orded...what we were trying to do was really fry the tracks.[17]The recording was raw and oversaturated. Cale has stated that while the debut had some moments of fragility and beauty, White Light/White Heat was "consciously anti-beauty." The title track and first song starts things off with John Cale pounding on the piano like Jerry Lee Lewis. It was later included in the repertoire of David Bowie. Despite the dominance of noisefests like "Sister Ray" and "I Heard Her Call My Name", there was room for the darkly comic "The Gift", a short story written by Reed and narrated by Cale in his deadpan Welsh accent. The meditative "Here She Comes Now" was later covered by Galaxie 500, Cabaret Voltaire, and Nirvana, among others.The album was released on January 30, 1968, entering the Billboard Top 200 chart for two weeks, at number 199.However, tensions were growing: the group was tired of receiving little recognition for its work, and Reed and Cale were pulling the Velvet Underground in different directions. The differences showed in the last recording session the band had with John Cale in February 1968: two pop-like songs in Reed’s direction ("Temptation Inside Your Heart" and "Stephanie Says") and a viola-driven drone in Cale’s direction ("Hey Mr. Rain"). (None of these songs were released until they were included on the VU and Another View compilation albums.) Further, some songs the band had performed with Cale in concert, or that he had co-written, were not recorded until after he had left the group (such as "Walk It and Talk It", "Guess I’m Falling in Love", "Ride into the Sun", and "Countess from Hong Kong").[edit] The Velvet Underground (1969)Main article: The Velvet Underground (album)Before work on their third album started, Cale was eased out of the band and was replaced by Doug Yule of Boston group the Grass Menagerie, who had been a close associate of the band. The Velvet Underground was recorded in late 1968 (released in March 1969). The cover photograph was taken by Billy Name. The LP sleeve was designed by Dick Smith, then a staff artist at MGM/Verve. Released on March 12, 1969, the album failed to make Billboard's Top 200 album chart.It has often been reported that before Cale's departure there was a struggle between his creative impulses and Reed's: Cale's experimentalist tendencies had contrasted with Reed's more conventional approach. According to Tim Mitchell, however, Morrison reported that though there was creative tension between Reed and Cale its impact has been exaggerated over the years.[18]In any case, the harsh, abrasive tendencies on the first two records were almost entirely absent on their third album. This resulted in a gentler sound influenced by folk music, prescient of the songwriting style that would form Reed's solo career. Another factor in the change of sound was the band's Vox amplifiers and assorted fuzzboxes being stolen from an airport while they were on tour. In addition, Reed and Morrison had purchased matching Fender 12-string electric guitars. Doug Yule plays down the i Related articles:

• such as Danny Johnson
• de matières
• EX SITU c’est