|White Light/White Heat|
|Studio album by|
|Released||January 30, 1968|
|Studio||Scepter Studios, Manhattan|
|The Velvet Underground chronology|
|1976 UK reissue cover|
|1988 reissue cover|
|Singles from White Light/White Heat|
White Light/White Heat is the second studio album by American rock band the Velvet Underground, released in 1968 by record label Verve. It was the band's last studio recording of new material with bassist and founding member John Cale.
After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico (1967), the band's relationship with Andy Warhol deteriorated. They toured throughout most of 1967. Many of their live performances featured noisy improvisations that would become key elements on White Light/White Heat. The band fired Warhol, parted ways with Nico, and recorded their second album with Tom Wilson credited as producer.
The album was recorded in just two days, and with a noticeably different style from that of The Velvet Underground & Nico. Decades after its release, John Cale described White Light/White Heat as "a very rabid record... The first one had some gentility, some beauty. The second one was consciously anti-beauty."Sterling Morrison said: "We were all pulling in the same direction. We may have been dragging each other off a cliff, but we were all definitely going in the same direction."
The record's lyrics vary from themes of drug use and sexual references (such as fellatio and orgies), including the song "Lady Godiva's Operation", about a transsexual woman's botched lobotomy,[unreliable source?] and the title track "White Light/White Heat", which describes the use of amphetamine.
"Here She Comes Now" is built around a double-entendre. On the album's last track, "Sister Ray", Lou Reed tells a tale of debauchery involving drag queens having a failed orgy, while the band plays an improvised seventeen-minute jam around three chords.
The album cover to White Light/White Heat is a faint image of a tattoo of a skull. The tattoo was that of Joe Spencer, who played the lead role in Warhol's 1967 film Bike Boy. Spencer starred as a hustler in a motorcycle gang and is seen taking a shower in the movie. Although he was not credited for the cover design as with their debut album, it was Warhol's idea to use a black-on-black picture of the tattoo. Reed selected the image from the negatives from the film, and it was enlarged and distorted by Billy Name, one of the members of the Factory. It is difficult to distinguish the tattoo, as the image is black, printed on a slightly lighter black background. On this cover, the album name, the Verve logo, and the band name are all on one line.
An alternative cover was used for Polydor's mid-1980s reissues. This cover had a completely black background, without the arm in the background. On this version, the album name, Verve logo, and band name are printed on three separate lines.
There also exists a unique MGM Records UK cover, produced from 1976 until the early '80s, featuring a white background and abstract toy soldiers.
|Encyclopedia of Popular Music|||
|The Rolling Stone Album Guide|||
|Spin Alternative Record Guide||9/10|
Like other releases by the group, the album's socially transgressive lyrical themes and avant-garde instrumentation challenged popular music sensibilities at the time, creating a muted reception. The album briefly appeared on the Billboard 200, peaking at number 199. Retrospective reviews have been much more positive, with the album being listed at number 293 on Rolling Stone magazine's list of the 500 greatest albums of all time.
From 1991 to 2013, White Light/White Heat sold 113,000 copies in the U.S.
White Light/White Heat contains distorted, feedback-driven, and roughly recorded sound, which is regarded as influential. British rock band Buzzcocks were formed by Pete Shelley and Howard Devoto out of a shared interest in "Sister Ray".
All tracks written by Lou Reed except where noted.
|1.||"White Light/White Heat"||2:47|
|2.||"The Gift"||Reed, Sterling Morrison, John Cale, Maureen Tucker||8:18|
|3.||"Lady Godiva's Operation"||4:56|
|4.||"Here She Comes Now"||Reed, Morrison, Cale||2:04|
|1.||"I Heard Her Call My Name"||4:38|
|2.||"Sister Ray"||Reed, Morrison, Cale, Tucker||17:28|
|45th Anniversary Deluxe Edition disc one (stereo version) bonus tracks|
|7.||"I Heard Her Call My Name" (Alternate take)||4:39|
|8.||"Guess I'm Falling In Love" (new mix)||3:34|
|9.||"Temptation Inside Your Heart" (Original mix)||2:33|
|10.||"Stephanie Says" (Original mix)||2:50|
|11.||"Hey Mr. Rain" (Version one - new mix)||4:40|
|12.||"Hey Mr. Rain" (Version two - new mix)||5:24|
|13.||"Beginning to See the Light" (new mix - previously unreleased early version)||3:39|
|45th Anniversary Deluxe Edition disc two (mono version)|
|1.||"White Light/White Heat"||2:47|
|3.||"Lady Godiva's Operation"||4:55|
|4.||"Here She Comes Now"||2:04|
|5.||"I Heard Her Call My Name"||4:38|
|7.||"White Light/White Heat" (Mono single mix)||2:48|
|8.||"Here She Comes Now" (Mono single mix)||2:04|
|9.||"The Gift" (Vocal version)||8:08|
|10.||"The Gift" (Instrumental version)||8:16|
|45th Anniversary Deluxe Edition disc three: Live at the Gymnasium, New York City, April 30, 1967)|
|2.||"I'm Not a Young Man Anymore" (previously unreleased)||6:17|
|3.||"Guess I'm Falling in Love"||4:10|
|4.||"I'm Waiting for My Man" (previously unreleased)||5:28|
|5.||"Run Run Run" (previously unreleased)||6:58|
|6.||"Sister Ray" (previously unreleased)||19:03|
|7.||"The Gift" (previously unreleased)||10:25|
Come autore, ha scritto su temi quali il sadomasochismo (Venus in Furs), travestiti (Sister Ray), e transessuali sottoposti a lobotomia (Lady Godiva's Operation). [As an author, he has written on topics such as sadomasochism (Venus in Furs), transvestites (Sister Ray), and transsexuals undergoing lobotomies (Lady Godiva's Operation).]