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Loaded


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Frequently Bought Together

Loaded + And Nico + The Velvet Underground - 45th Anniversary (Super Deluxe 6 CD)
Price For All Three: CDN$ 115.99


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Product Details

  • Audio CD (March 20 1989)
  • Number of Discs: 1
  • Label: Cotillion
  • ASIN: B000002LVB
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (85 customer reviews)
  • Amazon Bestsellers Rank: #16,551 in Music (See Top 100 in Music)

1. Who Loves The Sun
2. Sweet Jane
3. Rock And Roll
4. Cool It Down
5. New Age
6. Head Held High
7. Lonesome Cowboy Bill
8. I Found A Reason
9. Train Round The Bend
10. Oh! Sweet Nuthin'

Product Description

Product Description

This is the one with Sweet Jane; Rock & Roll; Oh! Sweet Nuthin'; New Age , and more of the last tracks by an iconic rock band.

Amazon.ca

While John Cale certainly gave the first couple of Velvet Underground albums a signature sound, his departure enabled Lou Reed to do exactly what he does best: write kick-ass, stripped-down rock songs. On Loaded his talent comes to full fruition. Who can imagine a world without "Sweet Jane" and "Rock & Roll," arguably two of the greatest rock tunes ever penned? The brilliance of those songs is so bright, it's easy to overlook a couple of other Reed masterpieces: the tender, epic discourse of "New Age" (which highlights his assured sense of poetic wordplay: "And when you kissed Robert Mitchum / Gee, but I thought you'd never catch him!") and the extended sweet blues romp of "Oh! Sweet Nuthin'." On Loaded the Velvet Underground--who before had hit the sonic ceiling experimenting with shattered chords, feedback, screeching violas, and what Reed once claimed was "the fastest guitar playing ever"--eschew the dark side of noise for clarity. Check out the ringing chime that begins "Who Loves the Sun" and the sterling (no pun intended) guitar riff that drives "Rock & Roll." This is not to say that the old ragged punch of the original Velvets is completely gone. Moe Tucker still beats a mean set of skins; there's no stopping Sterling Morrison's train-wreck rhythm guitar on "Train Round the Bend"; and "Head Held High" achieves near-"Sister Ray" moments of madness. --Tod Nelson

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Customer Reviews

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1 of 1 people found the following review helpful By Colin Jones on May 9 2003
Format: Audio CD
Words and terms I often use to describe how I feel about music these days are usually these: bland, uninspired, derivative, empty, unfeeling and homogenically subversive to the point of unironic conformity. Compounding these problems facing the creation of rock are the two antitheses of musical theory (those filled with eltitist highbrows, who in looking down from ivory towers may even be more concerned with genres and buzzwords than songs) and musical practice (those who, in a libertarian manner, provide only the bare amount of sustenance for a musical appetite to be satiated, leaving listeners who are inquisitive for more than what they are simply given behind). This exclusionary attitude portrays rock as either an imagistic, crystallized art or a simple, sentimental way to enjoy oneself, but very rarely is rock seen as both these things. Add into this mix an amblivolous television media concerned with only rock's periphery and rarely rock music ITSELF, I am finding it harder and harder to believe that the supposed juggernaut that pretends it is rock, that social instigater, the residency of poets and dreamers and the unifier of peoples can maintain its dwindling relevancy. Basically, rock music sounds like it is becoming scared. In this environment, the modern listener is invariably jaded and alienated to the point of cliche (under which I probably fall). Whenever I feel like this, that rock is an anarchic musical fossil devoid of any gifts to offer, I listen to "Sweet Jane". With the very first angelic chimes leading into Lou Reed's cocky strut to the final hallowed refrain, all of rock's putrid crass commercial sins are absolved, its dogmas destroyed, its alienating walls crumble and rock and roll, encapsulated in four beautiful, transecendent, perfect minutes, is fully redeemed. And for that I will always be grateful. That is what Loaded means to me.
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By E. A Solinas HALL OF FAMETOP 50 REVIEWER on March 29 2007
Format: Audio CD
There's no point at all in introducing the Velvet Underground -- really, the first edgy alt-rock band in the world doesn't need it. And "Loaded," while not the best album of their career, is a solid (if slightly passionless) example of Lou Reed and the Velvets rockin' out.

The sound is bright and chirrupy, despite the downbeat tone of the songwriting ("You're over the hill right now, and you're looking for love"), opening with an oxymoron -- bright music, and songwriting like "Who loves the sun/Who cares that it makes plants grow/Who cares what it does/Since you broke my heart."

With that strong track as a springboard, Reed and Co. launch into dreamy pop, country-rock and strong rock'n'roll (also the name of one song). Most of them are amazing, from the eerie reverb to the shattering riffs. However, "Loaded" suffers from a few too many country-ish rockers, including "Lonesome Cowboy Bill" which is the most annoying song that the Velvets ever produced.

The fact that "Loaded" has good songs at all is especially amazing when you consider that the band was cracking all around. Many major members -- John Cale, for one -- were gone, and the inspiration was waning. But they managed to compile a solid swan song, before fading off into rock legend land.

It's a solid effort. With the departure of Cale, Lou Reed was the main songwriter, and his talents are evident in most songs here, but he seems to have lost a certain tightness in his work -- some of the songs ramble a little. He doesn't push any boundaries or write anything terribly wrenching, but the songs are well-written.

Musically, Reed could not be faulted; he does some truly brilliant work near the beginning. Unfortunately Billy Yule, the brother of bassist Doug Yule, does only passable drumming.
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By A Customer on July 19 2004
Format: Audio CD
After listening to their previous three records, I was glad to finally hear this album as part of the Peel Slowly box set. It certainly isn't inoffensive; now matter how commercial the Velvets ever got, that adjective is not something that would describe them. But it is somewhat neutered. Not because of new drummer Billy Yule, who is far better than Moe Tucker, by the way, but simply the album doesn't have enough strong songs and lackluster production.
I needn't restate what virtually every other reviewer has said: "Sweet Jane" and "Rock 'n Roll" are classics. 'Nuff said. "Cool it Down," "Lonesome Cowboy Bill," and "I Found a Reason" are very underrated tunes in the VU cannon. "New Age," "Who Loves the Sun," and "Oh!Sweet Nuthin'" are good, but rather overrated. "Train 'Round the Bend" and "Head Held High" are mediocre throwaways.
Overall, a listenable album with two stone cold classics ("Sweet Jane" sounds even better on the Peel Slowly box set in its full-length version) and a few other good tunes. But it's not a rock 'n roll classic.
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By Evan McCausland on May 25 2004
Format: Audio CD
This album has the inexplicable experience of being labeled a flop by VU-philes. The main reason I can imagine is that it diverted from the typical progressive-alternative-punk genre that had been laid down in the previous three albums.
But I can't see blaming it all on Doug Yule. Yes, my loyalties lie with John Cale, but no one lambasts "The Velvet Underground" (3rd album, 1st with Yule) as being a flop.
Back on track, this is a good album, and it is filled with some catchy songs that are somewhat upbeat. The most notable Reed creations are "Sweet Jane" and "Rock 'N' Roll", which are presented on the album....Sweet Jane in it's full (and only satisfactory) form.
Those who have watched "High Fidelity" or listened to its soundtrack will recognize "Who Loves The Sun" and "Oh, Sweet Nuthin!", and both are good songs. "Who Loves The Sun" is a giddly little tune, but is surprisingly catchy. The latter is a good "sad" song (it was used as such in the film), and has a good solo on Sterling's part towards the end.
Some say the middle songs on the album are "filler", and at a first listen, they may seem so. But after listening more and more, you will, in a way that only Lou Reed's songs can, be drawn into them. "New Age" has grown on me, as well as "Lonesome Cowboy Bill".
But the most impressive "filler" track has to be "I've Found A Reason". Patterned after the old '50's rythym and blues songs, it is deceptively harmonic, soothing, yet rocking at the same time, and features great writing, both harmonically and lyrically, on Reed's part.
So, it doesn't deserve it's "crap" rating many give it. But, which version to buy?
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