This is it -- the big one. 17 minutes of unrelenting psychodrama, "Sister Ray" is the most legendary song in the entire Velvet Underground catalog and, quite possibly, in the history of rock. The weird thing is, you don't even realize it's that long until you look at the clock -- churning along on an almost playful rhythm, the band locked into a slow-burning mantra of distortion and melody, "Sister Ray" could probably be disguised as the greatest three minute pop song on earth, and all you'd really need to cut would be the best-known line of all: "She's still sucking on my ding dong." ("I wish Lou had thought of another rhyme," Maureen Tucker lamented years later. "That's the only Velvets song I won't let my children listen to.") Critic Lester Bangs, for whom the Velvets could do no wrong, described "Sister Ray" as the "ultimate extension" of the band's "Yardbirds/Who project," a tribute to the solid R&B basics that anchor the piece through all its extremes. Reed, too, is keen to amplify its simplicity, a one-take recording in which the band members gave each other just one instruction -- whatever you want to do, you'd better do it. Interviewed in 1976, he recalled, "When we did 'Sister Ray,' we turned up to 10 flat out, leakage all over the place. That's it. They asked us what we were going to do. We said we were going to start. They said 'who's playing the bass?' We said there is no bass. They asked us when it ends? We didn't know. When it ends, that's when it ends." Every moment of the song seems to feature something else you've not noticed before -- Sterling Morrison singled out John Cale's organ as a particular highlight, enthusing 'I think its great the way [it] comes in. Cale starts to try and play a solo. He's totally buried and there's a sort of surge and then he's pulling out all the stops until he just rises out of the pack. He was able to get louder than Lou and I were." Another admirer of that moment was Jonathan Richman -- recording the seminal "Roadrunner" with his Modern Lovers a few years later, Richman arranged for Cale to duplicate the same effect during the instrumental break.