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Velvet Underground
WHITE LIGHT/WHITE HEAT
Label/Cover Mis-Print
Label: HERE SHE COMES NOW
Cover: THERE SHE COMES NOW
1968
Verve Records
RECORDS ARE VISUALLY GRADED
VG+/VG++ (EX)
 White Light/White Heat is the second studio album by American rock band the Velvet Underground, released in 1968 by record label Verve. It was the band's last studio recording of new material with bassist and founding member John Cale.

After the disappointing sales of the Velvet Underground's first album, The Velvet Underground & Nico (1967), the band's relationship with Andy Warhol deteriorated. They toured throughout most of 1967. Many of their live performances featured noisy improvisations that would become key elements on White Light/White Heat.[1] The band fired Warhol, parted ways with Nico,[2] and recorded their second album with Tom Wilson credited as producer.
Recording

The album was recorded in just two days, and with a noticeably different style from that of The Velvet Underground & Nico. John Cale described White Light/White Heat as "a very rabid record... The first one had some gentility, some beauty. The second one was consciously anti-beauty."[citation needed] Sterling Morrison said: "We were all pulling in the same direction. We may have been dragging each other off a cliff, but we were all definitely going in the same direction."[3]
Content

The album has been described as experimental rock,[4][5] noise rock,[6][7] proto-punk[8] and art rock[9] by writers and critics.

The record's lyrics vary from themes of drug use and sexual references (such as fellatio and orgies), including the song "Lady Godiva's Operation", about a transsexual woman's botched lobotomy,[10][unreliable source?] and the title track "White Light/White Heat", which describes the use of amphetamine.[11]

"Here She Comes Now" is built around a double-entendre. On the album's last track, "Sister Ray", Lou Reed tells a tale of debauchery involving drag queens having a failed orgy, while the band plays an improvised seventeen-minute jam around three chords.
Cover
The album cover to White Light/White Heat is a faint image of a tattoo of a skull. The tattoo was that of Joe Spencer, who played the lead role in Warhol's 1967 film Bike Boy. Spencer starred as a hustler in a motorcycle gang and is seen taking a shower in the movie. Although he wasn't credited for the cover design as with their debut album, it was Warhol's idea to use a black-on-black picture of the tattoo. Reed selected the image from the negatives from the film, and it was enlarged and distorted by Billy Name, one of the members of the Factory.[12] It is difficult to distinguish the tattoo, as the image is black, printed on a slightly lighter black background. On this cover, the album name, the Verve logo, and the band name are all on one line.

An alternative cover was used for Polydor's mid-1980s reissues. This cover had a completely black background, without the arm in the background. On this version, the album name, Verve logo, and band name are printed on three separate lines.

There also exists a unique MGM Records UK cover, produced from 1976 until the early '80s, featuring a white background and abstract toy soldiers.

In 1974, the album was reissued by MGM under the title "Archetypes". The cover of this version features two men wearing helmets standing in front of a Woolworth's.

Like other releases by the group, the album's socially transgressive lyrical themes and avant-garde instrumentation challenged popular music sensibilities at the time, creating a muted reception.[4] The album briefly appeared on the Billboard 200, peaking at number 199.[20] Retrospective reviews have been much more positive, with the album being listed at number 293 on Rolling Stone magazine's list of the 500 greatest albums of all time.

White Light/White Heat has sold 113,000 copies in the U.S.[timeframe?] according to Nielsen

White Light/White Heat contains distorted, feedback-driven, and roughly recorded sound, which is regarded as influential.
Track listing

All tracks written by Lou Reed except where noted.
Side A
No.     Title     Writer(s)     Length
1.     "White Light/White Heat"           2:47
2.     "The Gift"     Reed, Sterling Morrison, John Cale, Maureen Tucker     8:18
3.     "Lady Godiva's Operation"           4:56
4.     "Here She Comes Now"     Reed, Morrison, Cale     2:04
Side B
No.     Title     Writer(s)     Length
1.     "I Heard Her Call My Name"           4:38
2.     "Sister Ray"     Reed, Morrison, Cale, Tucker     17:28

Personnel
The Velvet Underground
    Lou Reed – lead vocals (tracks 1, 3, 4, 5, and 6), lead guitar (tracks 2, 3, 5 and 6), rhythm guitar (tracks 1 and 4)
    John Cale – lead vocals (track 3), backing vocals (tracks 1 and 5), spoken word (track 2), electric viola (tracks 3 and 4), Vox Continental organ (track 6), piano (tracks 1 and 4), bass guitar (tracks 1, 2, 4 and 5), medical sound effects (track 3)
    Sterling Morrison – lead guitar (tracks 1, 2, 4 and 6), rhythm guitar (track 5), bass guitar (track 3), backing vocals (tracks 1, 3, 4 and 5), medical sound effects (track 3)
    Maureen Tucker – percussion (tracks 1–5), drums (track 6), tambourine (track 4)

Technical personnel
    Gary Kellgren – recording engineer
    Bob Ludwig – mastering
    Val Valentin – director of engineering
    Tom Wilson – production

RECORDS ARE VISUALLY GRADED
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Grading Records  
   Grading Records
The following is the grading system first developed by Goldmine Records. Virtually all methods currently in use for the grading of records, is based in some way, shape, or form, on this system. Rather than offer some variation of the original system first developed by Goldmine, the Record Collector's Guild will display the Goldmine record grading method in it's entirety.

   Visual or Play Grading?
In an ideal world, every record would be played before it is graded. But the time involved makes it impractical for most dealers, and anyway, it's rare that you get a chance to hear a record before you buy through the mail. Some advertisers play-grade everything and say so. But unless otherwise noted, records are visually graded.

   How to Grade
Look at everything about a record. It's playing surface, it's label, it's edges...under a strong light. Then based on your overall impression give it a grade based on the following criteria:
Mint (M)   Absolutely perfect in every way. Certainly never been played, possibly even still sealed.(More on still sealed under "Other Considerations"). Should be used sparingly as a grade, If at all. Near Mint (NM or M-)   A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect.

The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling.

An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like.

Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap.

Near Mint is the highest price listed in all Goldmine price guides. Anything that exceeds this grade, in the opinion of both buyer and seller, is worth significantly more than the highest Goldmine book value.

Very Good Plus (VG+)   Generally worth 50 percent of the Near Mint value.

A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it.

Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK".

The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play.

Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount.

In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

Very Good (VG)   Generally worth 25 percent of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound.

Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.

Goldmine price guides with more than one price will list Very Good as the lowest price. This, not the Near Mint price, should be your guide when determining how much a record is worth, as that is the price a dealer will normally pay you for a Near Mint record.

Good (G), Good Plus (G+)   Generally worth 10-15 percent of the Near Mint value. Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white).

A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.

It is a common item, you'll probably find another copy in better shape eventually. Pass it up. But, if it's something you have been seeking for years, and the price is right, get it...but keep looking to upgrade.

Poor (P), Fair (F)   Generally worth 0-5 percent of the Near Mint price. The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and writing. The LP cover barely keeps the LP inside it. Inner sleeves are fully seam split, crinkled, and written upon.

Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each.
   Other Considerations
Most dealers give a separate grade to the record and it's sleeve or cover. In an ad, a record's grade is listed first, followed by that of the sleeve or the cover. With Still Sealed (SS) records, let the buyer beware! Unless it'a a U.S. pressing from the last 10-15 years or so. It's too easy to reseal one. Yes, some legitimately never-opened LP's from the 1960's still exist. But if you're looking for a specific pressing, the only way you can know for sure is to open the record. Also, European Imports are not factory-sealed, so if you see them advertised as sealed, someone other than the manufacturer sealed them.
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