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Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group’s lot to be ahead of, or at least out of step with, their time. The mid- to late ’60s was an era of explosive growth and experimentation in rock, but the Velvets’ innovations — which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics — were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. The Velvets’ music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years. By the 1980s, they were acknowledged not just as one of the most important rock bands of the ’60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales.

Historians often hail the group for their incalculable influence upon the punk and new wave of subsequent years, and while the Velvets were undoubtedly a key touchstone of the movements, to focus upon these elements of their vision is to only get part of the story. The group was uncompromising in its music and lyrics, to be sure, sometimes espousing a bleakness and primitivism that would inspire alienated singers and songwriters of future generations. But the band’s colorful and oft-grim soundscapes were firmly grounded in strong, well-constructed songs that could be as humanistic and compassionate as they were outrageous and confrontational. The member most responsible for these qualities was guitarist, singer, and songwriter Lou Reed, whose sing-speak vocals and gripping narratives came to define street-savvy rock & roll.

The Song “I’m Waiting For The Man” is about waiting on a street corner in Harlem, near the intersection of Lexington Avenue and 125th Street, in New York City and purchasing $26 worth of heroin (equivalent to $211 in 2019), sung from the point of view of the purchaser, who has presumably traveled to Harlem from another part of the city; the “man” in the title is a drug dealer.

Along with traditional guitars, bass, and drums, the song also features pounding, percussive rock-and-roll barrelhouse-style piano. It is one of the band’s more popular songs, and one of their many compositions featuring drugs as subject matter.


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