Released in 1969 to an almost total lack of critical acclaim or consumer interest, the Velvet Underground's third album may well be the finest record of the band's career. Without the sonic terrorism of The Velvet Underground & Nico and White Light/White Heat or the ill-conceived commercial concessions that marred Loaded, the album's songs are free to stand on their own merit. And stand they do: "What Goes On" and "Beginning to See the Light" may be the finest flat-out rockers in the band's catalogue, while "Pale Blue Eyes", "Jesus", and "Candy Says" are some of the most delicately gorgeous songs Lou Reed has ever penned. There's no evidence here of any of the psychedelic effects and hippie sloganeering that marked most late-1960s rock releases, which is probably why the record still holds up today. --Dan Epstein

I keep on coming back to some of the tracks on this album, and yes, I did buy it on shiny black vinyl when it came out in the late sixties. For me, some kinda love, pale blue eyes, and what goes on are the standout tracks, but, it has to be said, there's not one duffer on the album. Best of all, it sounds as good today as it did back in sixty nine. An absolute classic gem of soft but weird rock, beautifully produced and recorded, and showcasing Lou Reed's song writing at its best. Buy it and enjoy! This is one of the best albums of all time, and truly seminal in the way it influenced rock music from then on.

This was the Velvet Undergrounds third album and the first without John Cale. After the distortion laced, White Light White Heat, this album showcases solid song writing glued together by more thoughtful arrangements. The VU's can still burn through high energy numbers as proved by Lou Reed's almost ecstatic delivery of Beginning to See the Light but John Cale's uncompromising razor-wire viola has been replaced by Doug Yule's altogether lighter touch. Don't get me wrong, they are not scared to take risks, just listen to the experimental Murder Mystery.

Here are some of Lou Reed's finest songs. Complex and subtle lyrics are woven into some of his most compelling tunes.

The album pays dividends from repeated listening as each new playing draws further dimensions to the fore. If you want to own just one Velvet Underground album you won't go far wrong with this.

I'll stick my neck out here- the Velvets, for all their reputation as terrifying, noisy avant-garde terrorists, are actually at their best when gentle, warm and melodic (eg Sunday Morning), and this album proves it. Amazingly for a Velvets album, it has (can you believe this?) production values, as well as highlights aplenty- such as Lou Reed's thrilling rhythm guitar solo on What Goes On, and the blissful trio Candy Says, Jesus and Pale Blue Eyes.
The real peak however, comes at the middle of the album- the soaring triumvirate of the Stonesy romp Beginning to see the Light (Lou sound like he's actually enjoying himself here, listen to him whoop at the chorus!), the almost catatonic I'm Set Free, and the jangly That's the Story of My life, which verges on being a throw-away track, but in the best possible way- in the way that only a great songwriter like Lou Reed could get away with.
The old adage about every Velvet's fan forming a band seems borne out by this record too. The blissed-out solo on I'm Set Free could be an offcut from the Pixies' Bossanova, while The Murder Mystery's bass riff must surely have inspired Joy Division (incidentally Ian Curtis named his dog Candy after the opening track!), while even After Hours has something of Oasis' Digsy's Dinner about it. It may not always quite reach the soaring peaks of the first album (like Venus in Furs), but overall its probably a better album, the Velvets having ditched the unlistenable elements without losing their alternative credentials (which would go completely out the window with the next album, Loaded).

After the unfortunate departure of John Cale, the Velvet Underground had a musical revamp -- their third album, "The Velvet Underground" is smoother and less gritty. Stripped of the shock value, the best of the Velvet Underground shines through -- great musical skills and beautiful songwriting.

That change is evident from the very start, "Candy Says," which is sort of the musical musings of transsexual Candy Darling. Rather than playing this for shock value, the way the Velvets did earlier -- see songs like "Heroin" and "Venus in Furs" -- it's soft, sweet and a bit poignant, ending with "Maybe when I'm older/What do you think I'd see/If I could walk away from me."

That mellower tone sets the stage for the rest of the album, which relies on poetic lyrics and strong music -- they no longer sing about S&M and drugs, but about self-examination and redemtpion. The Velvets' rock sound is less jagged and more laid-back, and they even take a foray into twangy country music in "Some Kinda Love."

A few songs hint at the earlier work that the Velvets did, with tambourines and blurred, high vocals from Lou Reed. But can you imagine the Velvet Underground, in their first album, ever singing a non-satirical song about Jesus Christ, as they do in one haunting ballad on here? I certainly can't, and it seems to be a part of the pensive, self-examining mood that permeates this album.

The one exception is "The Murder Mystery." It's literally impossible to understand the "right voice" and "left voice" speaking in this song. It's interesting, but completely unintelligible. However, this is amply made up for in the mature instrumentation and lyrics; while Doug Yule was not as great as John Cale, he does a good job with the organ. The fuzzy edge of Velvet Underground rock is retained, while they branched out into ethereal ballads and pretty acoustic songs.

Reed's lyrics betray a greater maturity, and maybe greater poignancy. "One minute born, one minute doomed,/One minute up, one minute down/What goes on in your mind?" he ponders at the start of the album. He sings some of the songs, sounding surprisingly melodic, since his voice was kind of creaky; on the other hand, Moe Tucker provides some fair vocals for songs like "After Hours."

The Velvet Underground hit another peak in their self-titled album. Softer, more thoughtful, this shows them off at their best.

This the second Velvet's album that I own having decided that i didn't like White Light/White Heat all that much. The other album I own is the Velvet Underground & Nico. VU & Nico was for a long time one of my favourite albums but i have to say within 24 hours this has definitely replaced it. This is an album of subtlety and simplicity but at the same time none of the melodies are predictable or boring. The opening track, Candy Says, is perhaps the finest song of the album. Sung by Doug Yule whose voice is drenched in reverb (maybe to give the feeling of isolation or being in a smacked-out state?!?), this song is an unusual opener to an album but serves its purpose by hooking whoever may be listening with its beauty. What Goes On is the most successful of the two rockier tunes (Beginning to See The Light) with a catchy melody and a great driving organ (played by Doug Yule). Some Kinda Love is perhaps the weakest track on the album simply because it doesn't stand out. I would say the same for The Story of My Life. The next two tracks (Pale Blue Eyes, Jesus) are, again beautiful, the latter with some simple but lovely harmonies and an unusual rhythm being played on the bass. I'm set free has the same kind of quirky feel that any fan of the Velvet Underground has come to expect. Murder Mystery is perhaps the true master piece of this album with a disorientating spokenword verse (Lou Reed speaks slowly on the right whilst Doug Yule blasts your left ear with a faster paced incantation). The atmosphere of thick organ and drone-driven guitar combined with the innocent singing of Maureen Tucker and sinister musings of Reed and Yule creates an
atmosphere reminiscent of the poetry of Edgar Allan Poe. Yule holds the same kind of pace and rhythm. To conclude, this album will sit nicely in any music collection as a piece of simple but original pop music. I would point anyone towards this album, however, who likes music that evokes dark atmospheres or strange feelings or anyone who loved the so-called "heroin-chic" of the Velvet Underground & Nico.