The Velvet Underground is the third studio album by American rock band the Velvet Underground. Released in March 1969 by MGM Records, it was their first record with Doug Yule who replaced previous member John Cale. Recorded in 1968 at TTG Studios in Los Angeles, California, the album's sound—consisting largely of ballads and straightforward rock songs—marked a notable shift in style from the band's previous recordings. Lead vocalist Lou Reed intentionally did this as a result of their abrasive previous studio album White Light/White Heat (1968). Reed wanted other band members to sing on the album; Yule contributed lead vocals to the opening track and the closing track "After Hours" is sung by drummer Maureen Tucker.
Thematically, The Velvet Underground discusses love, contrasting previous releases from the band. Reed devised its track order and based his songwriting upon relationships and religion. "Pale Blue Eyes" has been hailed as one of his best love songs, although "The Murder Mystery" is noted for its experimentation in a call-back to White Light/White Heat. Billy Name took the album's photograph of the band sitting on a couch at Andy Warhol's Factory. The recording process started at short notice and while the band had a high morale, they were ultimately disappointed that Reed had created his own mix of the final product.
Contemporary reviews praised the album, which was a turning point for the band. Nevertheless, The Velvet Underground failed to chart, again suffering from a lack of promotion by the band's record label. Reed played a dominant role in the mixing process and his own mix of the album, dubbed the "closet mix", was first released in the USA. MGM staff engineer Val Valentin was credited for a different mix which has been more widely distributed since then. Retrospective reviews have labeled it one of the greatest albums of the 1960s and of all time, with many critics noting its subdued production and personal lyrics. In 2020, Rolling Stone ranked it at number 143 on its list of The 500 Greatest Albums of All Time.
Background
Cale was fired from the group in September 1968, and Yule was brought in as a bassist. Yule was discovered by Morrison through the band's road manager Hans Onsager. Weeks after Yule joined the Velvet Underground, they began recording their third studio album. Lou Reed, the band's principal songwriter, believed that the band should not "make another White Light/White Heat. I thought it would be a terrible mistake, and I really believed that. I thought we had to demonstrate the other side of us. Otherwise, we would become this one-dimensional thing, and that had to be avoided at all costs."
According to Morrison, earlier in 1968 a majority of the band's equipment got stolen at JFK International Airport which influenced the album's sound. However, Yule rejects this claim, explaining that he has no recollection of such an event, clarifying that the band was simply playing more melodically—Tucker also says this. Reed during this time had a growing taste for soothing music; in an interview with Lester Bangs he singled out tracks "Jesus" and "Candy Says", declaring the latter "probably the best song I've written..." Reed considered White Light/White Heat to be as far as the band could go with such production and additionally called each album the band made a chapter. They started recording after touring in the West Coast and band manager Steve Sesnick obtained studio time at a short notice, so the band had provided little time to prepare. At the time, Reed was managing relationships between his girlfriend Shelley Albin and Name, which influenced his songwriting.
Recording
The Velvet Underground was recorded during November and through December 1968 at TTG Studios in Los Angeles. The band stayed at the hotel Chateau Marmont and toured frequently while recording. They wrote and rehearsed at the hotel in the afternoon, recording songs at night. Reed and Morrison played 12-string guitars from Fender. Morale in the studio was generally high—Yule said that recording the album "was a lot of fun. The sessions were constructive and happy and creative, everybody was working together". According to Yule, it took "a couple of weeks for the basic tracks", additionally describing it as a "studio live album". Reed intentionally tried to get Yule in the spotlight of it, and the band members suspected that this might have inflated his ego. Generally, the sessions had a happy atmosphere; Tucker said that she "was pleased with the direction we were going and with the new calmness in the group, and thinking about a good future, hoping people would smarten up and some record company would take us on and do us justice."