153. The Velvet Underground — The Velvet Underground (1969)

Just a normal ol’ band

1. I recently watched Todd Haynes’s Velvet Underground documentary (streaming on Apple TV+). I found it to be formally interesting (aiming for a sort of Warhol-esque pop-art presentation of images and sounds) but ultimately a bit too by-the-numbers of an interviews-and-footage documentary on the band. Nonetheless, the dry approach to the history of the Velvet Underground did help me better understand the transition of the band that led us to this self-titled release.
2. It’s such a strange experience to hear this relatively normal version of The Velvet Underground. By 1969, John Cage and his general avant garde-ness had left the band, leaving Lou Reed to his own devices. The result was, unexpectedly to this listener, a pretty straightforward rock album. Normal melodies, simple song structures, highly accessible, this album stands in sharp contrast to The Velvet Underground + Nico and White Light / White Heat. In a certain sense, that’s disappointing; in a different sense, it’s refreshing. I’m trying to make sense of it.
3. To be clear: it’s a very good album. It’s clear both from the album and the documentary that Reed was yearning for more popular acclaim; he wanted to be a rock star, not an underground hero. He mostly achieves his goals. Opener “Candy Says” sets the tone — a more conventional late-60s rock tune, about Warhol star and trans actress Candy Darling, featuring Reed’s typical cutting lyrics that manage to be both hyper specific and universal at the same time. “What Goes On,” following immediately after, fits neatly into the late-60s rock that was developing at the time, with a driving rhythm guitar and almost anthemic melody, intercut with more typically experimental guitar solos.
4. From there, the album continues with really no notably weak moments. “Pale Blue Eyes” is a gorgeous ballad, earning its place in the pantheon of Velvet Underground tunes. Album closer “After Hours” is a bright spot — a childlike jingle sung by drummer Maureen Turner. Evidently the song became a cult favorite on tour, as fans delighted her gentle vocals and the simplicity of the tune. It’s a perfect conclusion to the album given the goals of the record.
5. After many listens, this album is going to end up ranking highly on the list thus far. Ultimately, it’s impressive to see a band strip itself down to honor the songwriting in this manner, calling to mind The Decemberists’ release of The King Is Dead following their rock opera Hazards of Love, or Radiohead’s Hail To The Thief following Kid A/Amnesiac. More avant garde artists should embrace a roots approach — and vice versa.

Next up: the Quicksilver Messenger Service rolls into town

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