash (test run) : A7A9913B
CRC32 hash : A7A9913B
CRC32 hash (skip zero) : BAA6C269
AccurateRip signature : 9E39D8EF
->Accurately ripped! (confidence 1)
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Track 03
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/03 - Hey Mr. Rain [version 1].flac
Pre-gap length : 00:01:69
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->Accurately ripped! (confidence 1)
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Track 04
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/04 - Ride Into the Sun.flac
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->Accurately ripped! (confidence 1)
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Track 05
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/05 - Coney Island Steeplechase.flac
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->Accurately ripped! (confidence 1)
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Track 06
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/06 - Guess I'm Falling in Love.flac
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->Accurately ripped! (confidence 1)
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Track 07
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/07 - Hey Mr. Rain [version 2].flac
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->Accurately ripped! (confidence 1)
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Track 08
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/08 - Ferryboat Bill.flac
Pre-gap length : 00:02:44
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CRC32 hash : DF77F2B8
CRC32 hash (skip zero) : 8E105EEA
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->Accurately ripped! (confidence 1)
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Track 09
Filename : /Users/gubarenko/Desktop/The Velvet Underground - Another View/09 - Rock and Roll.flac
Pre-gap length : 00:03:17
CRC32 hash (test run) : C01B4913
CRC32 hash : C01B4913
CRC32 hash (skip zero) : C8AFA3BA
AccurateRip signature : A139B538
->Accurately ripped! (confidence 1)
Statistics
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Edge jitter error (maybe fixed) : 0
Atom jitter error (maybe fixed) : 0
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Dropped bytes error (maybe fixed) : 0
Duplicated bytes error (maybe fixed) : 0
Inconsistency in error sectors : 0
No errors occurred
End of status report

Audiochecker

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== DO NOT EDIT THIS FILE! ===-

Path: …\1986 - Another View (2009. UICY-93901) - flac

01 -=- The Velvet Underground - Another View.flac -=- CDDA (100%)

151845140

DR

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-01-25 11:29:26

––––––––––––––––––––––––––––––––––––––––
Analyzed: The Velvet Underground / Another View
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -1.98 dB -17.35 dB 2:58 01-We're Gonna Have a Real Good Time Together
DR14 -4.35 dB -21.56 dB 6:32 02-I'm Gonna Move Right In
DR11 -4.59 dB -17.76 dB 4:43 03-Hey Mr. Rain [version 1]
DR11 -3.76 dB -17.65 dB 3:26 04-Ride Into the Sun
DR12 -4.09 dB -18.41 dB 2:29 05-Coney Island Steeplechase
DR13 -2.05 dB -17.28 dB 3:31 06-Guess I'm Falling in Love
DR12 -3.70 dB -16.86 dB 5:29 07-Hey Mr. Rain [version 2]
DR12 -4.45 dB -19.46 dB 2:15 08-Ferryboat Bill
DR11 -5.15 dB -19.13 dB 5:15 09-Rock and Roll
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 761 kbps
Codec: FLAC

All thanks go to mgubarenko, soxatyi, ALLexxess

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