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The Velvet Underground - White Light/White Heat Album

Velvet Underground Verve Records Avantgarde Experimental Noise Art Rock 1968
The Velvet Underground - White Light/White Heat Album
Performer: The Velvet Underground
Genre: Rock
Title: White Light/White Heat
MP3 album size: 1230 mb
FLAC album size: 2548 mb
Style: Avantgarde, Experimental, Noise, Art Rock
Country: US
Released: 30 Jan 1968
Catalog number: V6-5046
Label: Verve Records
Download MP3 Download FLAC

Tracklist


1White Light/White Heat
Words By, Music By – Lou Reed
2:44
2Lady Godiva's Operation
Words By, Music By – Lou Reed
4:52
3There She Comes Now
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling MorrisonWords By – Lou Reed
2:00
4I Heard Her Call My Name
Words By, Music By – Lou Reed
4:05
5The Gift
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling MorrisonWords By – Lou Reed
8:14
6Sister Ray
Music By – John Cale, Lou Reed, Maureen Tucker, Sterling MorrisonWords By – Lou Reed
17:00

Versions


CategoryArtistTitle (Format)LabelCategoryCountryYear
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Eas)Verve RecordsV6-5046US1968
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
B0019338-01The Velvet Underground White Light/White Heat ‎(2xLP, Album, Dlx, RE, 45t)UMe, Verve RecordsB0019338-01US2013
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, RE, Oak)Verve RecordsV6-5046USUnknown
CategoryArtistTitle (Format)LabelCategoryCountryYear
V-5046, V/V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, Promo, Wes)Verve Records, Verve RecordsV-5046, V/V6-5046US1968
825 119-2The Velvet Underground White Light/White Heat ‎(CD, Album, RE, RM, PDO)Verve Records825 119-2US1986
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, Mono, RE, Oak)Verve RecordsV6-5046USUnknown
23 91 328The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Polydor23 91 328Spain1985
V6-5046The Velvet Underground White Light/White Heat ‎(LP, Album, RE)Verve RecordsV6-5046US2000

Credits


  • Cover [Cover Concept] – Andy Warhol
  • Design [Cover] – Acy R. Lehman
  • Engineer [Director Of] – Val Valentin
  • Engineer [Recording] – Gary Kellgren
  • Percussion – Maureen Tucker
  • Photography By [Cover] – Billy Name
  • Photography By [Liner] – Mario Anniballi
  • Producer – Tom Wilson
  • Vocals, Guitar, Bass Guitar – Sterling Morrison
  • Vocals, Lead Guitar, Piano – Lou Reed
  • Vocals, Viola [Electric], Organ, Bass Guitar – John Cale
  • Bass – John Cale, Sterling Morrison
  • Design [Cover] – Acy R. Lehman
  • Engineer [Director] – Val Valentin
  • Engineer [Recording] – Gary Kellgren
  • Guitar – Lou Reed, Sterling Morrison
  • Mastered By – Bob Ludwig
  • Music By – John Cale (tracks: 2, 4, 6), Lou Reed, Sterling Morrison (tracks: 2, 4, 6)
  • Percussion – Moe Tucker
  • Photography By [Back Cover Photo] – Mario Anniballi
  • Photography By [Cover Photo] – Billy Name
  • Photography By [Inside Photos] – Suzan Cooper Archives
  • Piano – Lou Reed
  • Producer – Tom Wilson
  • Viola [Electric], Organ – John Cale
  • Vocals – John Cale, Lou Reed, Sterling Morrison
  • Words By – Lou Reed

Notes


Original US stereo pressing (East Coast):
- Visible skull tattoo on front cover.
- Tracklisting on back mis-titles "Here She Comes Now" as "There She Comes Now"
- Back cover credits Lou Reed for "Lead Guitar" rather than just "Guitar"
- Andy Warhol is credited on back cover
- spine reads "V6-5046 WHITE LIGHT/WHITE HEAT THE VELVET UNDERGROUND VERVE"
- "Three Prong Music" publishing credit on all tracks.

®© Metro-Goldwyn-Mayer Inc./Printed in U.S.A.Originally released in 1968.

Japanese mini lp replica CD in cardboard sleeve with Obi strip.

Entire collection (POCY-9001 to POCY-9006) listed on back of Obi.

Barcodes


  • Rights Society: BMI
  • Matrix / Runout (A-Side Label): MGS-1258
  • Matrix / Runout (B-Side Label): MGS-1259
  • Matrix / Runout (A-Side Runout Etching): V6-5046 SIDE 1 MGS-1258 11 [block-shaped 'S']
  • Matrix / Runout (B-Side Runout Etching): V6-5046 SIDE 2 MGS-1259 11 [block-shaped 'S']
  • Matrix / Runout (A-Side Runout, Variant II): V6-5046 SIDE 1 MGS-1258 [etched] 12 [stamped] [block-shaped 'S']
  • Matrix / Runout (B-Side Runout, Variant II): V6-5046 SIDE 1 MGS-1258 [etched] 12 [stamped] [block-shaped 'S']
  • Barcode: 4 988005 249081

Companies


  • Record Company – Universal Music K.K.
  • Record Company – MGM Records
  • Record Company – Metro-Goldwyn-Mayer, Inc.
  • Copyright (c) – Metro-Goldwyn-Mayer, Inc.
  • Published By – Three Prong Music
  • Manufactured By – MGM Records Division
  • Pressed By – MGM Record Manufacturing Division

Video

Album


Said Lou Reed of the album, No one listened to it, but there it is forever the quintessence of articulated punk. The performance, apparently from John Cale's collection, was recorded at the Gymnasium in New York in April, 1967 two of its songs previously appeared on the 1995 Peel Slowly and See box set. Regardless of its lack of commercial success, the anti-beauty album is a true cult-favorite and one of the most. The Velvet Underground - Lady Godiva's Operation. Lou Reed. The Velvet Underground - I Heard Call My Name. Many of their live performances featured noisy improvisations that. They toured throughout most of 1967. And no one goes near it. White LightWhite Heat at Number 293 on its list of the 500 Greatest Albums of All Time. Как может не нравится White Light Я в машине подпеваю постоянно. The Velvet Underground - Sister Ray. By the time the song appeared on The Velvet Underground in 1969, it had become lither and wittier, and Reed had sharpened a few of its lyrics this broad-shouldered, clomping version is distinctly not there yet, but everything the Velvets released on their official albums is so canonical that it's strange and heartening to realize that their songs didn't just. According to SoundScan, It was the lowest selling studio album released by the VU at least in the USA. frontal assault on cultural and aesthetic propriety. White LightWhite Heat is the second studio album by American rock band the Velvet Underground, released in 1968 by record label Verve. By the time the song appeared on The Velvet Underground in 1969, it had become lither and wittier, and Reed had sharpened a few of its lyrics this broad-shouldered, clomping version is distinctly not there yet, but everything the Velvets released on their official albums is so canonical that it's strange and heartening to realize that their songs didn't just. 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 LightWhite Heat was a no-holds-barred. The Velvet Undergrounds second studio album, White LightWhite Heat, is undoubtedly one of the noisiest, most experimental, and most controversial albums of the 1960s. 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 LightWhite Heat was a no-holds-barred. The performance, apparently from John Cale's collection, was recorded at the Gymnasium in New York in April, 1967 two of its songs previously appeared on the 1995 Peel Slowly and See box set. year White LightWhite Heat came out. The Velvet Underground - Here She Comes Now. And sadly, for most of the world, that statement was not too far off. It was the band's last studio recording of new material with bassist and founding member John Cale. It was the band's last studio recording of new material with bassist and founding member John Cale. White LightWhite Heat. Inspired by media hype, and encouraged by deceitful songs on the radio Airplane, Mamas and Papas, Eric Burdon, teenage ninnies flocked from Middle-America out to the coast, Velvets guitarist Sterling Morrison remembered in Victor Bockris and Gerard Malangas Uptight: The Velvet Underground Story. After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico 1967, the band's relationship with Andy Warhol deteriorated. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. White LightWhite Heat - The Velvet Underground. Формируйте собственную коллекцию. Ищете треки из альбома White Light, White Heat исполнителя The Velvet Underground Тогда заходите на наш сайт - слушайте музыку онлайн и скачивайте бесплатно. Ну а Here She Comes проста поэтому всем и нравится. The Velvet Underground. When the Velvet Underground entered New Yorks Mayfair Sound Studios to begin work on the album in September 1967, the vaunted Summer of Love was still grooving in San Francisco and blissed-out hippie scenes were something the Velvets wanted absolutely no part of. 1 - White Light White Heat : 00:00 2 - The Gift : 02:49 3 - Lady Godiva's Operation : 11:09 4 - Here She Comes Now : 16:07 5 - I Heard Her Call My Name : 18. 1 - White Light White Heat : 00:00 2 - The Gift : 02:49 3 - Lady Godiva's Operation : 11:09 4 - Here She Comes Now : 16:07 5 - I Heard Her Call My Name : 18. After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico 1967, the band's relationship with Andy Warhol deteriorated. The Velvet Underground - Lady Godiva's Operation
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Mot
Can anyone help me positively identify my copy of this?Everything is exactly the same on my copy as this release down to the last detail except the runout is one digit different. The 11s after MGS-1258 & MGS-1259 in the runouts, are 12s on my copy. Would you consider that a seperate release, a runout variation, or not different enough to note?
Vobei
this record made me return to techno besides Silver Apples, Miles Davis, Amon Düül I + II, Frank Zappa - reppetive grooves of Sister Ray are marvellous, jazzy instruments solo changes. Very strong music capturing a weird feeling
Fonceiah
What is the original inner sleeve for this LP ? Plan white or the Verve "jazz" inner sleeve ? Help me.
Macage
Just chiming in to say that it's the same with my copy. Has a Verve Jazz inner sleeve which looks like it's the original.
Tebei
I have the Verve Jazz inner sleeve with my copy and I assumed that was the original. The sleeve certainly looks like it’s from ‘68.
Talrajas
No idea, I was wondering also. Did u ever find out?
Whiteseeker
Help me out! My copy's spine says: V6-5046 WHITE LIGHT/WHITE HEAT VERVE. No Velvet Underground mentioned! Everything else points it to be US 1. press. And no visual "skull tattoo" on the cover either.
Ceck
Check out https://www.discogs.com/The-Velvet-Underground-White-LightWhite-Heat/release/2203913 . It fits your description so far but you'll want to compare the quality of the labels too. Best regards / M
Samulkis
Once upon a time in America, back when there were actual records, music was new, and exploration was more then half the fun, there was a chain of music stores called Tower Records, who catered to those of us who walked around with big pieces of plastic, like they were badges of honor. I had my first experience with Tower in Los Angeles ... where you could actually go into the store and ask to hear an album before you purchased it. Along one side of the store were these rooms, not much bigger then a telephone booth, each room had a turntable, and that’s where we'd spin record after record, finding what was hip, and what was a waste of time. Now don’t go thinking this was all fun and games, it wasn’t. Listening like this required stamina, fortitude, and commitment ... because while you could stay and listen for as long as you wanted, in each booth burned a one hundred and fifty watt light bulb, and if you tried to leave the door open to get some cool fresh air, the turntable would stop spinning. So while the concept was outstanding, they wanted to get you in and out as fast as possible. But not me ... some slick baby cakes showed me how to put a piece of masking tape over the button on the door, holding it down, the turntable on, and the door cracked just enough to make it all bearable. And here is where I heard “White Light White Heat” for the first time ... so you can dig the connection between the album and the listening experience.The first thing that hit me was how completely different this release was, as compared to their first outing. And even today, the albums of the Velvet Underground remain as distant, and all but forgotten landmarks of the bohemian underground that existed in New York City during the last half of the 1960’s. Non of my friends got what I was hearing ... remember, this was the hippie generation, flower power, love, and extended rolling jams designed to facilitate your trip. But “White Light, White Heat” was a nightmare set to music, with themes of death, incest, sex, and violence, all fueled by speed and heroin. Unlike “The Velvet Underground with Nico,” there were no hits to be found here for radio air play, the songs seemed incomplete, and open ended, reminding me of movie “cliff hangers,” where words like “Stay Tuned” would be plastered across the screen at the end of the show.I guess what I’m saying is that The Velvet Underground should be seen [or heard] as expansive. Certainly they drew from the times, and “Sister Ray,” a seventeen minute orgasm is the prime example. Here they take jamming to the next level, Maureen Tucker’s drumming is so crude it’s almost delicious, while the guitar distortion of Morrison and Reed finds a groove that metal artist would use for the next forty years. Surprisingly many of the songs possess a tender side, with graceful harmonies, upstaged only by the interlacing of guitar patterns, which at times have the feel of tape loops ... something John Cale would explore in much greater detail on his solo works.While as brilliant an album as “White Light, White Heat” was, I place it right beside The Beatles’ “Sgt. Pepper,” with its strength being the influence it had, rather then the lasting listenability of the record. I know that it sounds as if I’m sidestepping the importance and magic of this album ... I’m not. This is a body of work that is passionately held by all of those who discover it. But I tell you true, with the passing of time, the memory of the music, and the memory of the lyrics ... all that they inspired in my young head, were far better then actually listening to the record.Don’t go searching for meaning, “White Light, White Heat” is not the Holy Grail, it just is what it is, and the fact that it has stood the test of time, is all the testament that is needed. Never the less ... this is a once in a life time release, where each member of the band was on the same page at the same time, and an album that needs to be part of everyone’s collection, as it's a footprint from the rock and roll evolution. I’m just happy to say that I was there when it all broke free, and if that sounds like I’m bragging, well then maybe I am.*** The fun facts: In 1968, The Velvet Underground released White Light/White Heat with a seemingly all-black album cover. If you take a closer look, though, you can see a faint image of a skull tattoo on Andy Warhol collaborator Joe Spencer's arm. "After the first album came out, Lou [Reed] said the he would like me to be responsible for the album art for the second album,” explained Billy Name, photographer and former manager of Andy Warhol's Factory, who said, Why don’t you look through my negatives, see if you find something you like, and he found this one and pointed to it. It turned out to be a tattoo that was on Joe Spencer’s arm, his bicep. So I had to blow it up from a 35 millimeter negative, meaning that it came out pretty grainy. So we decided to do a black on black.” The darkened image is really hard to spot unless you know what you're looking for or you place the album cover under a black light. The reissue features a more pronounced tattoo image.Review by Jenell Kesler
Doomwarden
Can someone recommend a version of this album that sounds good on vinyl? I know it's not the best recording but I've tried two versions of this album, stereo versions, one from '85 and one from '90 and neither sound that good. The polygram reissue from '85 is ok. Wondering if the mono versions are better?
Wishamac
So far the original copy sounds the best. I have a US yellow Verve label "DJ Copy" of this and it sounds the best so far. I haven't heard all the variations of this of course so I'm only speaking from limited experience.
Ynonno
Kind of noisy album, anyway it would feel engaging if not for lazy and very out of tune voices, making it difficult to even hear sometimes.Sister Ray is the most interesting theme in this release.3 of 10
Gaxaisvem
That's why it's so highly revered as avant-garde. Great music incorporates the genuine voice, the rawness of sound, the energy of the brash and-not least-the absolute genius of original lyric and story.
Nuadazius
Why the Blu-Ray Audio edition is not listed yet?
Kulalbine
Cuz you haven't entered it. Who wants Blu Ray audio, though! This is supposed to be heard on a crappy old turntable turned up to 10!
godlike
The reflection of the photographer in the cover image here looks like something else entirely.
Kefym
Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian
Gavirus
You are the proud owner of a mis-pressed copy of WL/WH. This is the so-called 'black label Hollywood reissue' from the early 70s.According to Olivier's site anyway - link here http://olivier.landemaine.free.fr/vu/discog/lps/usa/lpsusa.htmlVerve V6-5046, early 70sblack label "Hollywood" reissueSide 1: 'k' V6-5046 MGS 1258Side 2: k V-5046 MG1259Front cover with skull, V6-5046 on top left.Back cover has V/V6-5046 on top right and V-5046 written upside down on lower right hand corner. It reads There She Comes Now, Lou Reed lead guitar credit, Warhol credit.Spine reads: V6-5046 WHITE LIGHT/WHITE HEAT THE VELVET UNDERGROUND VERVE.Black Verve label with Hollywood label address.Another mispressing!! Side 1 is stereo and side 2 mono.I have the previous mis-pressing of this album where side 1 is mono and side 2 is stereo.Both strange beasts to be sure. I've no idea how many were pressed and no idea of value either.
BlackBerry
Hi there, I also have this pressing. Has anyone tracked down more info?
Jerinovir
Hi Dave, it seems to be a second pressing of the album from 1970. I am trying to get more info on this but it has the black verve label and A side is stereo and B side mono which seems to be what the 2nd pressing was like.
Rageseeker
Hi Thanks for the info but mine is not that version. I have owned my copy since the mid 1980's and it was second hand then whereas that version was produced in 1998. Also the front and spine do not say "Legacy cat#: V6/5046" it just says V6/5046 on it. Thanks for the suggestion though.
Flas
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Aedem
don't know if you sorted this out yet but is this the version:http://www.discogs.com/Velvet-Underground-White-LightWhite-Heat/release/1316194
Gom
Hi Ian,I've just come across your post regarding White Light/White Heat, black cover without the skull. Like you I am going around in circles trying to find out when this was pressed and what it is. Did you ever get to the bottom of this? I'd appreciate any info you might be able to pass on.Thanks for your help,Dave ians4464 Hi, I seem to have an unusual copy of this album which someone may have some knowledge of. The front cover is black without the skull and it has cat number V6-5046 top left and STEREO top right. It is made from very thick cardboard and the back cover is almost sepia rather than black and white with the mis-spelling of Here she comes now, Lou credited for lead guitar but no crediting of Andy Warhol for cover concept. (I read on another site that the first pressings didn't have Andy Warhol credited, but his name was added to subsequent editions). Also the spine says "V6-5046 White light/White Heat The Velvet Underground Verve" as indicated is on the original edition.However, it is on the record itself where there seems to be the real unusual attributes. It is the black rather than blue verve label and the matrix codes are unusual as Each side has both the mono and the stereo matrix codes. Etched into the run off groove on side A is the matrix code V6 5046 MGS 1258, and it is indeed a stereo recording on Side 1. Etched onto the run off groove on side B, however, is the matrix code V 5046 Side 2 MG 1258, and is indeed the mono recording of side 2! Has anyone come across a similar version of this album?Cheers,Ian
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