With the exit of John Cale and the recruitment of Doug Yule, the Velvet Underground enter, what would be the final phase of their brief, but stunning musical path. Lou Reed's songwriting isn't necessarily much different from the melodic pop that was displayed within their debut release, but there's much less emphasis on the avant-garde experimentation that they offered when John Cale was in the group. "Candy Says" is a very mellow, ballad-like number ala "Sunday Morning" from the 1st album, sung beautifully by replacement incumbent, Doug Yule, while "Pale Blue Eyes" and "Jesus" also feature this somber and mellow ambiance; with "Blue" being one of Lou's most personal, poetic vocal deliveries and Yule and Reed harmonizing on the ironic "Jesus", resulting in a great collaboration. There's some room for rock and roll as well, with "What Goes On" featuring a hypnotic rhythm guitar melodic hook, accompanied by an eerie, impenetrable organ arrangement and a funky flavored romp in "Some Kinda Love", rendered by a lyrical mystery from the pen of Mr. Reed.

"Beginning to See the Light" is a surprisingly upbeat number that draws in a pop hook that has hit single written all over its arrangement. "I'm Set Free" has a grand, almost dramatic feel, featuring raw harmony within its chorus amidst a song that builds into a beautifully realized and classic, latter era Velvet Underground cut.

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"The Murder Mystery" nods to their recent past within its experimental arrangement, replete with an ominous tempo, accompanied by organ, staccato guitar and a simultaneous spoken story utilizing a stereo mix with Lou on the right end telling a story, while guitarist Sterling Morrison is featured on the left channel. During its chorus, vocals are traded between drummer Maureen Tucker and Lou and this cut is the longest on the record, clocking in at almost 9 minutes length . Because of the rest of the record's similar continuity, this track seems far removed from the others, but it does offer diversity and a reminder of what the group had achieved prior with its innovative moments on the former releases of "White Light/White Heat" and "The Velvet Underground and Nico". Two little ditties rear their heads in "That's the Story of My Life" and the album's closer "After Hours" which is sung by Maureen Tucker. The former is sung by Lou and features a laid-back acoustic arrangement, moving along at a medium pace, while "After Hours" resembles an almost, lullaby quality and is a cute sort of song as rendered by Maureen's vocal, adding to the irony of this intriguing album.

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This self-titled 3rd offering from the group certainly paved the way for what was to come on their final and most commercially viable release in Loaded and even though this group, in their day, never got the recognition they deserved for their innovative songwriting and ensemble collective, "Velvet Underground" is just as enticing and curious a release as their debut.

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Rating Grade- A