There are some other threads floating around that touch on this subject, but in light of the Sundazed mono box and various deluxe editions coming out, I hoped we could consolidate our opinions about the various LP pressings from this great 20th century band. All to try and discover which pressing are the best, which is, of course, subjective.
I am going to start by comparing the four studio albums, I have not really had a chance (as of yet) to compare compilations or other releases, but if other would like to, that would be great.
The Velvet Underground & Nico
V6-5008 - Verve, Stereo, 1967, blue & silver labels - I have had this copy going on 20 years and I still find it to be my favorite version of the album. The sound is warm and a bit cloudy, but the stereo separation is nice and it still has a bite where it needs to. I feel the individual instruments get equal space and treatment in the stereo mix, and, although conventional wisdom generally gives the mono mix the nod - this is my go-to version of the Banana album.
VU4003 - Sundazed, Mono, 2012 - When I first heard this, I swore it was the best I had ever heard the VU&Nico album. I then compared it to a friend's copy of the mono mix on some budget LP, which came out in the last few years from a dubious source, and they sounded much the same. The Sundazed had a little extra life and maybe a touch more clarity, but basically I was deflated by the comparison. As I stated above, I think I prefer the stereo mix, but this is a nice LP that I usually listen to when I reach for the Banana album (my stereo copy is signed and framed, so I don't dig it out often). I haven't heard an original mono press of this LP, so it could be possible that the Sundazed mono doesn't wow me simply due to the age of the tape or myriad other reasons, but I am not as keen on this as I was when I first played it.
B0017649-01 - Polydor, 2012 - Scepter Studio Sessions - I realize this is cheating, but I consider this as an alternate version of the first album and pretty great-sounding, actually. I think the clarity here definitely bests the Sundazed (although the source is noisier) and there are some mix choices I like better. If I just want to listen to these songs and not necessarily the "album as intended," I reach for this . . . I think it may be the closest to the sound of the master tape.
White Light/White Heat
V6-5046 - Verve, Stereo, 1968, blue & silver labels - I was lucky enough to find an original pressing this a couple of days ago, and I was fairly impressed with the sonics. This is maybe the worst recorded of the four records and certainly the noisiest generally, so I was interested in what I might find here. It was, indeed, muddy, but there was not a lot to complain about - the vocals came through nicely and there seemed to be more low end than I recall this album having - a nice little rumble. Everything still bleeds together - it doesn't seem like mic placement was a major priority - there is (unwanted) distortion, but there's actually a little air around the instruments and some sense of the room (particularly on "The Gift") - overall, I was pleasantly surprised and this might be my favorite version.
422-825 119-1 Y-1 - Verve, Stereo, 1985, black & silver labels - This 1985 Greg Calbi, all-analog LP was my first vinyl version of WL/WH and it still sounds great. Much of the muddiness present on the original has been cleared away and greater detail is revealed here, however, it's clear to me now that this was achieved by an EQ jack. Listening to "Here She Comes Now" back-to-back with the original, any bass that was present on the original (which wasn't much), all but completely disappears here and although this reissue has a crispness that's lacking on the 1960's press, it does sound a little less natural as well. I think that this 80's issue, though it presents a slightly different "read" of the album, is worthwhile due to its increased detail and clarity and also because of the availability and price (I paid 1/7 what I paid for my original).
VU4003 - Sundazed, Mono, 2012 - Let me start by saying that I kind of have a problem with this issue and so, am slightly prejudiced against it. Side 2 is a fold down (all of Side 2? Because didn't Sundazed release a mono mix of "I Heard Her Call My Name" on The Singles Box - why didn't they use that? or did they?) . . . pointless and "Sister Ray" just really sounds like a mess. So, we're focusing on Side 1. It doesn't really seem to me that much time was spent on the mono mix here . . . the title track sounds ok, but of all the songs on the album, this is the one I could really see working in a traditional mono mix - that powerful up-front vocal and guitar jukebox sound, but it just doesn't really hit me that way. "The Gift" is actually awesome in mono - I know it defeats the purpose of the original concept, but having the music centered gives the guitar work a real chance to shine and the balance of the story to the music is well done - this was probably my favorite part of this LP and I'm glad I have for this track alone. The rest of Side 1 is fine, but unremarkable - a little more clarity than the stereo original perhaps, but not as much depth. This is the black sheep of the Sundazed Box in my opinion.
The Velvet Underground
422-815 454-1 Y-1 - Verve, Stereo, 1985, black & silver labels, Valentin Mix - I have long said that the Vin Valentin Mix is my preferred mix of this record (and I definitely prefer the version of "Some Kinda Love" here). After listening to this back-to-back with the closet mix, however, I can hear why Lou Reed wanted to remix it to bring the vocals up -- I had never noticed it before, but there are definitely moments when the vocals are a bit buried here. That being said, the way the guitars sound on this record is awesome. The chugging rhythm guitars in either speaker on "What Goes On" are so propulsive and the way the organ sneaks into center as the song continues is just one of those magical moments in music - I love this record. It seems obvious to me on this listen (and after hearing the WL/WH LP from the same series), that the EQ has been shifted toward the treble and, consequently, the sound is a touch bright and perhaps a bit unnaturally detailed - not a big deal. For the most part, everything on this mix just seems "right" - a little crisp & edgy, well-balanced and still a bit "soft." I would say this is my go-to, but one really needs both mixes of this album.
VU4003 - Sundazed, Mono, 2012 - I'm not sure if I ever fully understood where the "mono" mix for the Sundazed set came from . . . some fold down plus extra (?) mixing done for radio promotion? It all seemed a bit dubious to me, but after listening to this beautiful-sounding LP, I just no longer care about its origins. This thing blows my socks off. The vocals are in-your-lap, the EQ is soft, warm and natural, the band doesn't sound nearly as "in-the-closet" as I recall from hearing the Lou Reed mix before, and the upbeat tracks really have that "mono punch" that seemed so lacking on WL/WH. Intricacies are a bit lost here, specifically on the rocking tracks - the guitar interplay is not nearly as pronounced or dynamic, "The Murder Mystery" works far better in stereo, etc. . . . but this "mono" presentation makes every part seem like it's getting the spotlight: the guitar solo in "Pale Blue Eyes" really pops, the vocal harmony/blending on "Jesus" gets a showcase (love the added reverb on the second-to-last "Jesus") and everything seems a bit more intimate - oozing intimacy, really. The clarity and naturalness of this pressing are second-to-none and I'm very, very glad to have it - the jewel in the crown of the Sundazed set.
2353 022, UK, MGM, Stereo, 1971, Lou Reed Closet Mix - I won't speak about this too much, since it's a friend's copy that I have only heard once. It sounded great - I remember thinking "wow." So, perhaps there's just not a bad-sounding version of this album - I believe this is the second UK press, which utilized Reed's mix . . . I would love to hear a UK first with the Valentin mix.
Loaded
SD 9034, Cotillion, Stereo, 1970 - There's not a lot to say here - this is a beautiful-sounding record: warm, dynamic, full of life, lots of air in the mix . . . just well done. I enjoy the clarity of the instruments here combined with the warm, natural-sounding EQ - it really does sound like it was made for radio - the flow is great, the vocal presence is there, the instrumental separation . . . this is a winner.
R1-9034, Cotillion, Stereo, 2014, Colored Splatter Vinyl - This one is really for looks . . . beautiful piece of vinyl to look at, and not too bad sounding, but ultimately, this pales in the large-looming shadow of the original. Cut by Ron McMaster from an almost-certainly digital source, this does have some clarity to it - largely gained by tipping the EQ which is very obvious - the bell on the ride cymbal in "Who Loves The Sun" threatens to pierce one's eardrum. It does boast the longer versions of "Sweet Jane" and "New Age" (and "Rock N' Roll"?) and it's not a bad listen, but compared to the original, this just doesn't.
So there are my thoughts, I would love to hear more opinions on these and the multitude of other versions I have not had the pleasure of hearing.
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