The Velvet Underground: Loaded

Consider the Velvet Underground’s fourth album. Loaded, from 1970, is probably my favorite piece of their work. One of the initial groups to embody the sound of NYC’s filthy underbelly, the band’s first came out in 1967 and was a lesson in originality that set the experimental tone that would come to characterize them while also establishing them as purveyors of their own brand of cool-aid. Their second album contained more of the same as well as an extended art-rock freakout in the form of “Sister Ray” and their third album found them significantly calmer and even lighthearted, evidenced by songs like “Candy Says,” “Pale Blue Eyes” and “After Hours.” But forgoing the path on which they originally set out, the band begrudgingly took the road less traveled by appeasing their record label with an album ‘loaded’ with hits. For the record, none of the singles really charted that high, nor did the album itself. But Loaded has so many good songs, possibly, though not likely, due to Lou Reed’s decreased control over the band (he actually quit shortly before the record was released). The material though, is totally rad, like they’re comfortable in their own skin, doing what feels good, free and easy. “Sweet Jane” is arguably the greatest rock and roll song ever, a life lesson on personal differences with a plain, unpretentious riff played throughout and an undeniable, swaggering groove. The album’s songs alternate between super soft and slow harmonious ruminations like “I Found a Reason” and hoedown hootenannies like “Lonesome Cowboy Bill” and “Head Held High.” My favorite track, the last one, "Oh! Sweet Nuthin,'" starts off innocent enough. Sterling Morrison lackadaisically picks and sustains some comforting notes as drummer Moe Tucker settles into a mellow groove with bassist Doug Yule. “Say a word for Jimmy Brown” sings someone (Reed I think), “he ain’t got nothin’ at all.” Slowly picking up speed, like an overloaded subway train, the vocals grow increasingly agonized. The guitars follow suit, as do Yule and Tucker, building and building in wanton glee before culminating in a no-holds-barred noise attack. The song then ends as it began, returning to the calm safety from whence it came as “sweet, sweet nothin’” is gently sung in a resigned tone. There’s a reason why Moe Tucker plays harder and heavier on this tune than any other I’ve heard from them and that is because it’s not Moe Tucker. I learned that she was pregnant during the recording sessions for the album and while credited, was temporarily replaced by Yule, his brother and/or the recording engineer. So that’s that.

BE COOL: BLOW PINK SMOKE UP FROM THE UNDERGROUND