LOU REED "METAL MACHINE MUSIC" 1975 RCA EX-/VG GATEFOLD OOP 2LPs EMBOSSED PROMO

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THREE YEARS AGO I LOST ONE OF MY BEST FRIENDS TO CANCER, HE WAS A COOL MUSICIAN A DRUMMER BY TRADE, ORIGINALLY FROM SEATTLE, BUT RELOCATED TO L.A. IN 1985, HE AMASSED A VERY LARGE MUSIC COLLECTION, AND HAD KILLER TASTE FOR ROCK & ROLL, SADLY I AM SELLING OFF A LOT OF HIS COLLECTION ON BEHALF OF HIS WIDOW TO HELP PAY OFF DEBTS INCLUDING BILLS, TAXES AND STORAGE UNIT FEES. I AM NOT TAKING ANYTHING FOR THIS SERVICE, DOING IT FOR MY FRIEND (MISS YOU DAVE!). THIS ITEM IS FROM HIS COLLECTION.

THE PHOTO'S MAY BE A LITTLE BLURRY, HAVE A LITTLE GLARE, SOME REFLECTIONS OR IN SOME CASES YOU MAY SEE SPECKS OF DUST. BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. I DO COMBINE SHIPPING. BUT I DO NOT ACCEPT “BEST OFFERS”, THE MONIES GO TO MY FRIENDS WIDOW.

THESE ARE VISUALLY & PLAY GRADED. LET ME REITERATE I DO NOT TAKE “BEST OFFERS”. PLEASE FEEL FREE TO ASK QUESTIONS!!

ARTISTS: LOU REED (VELVET UNDERGROUND)

TITLE: “METAL MACHINE MUSIC-THE AMINE B RING"

TRACK LISTING (SEE PHOTOS & BELOW):

A

Metal Machine Music A-1

16:01

B

Metal Machine Music A-2

16:01

C

Metal Machine Music A-3

16:01

D

Metal Machine Music A-4

16:01

Companies, etc.

• Phonographic Copyright (p) – RCA Records

• Copyright (c) – RCA Records

• Mastered At – Sterling Sound

• Pressed By – RCA Records Pressing Plant, Indianapolis

Credits

• Cover – Acy Lehman, Lou Reed

• Liner Notes – Lou Reed

• Mastered By – RL*

• Written-By – Lou Reed

Notes

"An electronic instrumental composition".
Auto-coupled release, disc 1 has sides A/D; disc 2 has sides B/C. Side D ends in a locked groove, label states: 16:01 or ?.

© 1975, RCA Records (...) Printed in U.S.A.

Made in U.S.A.
? 1975 RCA Records

Text on the sleeve:
"SPECIFICATIONS
Sony 1/2 track
Uher 1/4 track
Pioneer 1/4 track
5 piggyback Marshall Tube Amps in series
Arbitor distortor (Jimi's)
Marantz Preamps
Marantz Amps
Altec Voice of America Monitor Speakers
Sennheiser Headphones
Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music
Rock orientation, melodically disguised, i.e. drag
Avoidance of any type of atonality.
Electro-Voice high filter microphones
Fender Tremolo Unit
Sunn Tremolo Unit
Ring Modulator/Octave Relay Jump
Fender Dual Showman Bass Amp with Reverb Unit (Pre-Columbia) white
No Synthesizers
No Arp
No Instruments?
--10 db + 57db
--20 hz--+30,000 hz
--12 hz--+28,000 hz
Distortion 0.02 bass and treble ceilings
Combinations and Permutations built upon constant harmonic Density Increase and Melodic Distractions.
STRICT STEREO SEPARATION
No panning
No phasing
No"

Special thanks to Bob Ludwig 

LABEL: RCA RECORDS

CAT. #: CPL2-1101-1

YEAR: 1975

RECORD CONDITION: THE RECORD IS IN EX/EX- CONDITION. NO VISIBLE WEAR,SCRATCHES, LINES ETC. NICE SHINEY LUSTER TO THE VINYL. THE LABELS ARE IN EXCELLENT CONDITION. NO BACKGROUND AUDIO BETWEEN THE TRACKS. THE SONGS SOUND & PLAY SUPER CLEAN. THERE IS SOME LIGHT BACKGROUND SOUND ON THE LEAD IN GROOVES ON RECORD ONE, WITH THE “A” & “D” SIDES, THE SECOND DISC IS NM-.

JACKET CONDITION: THE JACKET IS IN VG CONDITION. STRAIGHT EDGES, NO TEARS, WRINKLES, NO WRITING OR MARKS, OR SEAM SPLITS, ETC.ETC... THERE IS OBVIOUS RING WEAR FRONT & BACK (SEE PHOTOS). THIS IS THE ORIGINAL GATEFOLD JACKET.

MORE INFO: I TRY AND MATCH WHAT I AM SELLING WITH DISCOGS LISTINGS. THIS RECORD IS CURRENTLY OUT OF PRINT. IT'S FAINT BUT THERE IN THE UPPER LEFT HAND CORNER OF THE BACK OF THE JACKET IS STAMPED/EMBOSSED “NOT FOR SALE-PROMOTION USE ONLY”.

MORE ON THE ARTIST & RELEASE:

Lewis Allan Reed (March 2, 1942 – October 27, 2013) was an American musician, singer, songwriter and poet. He was the rhythm/lead guitarist, singer and principal songwriter for the rock band The Velvet Underground and had a solo career that spanned five decades. The Velvet Underground was not a commercial success during its existence, but became regarded as one of the most influential bands in the history of underground and alternative rock music.

After leaving the band in 1970, Reed released twenty solo studio albums. His second, Transformer (1972), was produced by David Bowie and arranged by Mick Ronson, and brought mainstream recognition. The album is considered an influential landmark of the glam rock genre, anchored by Reed's most successful single, "Walk on the Wild Side". After Transformer, the less commercial but critically acclaimed Berlin reached No. 7 on the UK Albums Chart. Rock 'n' Roll Animal (a live album released in 1974) sold strongly, and Sally Can't Dance (1974) peaked at No. 10 on the Billboard 200; but for a long period after, Reed's work did not translate into sales, leading him deeper into drug addiction and alcoholism. Reed cleaned up in the early 1980s, and gradually returned to prominence with New Sensations (1984), reaching a critical and commercial career peak with his 1989 album New York.

Reed participated in the reformation of the Velvet Underground in the 1990s, and made several more albums, including a collaboration album with John Cale titled Songs for Drella which was a tribute to their former mentor Andy Warhol. Magic and Loss (1992) would become Reed's highest-charting album on the UK Albums Chart, peaking at No. 6.

He contributed music to two theatrical interpretations of 19th century writers, one of which he developed into an album titled The Raven. He married his third wife Laurie Anderson in 2008, and recorded the collaboration album Lulu with Metallica. He died in 2013 of liver disease. Reed's distinctive deadpan voice, poetic lyrics and experimental guitar playing were trademarks throughout his long career. Reed has been inducted into the Rock and Roll Hall of Fame twice; as a member of the Velvet Underground in 1996 and as a solo act in 2015.

Metal Machine Music (subtitled *The Amine ? Ring) is the fifth studio album by American rock musician Lou Reed, released as a double album in July 1975 by RCA Records. A departure from the rest of his catalog, the album features no songs or even recognizably structured compositions, eschewing melody and rhythm for modulated feedback and guitar effects, mixed at varying speeds by Reed. In the album's liner notes, Reed claimed to have invented heavy metal, and asserted that Metal Machine Music was the ultimate conclusion of the genre.

The album cost Reed credibility in the music industry while simultaneously opening the door for some of his later, more experimental material. Although reviewed negatively by critics since its release, Metal Machine Music is today considered a forerunner of industrial music, noise rock, and contemporary sound art.] In 2010, Reed, Ulrich Krieger, and Sarth Calhoun collaborated to tour playing free improvisation inspired by the album as Metal Machine Trio. In 2011, Reed re-released a remaster of Metal Machine Music.

Style

A major influence on Reed's recording was the mid-1960s drone music work of La Monte Young's Theatre of Eternal Music, whose members included John Cale, Tony Conrad, Angus MacLise and Marian Zazeela.Both Cale and MacLise were also members of the Velvet Underground (Maclise left before the group began recording).

The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to the Velvet Underground in his use of both discordance and feedback. Recent releases of works by Cale and Conrad from the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young) testify to the influence this mid-sixties experimental work had on Reed years later.

In an interview with rock journalist Lester Bangs, Reed claimed that he had intentionally placed sonic allusions to classical works such as Beethoven's Eroica and Pastoral Symphonies in the distortion, and that he had attempted to have the album released on RCA's Red Seal classical label. He repeated the latter claim in a 2007 interview.

Critical reception

Metal Machine Music confounded reviewers and listeners when it was first released. The Stranger's Dave Segal later claimed it was o

ne of the most divisive records ever, challenging both critics and the artist's core audience much in the same way Miles Davis' Agharta album would around the same time.

On release, it was reviewed in Rolling Stone magazine as sounding like "the tubular groaning of a galactic refrigerator" and as displeasing to experience as "a night in a bus terminal". In the 1979 Rolling Stone Record Guide, critic Billy Altman said it was "a two-disc set consisting of nothing more than ear-wrecking electronic sludge, guaranteed to clear any room of humans in record time". (This aspect of the album is mentioned in the Bruce Sterling short story "Dori Bangs".) The first issue of the seminal New York zine Punk placed Reed and the album on its inaugural 1976 issue, presaging the advent of both punk and the discordance of the New York No Wave scene. Reed biographer Victor Bockris wrote that the recording can be understood as "the ultimate conceptual punk album and the progenitor of New York punk rock". The album was ranked number two in the 1991 book The Worst Rock 'n' Roll Records of All Time by Jimmy Guterman and Owen O'Donnell

Village Voice critic Robert Christgau referred to Metal Machine Music as Reed's "answer to Environments" and said it had "certainly raised consciousness in both the journalistic 

and business communities" and was not "totally unlistenable", though he admitted for white noise he would rather listen to "Sister Ray".Writing in MusicHound Rock (1999), Greg 

Kot gave the album a "woof!" rating (signifying "dog-food"), and opined: "The spin cycle of a washing machine has more melodic variation than the electronic drone that was Metal 

Machine Music." In 2005, Q magazine included the album in a list of "Ten Terrible Records by Great Artists", and it ranked number four in Q's 50 worst albums of all-time list. It was 

again  

featured in Q in December 2010, on the magazine's "Top Ten Career Suicides" list, where it came eighth overall. The Trouser Press Record Guide referred to it as "four sides 

of unlistenable oscillator noise", parenthetically calling that assessment "a description, not a value judgment".Mark Deming's review for AllMusic noted that while noise rock groups

 "have created some sort of context for it"

Metal Machine Music

 "hasn't gotten any more user friendly with time", given it "paus[ed] only for side breaks with no rhythms, melodies, or formal structures to buffer the onslaught".

Rock critic Lester Bangs, offering a more sympathetic appraisal of Metal Machine Music than most critics, wrote that "as classical music it adds nothing to a genre that may well be depleted. As rock 'n' roll it's interesting garage electronic rock 'n' roll. As a statement it's great, as a giant FUCK YOU it shows integrity—a sick, twisted, dunced-out, malevolent, perverted, psychopathic integrity, but integrity nevertheless." Bangs later wrote a tongue-in-cheek article on Metal Machine Music titled "The Greatest Album Ever Made", in which he judged it "the greatest record ever made in the history of the human eardrum". In 1998, The Wire included Metal Machine Music in its list of "100 Records That Set the World on Fire (While No One Was Listening)," with Brian Duguid writing:

In a December 2017 review, Mark Richardson of Pitchfork gave Metal Machine Music a score of 8.7 out of 10. He describes the album as an "exhilarating" listen.

Despite the intense criticism (or perhaps because of the exposure it generated), Metal Machine Music reportedly sold 100,000 copies in the US, according to the liner notes of the Buddah Records CD issue. The original edition was withdrawn within three weeks of its release.

Performance

Lou Reed did not perform Metal Machine Music on stage until March 2002, when he collaborated with an avant-garde classical ensemble at the MaerzMusik [de] festival in Berlin, Germany. The 10-member group Zeitkratzer performed the original album with Reed in a new arrangement by Ulrich Krieger, featuring classical string, wind, piano, and accordion.Live recordings with (2007) and without (2014; all-acoustic) Reed are available commercially

A few years later, Reed formed a band named Metal Machine Trio as a noise rock/experimental side project. 

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