Offered for sale is a still sealed original stereo copy of the second album by the Velvet Underground, White Light/White Heat, released in 1968.
About this copy: This particular copy of White Light/White Heat is a sealed stereo first pressing on the Verve label. The song “Here She Comes Now” is incorrectly titled “There She Comes Now” on the back cover.
This copy is also genuine; the dark image of a skull is visible in the lower left hand corner of the front cover.
The shrink wrap is fully intact, aside from a very tiny break in the lower left hand corner. It’s so small we almost missed it. There are two “breathe holes” in the shrink wrap; these are holes added at the factory that allow air to escape when the wrap is heated to seal the LP.
The back cover is bright white, and unlike many sealed copies that we’ve seen, this one has no cutout marks – no punch holes, saw marks, or cut corners.
A beautiful copy of a classic album and the nicest copy we’ve ever seen.
Background: Any fan of the debut album by the Velvet Underground was likely shocked upon hearing 1968’s White Light/White Heat, an album that sounded nothing at all like its predecessor, or for that matter, like any other record to be found in stores that year. Raw, unpolished, and loud, White Light/White Heat was, and remains, the most difficult album in the band’s catalog.
The world of pop music was hardly ready for The Velvet Underground’s first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968’s White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. White Light/White Heat is easily the least accessible of The Velvet Underground’s studio albums, but anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin.
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