The Sound of Rebellion, Art, and the Underground
The Velvet Underground & Nico isn’t just another record—it’s a dive headfirst into the underbelly of ‘60s New York, where the streets are littered with needles and the nightlife hums with something dangerous. Lou Reed doesn’t just sing—he talks, sneers, confesses. John Cale drags a viola through the gutter, turning sound into menace. Nico floats above it all, ghostly and untouchable.
Bang. Crash. Screech. Lou Reed's voice, a sandpaper caress laced with heroin chic, slithers out of the speakers. This isn't just another rock 'n' roll record, kids. This is a trip to the dark side of the Factory, a sonic seduction in black leather.
The year is 1967. The Summer of Love is in full swing, but there's a counter-culture brewing in the shadows of Warhol's silver-lined studio. The Velvet Underground, a motley crew of misfits led by Reed and the ethereal Nico, are crafting a soundtrack for the beautiful and damned.
Their self-titled debut, released in '67 with Warhol's iconic banana gracing the cover, was a slap in the face of flower power. This wasn't about peace and love; it was about addiction, sado-masochism, and the seedy underbelly of New York City.
"Sunday Morning," with its dreamy viola and Nico's haunting vocals, opens the album on a deceptively serene note. But don't be fooled, the darkness lurks just beneath the surface. "I'm Waiting for the Man" is a raw, gritty ode to scoring dope, while "Venus in Furs" delves into the world of S&M with unflinching honesty.
Pre-punk, Avant-Garde, Noise Rock
The Velvet Underground have also been known as The Velvets.
Red Polydor SPELP 39 / 2354 033 (2354033)
Record Format: 12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 grams
1967-1969, Made in England (Re-Issue)
Produced by Tom Wilson. Additional production by Andy Warhol.
Scepter Studios, New York.
Designed by Andy Warhol, featuring the iconic banana cover.
The album cover of "Velvet Underground" is striking, dominated by a black background that makes the bold, white, handwritten-style lettering of the band's name stand out at the top. The text appears casual and raw, almost like it was scrawled in haste, capturing the band’s underground aesthetic.
Centered on the cover is a blue-tinted filmstrip graphic that creates a visual frame, reminiscent of old photographic negatives. Within this frame, there is a high-contrast black-and-white photograph of the four band members. Lou Reed is positioned slightly forward, wearing a striped button-down shirt, his expression intense and direct. To his left, a bandmate (likely Sterling Morrison) leans in slightly, his curly hair casting soft shadows on his forehead. To Reed’s right, drummer Maureen Tucker wears a casual, unbuttoned denim shirt, her short hair giving her an androgynous presence. John Cale, on the far right, is immediately recognizable with his thick, bushy mustache and long hair that falls just above his shoulders.
The filmstrip is labeled "SAFETY FILM" at the top in black capital letters, adding a nostalgic, cinematic feel. Below the image, in small white text, are three featured song titles: "White Light/White Heat," "Beginning to See the Light," and "Run Run Run." The cover's design effectively balances the band's raw, gritty energy with a visual nod to underground film and photography, reinforcing their status as pioneers of avant-garde rock.
This is a close-up of Side One of "The Velvet Underground" self-titled album, released on Polydor Records. The label is a deep red, with the iconic Polydor logo at the top—a bold black semicircle with a small cutout, resembling a stylized vinyl record. The band's name, "The Velvet Underground," is printed in strong black capital letters just below.
Centered on the label is a rectangular white-bordered section containing the words "MADE IN ENGLAND" and the catalog number "SPELP 39 (2354 033)." To the right, "STEREO 33" indicates the playback format and speed.
The tracklist is neatly arranged in numbered order, with each song title followed by the songwriter's name in parentheses. Notable tracks include "White Light/White Heat," "What Goes On," "Venus in Furs," and "Here She Comes Now." Each title stands out against the vibrant red background.
Production credits are listed near the bottom, crediting Tom Wilson as producer, with the additional note that the album was arranged and conducted by The Velvet Underground. Andy Warhol is also acknowledged as a producer. The text further states that the "Original Sound Recording" was made by Polygram Records Inc. (New York).
The record's spindle hole is centered within the label, cleanly cut, and surrounded by subtle grooves from the vinyl's pressing process. Around the edge of the label, small white capital letters run in a circular fashion, stating copyright information and restrictions on unauthorized reproduction, broadcasting, and performance.
Atlantic K 30022 , 1972 , USA
Live at Max's Kansas City were recorded on August 23, 1970, by Andy Warhol associate Brigid Polk on a portable cassette recorder.
Live At Max's Kansas City 12" Vinyl LPPolydor SPELP 20-A 2490 159 , 1967 , UK
The Velvet Undergroun is aka The Velvets and featured Lou Reed and John Cale
The Velvet Underground With Nico Gt Britain 12" Vinyl LPPolydor SPELP 39 / 2354 033 , 1967-1969 , England
This is the self-titled "The Velvet Underground" compilation album re-issue from May 1986 ( originally released in 1969 ).
VELVET UNDERGROUND - Self-Titled 12" Vinyl LP