» » Lou Reed - Metal Machine Music (The Amine β Ring)

Scarica Lou Reed - Metal Machine Music (The Amine β Ring) Gratis

Scarica Lou Reed - Metal Machine Music (The Amine β Ring) Gratis
  • Interprete: Lou Reed
  • Titolo: Metal Machine Music (The Amine β Ring)
  • Genere: Elettronica
  • Catalogo #: CPL2-1101
  • Etichetta: RCA, RCA Victor
  • Paese: US
  • Data di rilascio: Jul 1975
  • Stile: Noise, Drone, Experimental
  • Dimensione FLAC 2141 mb
  • Dimensione MP3: 2904 mb
  • Registra da 2 × Vinyl, LP, Album, Gatefold


1Metal Machine Music A-116:01
2Metal Machine Music A-216:01
3Metal Machine Music A-316:01
4Metal Machine Music A-416:01


CategoryArtistTitle (Format)LabelCategoryCountryYear
CPL2-1101Lou Reed Metal Machine Music ‎(2xLP, Album, Gat)RCA VictorCPL2-1101US1975
PIP DL 023Lou Reed Metal Machine Music (The Amine β Ring) ‎(2xLP, Album, RE)Great ExpectationsPIP DL 023UK1991
CPS2-1101Lou Reed Metal Machine Music (The Amine β Ring) ‎(8-Trk, Album)RCACPS2-1101Canada1975
CPK2-1101Lou Reed Metal Machine Music ‎(Cass, Album)RCACPK2-1101US1975
CPL-21101, CPL2-1101Lou Reed Metal Machine Music ‎(2xLP, Album, Gat)RCA, RCACPL-21101, CPL2-1101France & Benelux1975


  • CoverAcy Lehman, Lou Reed
  • Liner NotesLou Reed
  • Mastered ByRL
  • Written-ByLou Reed


"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:
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.
No panning
No phasing

Special thanks to Bob Ludwig

Codici a barre

  • Matrix / Runout (Side A, hand-etched runout, variant 1): CPL-2-1101-A-1 [STERLING I A2 stamped]
  • Matrix / Runout (Side B, hand-etched runout, variant 1): CPL-2-1101-B-1 [I A1 stamped]
  • Matrix / Runout (Side C, hand-etched runout, variant 1): CPL-2-1101-C-1 [I A1 stamped]
  • Matrix / Runout (Side D, hand-etched runout, variant 1): CPL-2-1101-D-1 RL [STERLING I A1 stamped]
  • Matrix / Runout (Side A, hand-etched runout, variant 2): CPL-2-1101-A-1 [STERLING Ⅰ A1 stamped]
  • Matrix / Runout (Side B, hand-etched runout, variant 2): CPL-2-1101-B-1 [Ⅰ A1 stamped]
  • Matrix / Runout (Side C, hand-etched runout, variant 2): CPL-2-1101-C-1 [Ⅰ A1 stamped]
  • Matrix / Runout (Side D, hand-etched runout, variant 2): CPL-2-1101-D-1 RL [STERLING Ⅰ A1 stamped]
  • Rights Society: BMI
  • Price Code (On spine): 0798


  • Phonographic Copyright (p) – RCA Records
  • Copyright (c) – RCA Records
  • Mastered At – Sterling Sound
  • Pressed By – RCA Records Pressing Plant, Indianapolis



Metal Machine Music subtitled The Amine β 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. Lou Reed. Metal Machine Music. Посмотреть сведения об участниках альбома, рецензии, композиции и приобрести альбом 1975 Gatefold Vinyl от Metal Machine Music The Amine β Ring на Machine Music - Lou Reed. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Lou Reeds 1975 album has been called one of the worst albums ever made. The truth is it is the product of genuine love and passion, still exhilarating and bursting with possibility four decades on. For a good 15 years after its 1975 release, Metal Machine Music, a double album of avant-garde noise put out by a rock legend who was only starting to get his commercial due, was discussed as a gesture more than as music. Explanations for its existence proliferated. Some said it was Lou Reeds attempt to get out of a record contract, or a fuck-you to fans who only wanted to hear his most popular songs. Exclusive discount for Prime members. Sample this album Artist Sample. Metal Machine Music, Pt. Lou Reeds double album of guitar feedback , An extravagance, of drug fuelled self indulgent, art or music or noise It killed his career commercially But only temporarily. Read more. One would be hard-pressed to name a major artist who ever released an album as thoroughly alienating as Lou Reed's Metal Machine Music at a time when noise rock and punk had yet to make their presence known, Reed released this 64-minute aural assault that offered up a densely layered soundscape constructed from feedback, distortion, and atonal guitar runs sped. Metal Machine Music sometimes abbreviated MMM is an album by Lou Reed. It was originally released as a two-disc LP by RCA Records in 1975. It was reissued on a single compact disc by BMG in 1998 and again by Buddah Records in 2000. As a radical departure from the rest of Reed's catalog, Metal Machine Music is generally considered to be either a joke, a grudging fulfillment of a contractual obligation, or an early example of noise music. Reed himself has said of the album I was serious about it. I was also really, really stoned. In the album's liner notes he claimed to. Metal Machine Music, subtitled The Amine β Ring, is the fifth solo album by American rock musician Lou Reed. It was originally released as a double album by RCA Records in 1975. A departure from the rest of Reed's catalog, Metal Machine Music is considered to be a joke, a grudging fulfillment of a contractual obligation, or an early example of noise music. The album features no songs or even recognizably structured compositions, eschewing melody and rhythm for an hour of modulated feedback and guitar. Reed's sixth solo album, Metal Machine Music was released in 1975, five years after the dispersal of the Velvet Underground, and it represented a new way of thinking about reality that implied a new kind of relationship between sound, composer and listener, involving a disgusted rejection of his superficial public image and a typically argumentative testing of what was possible in rock. music in terms of execution, comprehension and conception. I've said it before and I'll say it again it exists both as a work of art, a portal through which you can find a provocative history o

Commenti: (25)
My copy is a tan label promotional copy stamped "Not for sale. Promo copy". Not listed here on Discogs. Anyone else have a copy?
Got a US version with labels in same colur as the Canadian pressing. Can't find it on discogs.
Beautiful and (for the time, for an artist with a semblance of a 'pop' career) conceptually daring. That said, RCA records showed tremendous faith in the product, with a great deal of pre-oil crisis largesse lavished on the release. For example, four sides of gatefold sleeved vinyl and an 8-track (did anyone blast this on their car stereo?). This recording was clearly only ever going to enjoy 'selective appeal'. Those of us who love it dear aren't fools. If you want Transformer 2 you'll be miffed. If the listener is to modify their expectations, however, the rewards are abundant. This is an extreme electric LP, revelling in amplification and feedback. With decades of ambient and experimental music behind us, this doesn't seem so outlandish. I love melody, symphonic music, well constructed songs, but I also relish pure sound, randomness, chance, patterns. I listen to recordings of white noise, rainfall, waterfalls and hair dryers for relaxation and pleasure - you probably do too. The notion that this music is intrinsically abrasive isn't necessarily set in stone. As formless as water, you can dive in for as long as you can take at any point and take what you get. I appreciate the need for 'Noise Music' as a generic category, but to me it is a contradiction in terms. When we place it in context, Noise becomes musical, we appreciate it for it's tonal qualities, it's hypnotic effects, whereas the most conventionally musical sounds can become excrutiatingly irritating Noise when we are subjected to it incessantly and against our will. If nothing else, this is an earworm of another kind entirely, burrowing down into the bedrock of one's psyche, and acting as a kind of purgative to whatever concoctions bend one out of shape.
Hello everybody, I need your precious help for a book I'm writing. Does anybody know when MMM was actually *recorded* (month and year will be enough)? I know it was published in July 1975, but it would be very helpful to know when Reed recorded it in his Manhattan loft.Was it still 1974? Early 1975?I'll be very grateful to anyone who can clear this out for me.Regards and thank you very much.Enrico, Milano
Sometime between March of 1975 and July of 1975. He recorded the album in his loft alone so there are no studio recording dates for it. RCA was hounding him to put out another record after Lou reed Live which came out in March and he made metal machine music as a response to it. Spring of 1975 is the closest you are going to get to the actual date. That's as close as I could get to an actual date from arguably his best biography Lou Reed: A Life By Anthony DeCurtis
It's missing from the comments here so I'll just add this up: MMM is the how experimental noise music was born. A far out experiment that opened the box of Pandora for many artists. That it was made by Lou Reed it just makes it all that more obscene. Respect, Lou.
Karlheinz Stockhausen, Igor Stravinsky, John Cage, and Edgard Varese just LOL'ed.
I thought experimental noise music was invented before Lou was born
Amazing... If this LP were scratched beyond belief it wouldn't sound any different...
Small Black
Yes it would, it would be be even more metally ;)
The musical equivalent of the middle finger, this album should be looked at not as a collection of four music tracks, but as conceptual art piece of a legendary attempt at career suicide, and a giant "F**k you" to RCA.Trying to find any sort of meaning in this album is fruitless, and you'd be missing the joke.what/5
A lot of you may not be aware that there have been a few new style tags that Discogshad added to the electronic genre drop down menu. The one that I bring up here iscalled "HNW" (harsh noise wall). Now I have been listening to various kinds of "experimental noise" music's for quite some time, but HNW was and still issomething which i'm not at all familiar with. In fact I can not even cite a single artistor group who is known to be associated with, or produce material that canqualify as true HNR. I know i've heard some of it just by chance but so farI have not been able to identify anything in particular. I'm not even surewhere i'm trying to go with all this jibber-jabber?... Oh yeah now I recall,"Metal Machine Music" has got to be the original grandfather of all HNW(music/ definitely not musical) You gotta hand it to Lou for always managingto arrive in bold fashion to preemptively define himself a conceptual vanguardyears before the current standards of cool had fully taken shape. Everythingabout "MMM" seems proto bad ass, and on a visual level it almost seemsto convey a promise that is aesthetically too well crafted. for the contentit falsely represents. The end result is that it totally succeeds on onelevel, while failing quite dismally on another. It's a landmark piece ofartistic terrorism which was never intended to be listenable to anyreal degree. Over the years I have tried listening to "MMM" on severaloccasions to see it I could "get it" but I never make it more than acouple minutes in before I pick up the needle again. it''s quiteliterally one of the most annoyingly harsh records of all time.Even harsh noise wall HNW is going to be holding a candleto "MMM" when it comes time to crown the the harshest of the harsh.
Metal Machine Music doesn't have much to do with HNW (lots of evolutions and changes in Lou Reed's album) but it is more or less the first "modern noise" album made (in opposition to russolo's music for example), so it is the grandfather of all noise music and perhaps of harsh noise (and so by very far it is linked to hnw). HNW are walls of noise (monoliths, no evolution or change). If you want to get into it, Vomir is the most extreme HNW maker; other artists are Richard Ramirez (Werewolf Jerusalem), Tourette, The Rita and loads of others I don't know about.
If you don't like it, don't listen to it. Great headphone album. A beautiful, deep and profound record that works on many levels.In an ideal world this would be played at my funeral - and attendees would be forced to listen to all four sides.... and an extra hour of the lock-groove.
Greatest Album of all time!
my copy has a big, red and black 'STEREO' sticker in the upper right corner. is this normal? do i have a different version?
While the idea behind the very title doesn't sound that bad, in practice this is the closest someone 'sang' worse than Yoko Ono.
Psshhh. What does it matter if it's music or not? This album is a genuine, sweet, raw Wall of Sound. When you find yourself tired of what is considered to be conventional music, this hits the spot. I love it. 'Nuff said.
Four sides of sculpted feedback that will make your teeth rattle and your neighbours hate you but, as they always say, 'the road of excess leads to the palace of wisdom' and christ knows this album has taught me allot - mainly the Lou could have been so much better.In this album Lou builds upon the bare bones of a shorter work penned by Cale and released as a Velvets track called (if I remember correctly) 'Noise.' 'He just rehashed someone else's music!' No, he perfected it, reimagined it in light of the sort of Avant thinking that Cale always stopped just short off, stuck a feather in it's cap and a locked groove on the end and gave us a walloping, eye watteringly loud pre-curser to Noise.All hail Lou - shame he got so scared by the negative reaction and disowned the album, he could have done some truly great things instead of the endless pop records.
thank you for correcting me. :-)
actually, the Velvets track that you are talking about was called "Loop"
I once read somewhere that he had trouble with the label and had to make one last album as was agreed upon in the contract. But because he didn't want to give them anything good he came up with this outing. He supposedly said about the album himself: "Well, anyone who gets to side four is dumber than I am."
Side four is the best side! At least four more.
While he did say that about the album, the idea that Lou recorded it in spite of his label is in fact a myth.
Quite literally four sides of screeching, squawking feedback noise, as if Reed had fed the sound of an untuned radio through an amplifier, into a mixing desk, and back into the amplifier again. The final track has an endless groove which repeats forever. A controversial and celebrated album which was greatly loved by Lester Bangs; available today in two different pressings on CD, both of which are musically the same but don't have the endless groove. The album actually contains four LPs of sound, because the two stereo channels are totally separate.
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