In all honesty, I must confess that I didn't much like this album when I first heard it. For years I had heard about the legendary group but hadn't actually listened to their music. I had only heard Velvet Underground cliches, like, "one of the most influential bands of all-time," "genius," "avant-garde masterpiece," so on and so on.

So I decided to give the Velvet Underground a try and was not initially all that impressed. I think the reason that I was not initially blown-away by this album has to do with what I am used to and expectations. As a kid growing up in the 90s, I am used to instant gratification-albums with excellent production that get straight to-the-point. When I heard "The Velvet Underground and Nico" my initial thoughts were, "this is boring and the production stinks". I really didn't "get it" at first. But, as a younger listener not familiar with the Velvet Underground, I think this is an album that takes time and a few listens to really appreciate.

For me, experiencing this album was like having a few Alabama Slammers. At first you're like, "what's the big deal?" but once it hits you, it hits you.

Once I finally "got it," I find that this album is quite deserving of all the praise it's afforded.

Throughout their career, The Velvet Underground underwent many different personal changes. It was their debut, however, that saw the band at its strongest lineup. The poetic Lou Reed, with his dry flat Dylan-like delivery. John Cale, the most artistic and musically gifted of the bunch. Sterling Morrison, an underrated and underappreciated founder. Maureen Tucker, whose drumming on "Heroin" is indispensable. And finally Nico; the German-born actress/singer who was installed in the band by producer Andy Warhol. Her icy beauty and delivery helped make "The Velvet Underground and Nico" the classic that it is.

With repeated listens, I grew an appreciation for the album's sound and its production. While I initially thought the quality of the recoding was poor-I now feel the low-fi sound gives the album a certain effect, a certain vibe. The low-fi quality makes the songs sound genuine and lived in.

This album serves as a time capsule of the bohemian underbelly of New Your City in the late 60s. It is a chaotic time. While you are bombarded with peace and love and "flower power," there is a sense of disharmony and an annalistic apprehension. Images of Vietnam, conformity and consumerism abound. Struggling artists try to make sense of what they see around them and try to express their struggles and lifestyle. From this atmosphere, from these set of circumstances-"The Velvet Underground and Nico" is born.

I see "The Velvet Underground and Nico" as being the antithesis of another classic album released the same year, Love's "Forever Changes." The two albums seem to contrast each other in every single way possible-themes, location, production, and atmosphere.

"The Velvet Underground and Nico" begins much like a fresh new day for a small child might begin-peaceful, serene. "Sunday Morning" sounds almost like a lullaby. The slightly underwhelming guitar solo towards the middle of the song is the perfect touch.

One of the major themes of the album-drugs-is established right away with "I'm Waiting for the Man." While the song and its lyrics are relatively straight forward, they are also unforgettable. The description of how the deal works is rich in detail. The piano towards the end gives the song a sense of urgency.

The Nico sung "Femme Fatale" is one of the album's highlights. Nico was born to sing this song. She comes across like a black widow. Her icy voice, flat and cold, over the gentle melody is the perfect contrast.

"Venus and Furs" examines the seductive, dark side of human lust and sexuality. While it may seem tame by today's standards, it was most unheard of to have a song about S&M in 1967.

"Run Run Run" sounds a bit like a stripped down version of the Doors "LA Woman" (released four years later). The repetitive strumming riff is almost hypnotic. The distortion towards the end gives the song an almost chaotic impression.

Nico sounds subdued, yet dominant in "All Tomorrows Parties." This mid-paced song takes a few listens to really appreciate. There is a lot musically going on, with guitars overlaying the piano and so on. This number deals with anxiety of the anticipation of what the future will bring.

Without doubt, "Heroin" is the albums highlight. This is one of, if not the best Velvet Underground song ever recorded. It's a masterpiece, pure and simple. It is simply one of the most intense songs ever recorded. The song itself seems to emulate (to some extent) what the user feels like while using heroin. One of the reasons that this song is so intense is it starts out so un-intense. It starts out calm and peaceful, relaxed, and then gets more and more intense as it moves along. The percussion which emulates a heartbeat over the distorted viola just gets more and more extreme, until the climax, to the point of total pandemonium...and then back to relaxation, release. By listening to this song, the listener can see why heroin is so sought after. The world is in chaos with-"all the politicians makin' crazy sounds, and everybody puttin' everybody else down, and all the dead bodies piled up in mounds." The listener starts to understand the lifestyle that these bohemians choose.

After the brilliant "Heroin," the album comes down to earth with the pop-savvy "There She Goes Again" which is a good way for the listener to take a breather after the intense "Heroin". It also helps to keep up the momentum.

The third and final Nico song is the beautiful "I'll Be Your Mirror." Nico comes across as warmer than she did on the other two songs.

"The Black Angels Death Song" is a rather obscure song, whose true meaning I have yet to fully grasp. It's a random catharsis of bedroom poetry. Its off-beat extreme nature gives the album an extra edge.

The album winds down with "European Son." While it starts out relatively straight-forward, it soon takes a left turn. With all the effects (breaking glass etc), it is probably the most avant-garde track on the album. It is also a good way to conclude the album as it leaves a lasting impression.

In conclusion, although it took me a few listens to appreciate "The Velvet Underground and Nico," I know recognize it as the masterpiece that it is. If you are looking for instant gratification, you best look elsewhere. But for a truly magnificent experience, listen to this album-not just once, but several times. Once it clicks and it hits you, you will see why this album is so highly regarded.

The Velvet Underground is probably one of the most written about bands of all-time. Their influence and genius is well-known so I won't bore the reader with tired truisms about the band. Instead, this review will be very meat-and-potatoes, focusing on the content, and pros and cons of this box set.

"Peel Slowly and See" (1995) is a five disc box set and includes all four Lou Reed era albums that were commercially released while the Velvet Underground was an active band; "The Velvet Underground and Nico," (1967) "White Light/White Heat" (1968) "The Velvet Underground" (1969) and "Loaded" (1970). While the first disc is a collection of demos, disc 2-5 each contain a complete album, with a lot of bonus material. The bonus material includes live cuts, demos, and finished studio tracks that were recorded between the third album "The Velvet Underground" and the fourth and final Lou Reed era album "Loaded," (this material can be found on the "lost" Velvet Underground album "VU" (1985) and its follow-up "Another VU" (1986).

If you are a fan of the Velvet Underground "Peel Slowly and See" is highly recommended. While it would be cheaper to just pick up the four studio albums individually, it is better to spend a little more money on this set and get a ton on bonus songs ($60.00 as opposed to $40.00). The demos are great, as you get an inside look at history being created and it's cool to hear songs as works-in-progress. The live songs sound great and should no doubt please fans of the band. The bonus material, selections from "VU" and "Another View" stand as some of the band's best recordings and are generally just as good as what's on the first four albums.

While the value of the material on this set is indisputable, the way the box-set is compiled is flawed. Except for "Loaded," each disc does not start with the studio album, which is a bit annoying, but not really a big deal as the tracks of the albums are in order and you can just start the CD where the album begins. The biggest flaw, however, is that this set only contains selections from "VU" and "Another View." It would have been far more desirable if both albums were included in their entity, so the consumer would have the complete works of the Reed-era available in one place.

It also would have been great if the Velvet Underground's fifth, post-Reed-Morrison-Tucker; now out-of-print album "Squeeze" (1973) had been included. While "Squeeze" has a reputation of being utterly awful, it is still part of the band's history and should be available. I have recently acquired a bootleg CD of "Squeeze" and it's nowhere near as bad as people say it is. While it is nowhere near as brilliant as the band's other work, (it's basically a Doug Yule solo album, Deep Purple's Ian Paice plays drums) it's still pretty cool in its own right and should be available for fans to hear.

One criticism of this set that I don't agree with is that it contains a "closet mix" of the band's third self-titled album, which sounds a bit stuffy compared to the original release. This isn't really a problem though, as the non-"closet mix" is still in-print and readily available. Both versions are worth owning.

Despite a few flaws in the way this set in set-up, it's still most definitely worth owning, as it contains all four albums and a vast array of bonus material.

Here is what I recommend you do:

Buy "Peel Slowly and See," along with "VU," "Another View" and the non-"closet-mix" of "The Velvet Underground" in order to get a complete collection.

Each V.U. album featured (all the originals are here) is riveting, legendary and seminal, each demanding their own review so I will focus on the extra stuff in this box. I will NOT focus on the countless bootlegs and other material out there that did not make it in this set (I would recommend getting the Quine Tapes, a 3-CD box set full of killer extended renditions of VU classics. Less than great sound quality but worth hearing).

DISC 1: early home demo recordings mostly useful to fans who obsess over the group, but very interesting. "Heroin," great, crucial song that it is, sounds good. These versions are somewhat folksier yet still intense and Lou Reed plays around with different lyrics. Watch out for aborted takes!

"Waiting for the Man" sounds downright Ten Pan Alley. Reed even blows a harp on it. "Wrap Your Troubles in Dreams" had potential even though the Velvets abandoned it. "Prominent Men" isn`t bad either although it was left behind for better material as well. "Venus in Furs" sounds like a strange tune from the Middle Ages at this stage and it is stunning to hear "All Tomorrow`s Parties" with its folk/country roots laid bare. In addition, it`s a kick to hear John Cale, Sterling Morrison and Lou Reed interact between takes. One gets the impression that Reed was the man in charge right from these early days.

DISC 2: Starts with a single version of "All Tomorrow`s Parties," but who wouldn't want to savor the longer album version? "Melody Laughter" is a crucial document from an early Exploding Plastic Inevitable performance, which was a traveling extension of Andy Warhol's wild and weird world. It`s only an amateur audience recording, but also one of the coolest things in this box. The music is a meandering journey without a map and quite a bit longer than an old copy I have. 2 tracks from Nico`s solo debut CHELSEA GIRLS are good songs featuring actual Velvets and are thus included.

DISC 3: offers a handful of demos that show more potential but their crude, raw condition renders them a difficult listen. However, the "Here She Comes Now" demo is a dense and hazy alternate version that is worthy of regular listening. The "Guess I`m Falling in Love" live cut offers a nice, loping performance, but I`ll always take the studio version which totally rocks out even with no vocals (and I don`t see why Lou doesn`t just add some to the track now - he`s still a Velvet!) "Booker T" grooves. And in some better, more just parallel world, "Stephanie Says" is a number 1 single and timeless classic around the globe. You probably won`t listen to the weak "Temptation" more than a few times, and I prefer version 2 of "Hey Mr. Rain" (version 1 is featured here) which has distorted guitar parts and a more insistent vocal. The lyrics are kinda lame, but Cale`s viola is trippy.

DISC 4: My favorite Velvet track, "Foggy Notion" is one of their rockin`-est tunes. All the extra-album studio tracks on this disc have been released and are already classics. The 2 live tracks are great and the "Countess From Hong Kong" demo is a lounge-y little beauty punctuated by another rare appearance of Reed on harp.

DISC 5: the mother load of nuggets: 7 studio treasures that haven`t seen daylight before this box came out (unless the liner notes are lying). "Satellite of Love" sounds like a joyous rocker here, despite its soul-eating subject matter - jealousy. In the liner notes Lou beats himself up for using "Winkin, Blinkin and Nod" (it would later become "I`ve been told/that you`ve been bold/with Harry Mark and John" on the daintier TRANSFORMER version). But he should give himself a break because: 1)the names ridicule the men she`s been "bold" with. 2) they could be code words. and 3) they`re funny. It's certainly a funny way to refer to people you've slept with! Yes Lou, naming almost every day of the week in a song IS lame, but it`s appropriate for this song because it illustrates how unfaithful the love interest has been.

"Ocean" may be even more majestic than "All Tomorrow`s Parties" and features a brief return of John Cale that didn't last. "Ride into the Sun" is a beautiful song of quiet longing sung sweetly by Doug Yule. As low as Yule`s stature has sunk in V.U. history, he was undeniably a wizard of melody and that's apparent all over discs 4 and 5.a

In addition, there are 2 more guerrilla recordings. One ended up on LIVE AT MAX'S KANSAS CITY and the other, from the same show, is previously unreleased. Again, crude recording, excellent music. Considering how unpopular the Velvets were during their time, we`re lucky considering how much of their music has survived.

Addendum: The idea of a lost Velvets album is a tantalizing myth for Velvet Heads. For the sheer fun of it, I`ve constructed my own lost V.U. album. I find it to be surprisingly cohesive with unifying themes that weave together and form a narrative, your imagination permitting. In fact, I think my Bizarro Earth Velvet album could be a strong contender for their best! Not sure what to call it though . . . how about:

LOVE`S LABOUR`S LOST VU

Side 1

We`re Gonna Have a Real Good Time Together

Guess I`m Falling in Love (studio version without vocal)

I Can`t Stand It

Lisa Says

Sad Song

Oh Gin

Foggy Notion

Ride into the Sun

Side 2

One of These Days

She's My Best Friend

Hey Mr. Rain (version 2)

Walk It, Talk It (that's the title I think it should've been given! Sounds much cooler)

Satellite of Love

Stephanie Says

Ocean

I Love You

Was the Velvet Underground the greatest American band? With all due respect to the other serious contenders (Beach Boys, Creedence, Ramones, Talking Heads, REM, Pavement), you have to go with VU. Their career touches the deepest roots of rock'n'roll and the most nether edges of the avant garde, with equal command. Dion fits into their scheme as much as Warhol. What other band encompasses so much?

Despite a few caveats, this magnificent box set is VU's one-stop shopping place if ever there was one. First, the drawbacks: the band's live recordings are under-represented, tasty out-takes that did appear on earlier compliations have been mysteriously dropped, and Lou Reed has decided to go with the so-called "Closet Mix" of the third album (sorry, Lou, but I gotta disagree with you -- it defintely *isn't* the superior version). That said, this is still a mind-blowing edifice of great American music. We all know that each of the band's four official releases is a masterpiece, and it sure is convenient to get them all in one purchase (especially if, like me, you're replacing old vinyl copies). But what may surprise some folks is how great the previously unreleased material is. These cuts are very generous, accounting for more than half of the set. There are early, VU versions of songs that later turned up on Reed's solo albums, such as "Satellite of Love" and the glorious "Ocean." But there are also crazy little songs, left in the vaults for years, that astonish me with their inventiveness, humor, and detail -- from the bass line on "The Way That You Live" to the viola on "Sheltered Life." The bonus tracks attached to the 'WL/WH' and 'Loaded' disks are so good, in fact, that they threaten to upstage their hosts. Bottom line, folks: Like Dylan's 'Basement Tapes,' the out-takes here transcend the genre and are as essential to VU's legacy as the official releases.

Lou is dedicated enough to promoting his reputation -- he doesn't need any help from me -- but I'll chime in nonetheless: this a great American artist, caught in his (short-lived) prime.

Velvet Underground fans pay attention--The Rarities Edition of The Velvet Underground & Nico merely contains the second disc from the 2002 double-disc Deluxe Edition of the 1st album, the mono mix -- along with mono single versions of "All Tomorrow's Parties," "Sunday Morning," and "Femme Fatale," plus an alternate take of "I'll Be Your Mirror". This CD contains NO previously unreleased material. If you are a die-hard VU fan, as I am, you probably already have this material, either from The Deluxe Edition, or from the Australian Bootleg Box Set that came out about 15 years ago, so check your CD stacks before ordering. The material in this disc is Five Stars, but re-labling previously released material is a shoddy practice, and Polydor is also currently re-releasing similar product for a dozen other artists under the title "Rarities Edition." Caveat emptor!