The Velvet Underground – Loaded (2LP, 45RPM)
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Vocals, Piano, Rhythm Guitar - Lou Reed [click here to see more products featuring Lou Reed]
Organ, Bass, Acoustic Guitar, Drums, Piano, Vocals – Doug Yule
Rhythm Guitar – Sterling Morrison
Drums – Moe Tucker
Percussion – Adrian Barber, Bill Yule, Tommy Castanaro
Written by Doug Yule (A1, B2, C2, D2), Lou Reed (A2-3, B1, C1, C3, D1)
2LPs, gatefold jacket printed by Stoughton Printing
Limites Edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Productions - Atlantic 75 series
Original Label : Atlantic
Recorded on April,1970 – August, 1970 at Atlantic Studio, New York City
Engineered by Adrian Barber, Geoffrey Haslam
Remixed by Geoffrey Haslam
Produced by Shel Kagan, Geoffrey Haslam
Mastered by Ryan K. Smith at Sterling Sound
Cover Ilustration and design by Stanislaw Zagorski
Photography by Henri Ter Hall
Originally released in 1970
Reissued in 2024
Tracks:
Side A:
- Who Loves The Sun
- Sweet Jane
- Rock & Roll
Side B:
- Cool It Down
- New Age
Side C:
- Head Held High
- Lonesome Cowboy Bill
- I Found A Reason
Side D:
- Train Round The Bend
- Oh! Sweet Nuthin'
Awards:
Rolling Stone 500 Greatest Albums of All Time - Ranked 242/500
Reviews:
“After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio -- and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and there's no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything he's ever recorded. And if this release generally maintains a tight focus on the sunny side of the VU's personality (or would that be Reed's personality?), "New Age" and "Oh! Sweet Nuthin'" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. Sterling Morrison once said of Loaded, "It showed that we could have, all along, made truly commercial sounding records," but just as importantly, it proved they could do so without entirely abandoning their musical personality in the process. It's a pity that notion hadn't occurred to anyone a few years earlier.” AllMusic Review by Mark Deming
"Before the band became synonymous with downtown cool, the Velvet Underground played a multiband bill at a suburban New Jersey high school in 1965. Parents and kids in the crowd were repelled by the “screeching urge of sound” from Lou Reed and his bandmates, a local reviewer wrote, and retreated in horror after their second song, “Heroin.”
The Velvet Underground soon found a more appreciative audience when artist Andy Warhol spotted them and set them up at the Factory, his Manhattan studio-and-happening space. But wide success and fame eluded the Velvet Underground during their fractious run. They became lionized as edgy musical groundbreakers later on — reversing the stereotypical rock band success story by breaking up and then conquering the world.
Veteran journalist and author Dylan Jones tells that unusual story in “Loaded: The Life (and Afterlife) of the Velvet Underground.” Or more precisely, Jones weaves together an oral history that relies on the voices of friends, Warhol “superstars,” fellow musicians and members of the band. Jones interviewed a bunch of people who were in the orbit of Reed, John Cale and the other band members. The author also relies on past interviews from Reed and others who have died.
The staying power of the Velvet Underground stems from their songs, which could be beautiful, dissonant or hypnotic. But it also revolves around their style, which has been widely copied by rockers ever since. They wore sunglasses inside. They didn’t care what you thought. They could barely stand each other. “We hated everybody and everything,” said Cale." San Francisco Chronicle Review by Michael Hill.
Ratings:
Discogs : 4.68 / 5 ; AllMusic: 4 / 5 ; Collector's Guide to Heavy Metal: 9 / 10