LOU REED "Metal Machine Music" 1991 UK 2 LP MINT AUDIO

	£		18
	$		24

 
LOU REED "Metal Machine Music" 1991 UK 2 LP MINT AUDIO FIRST UK PRESSING OF LOU REED'S INFAMOUS 1975 OPUS

LOU REED
Metal Machine Music (The Amine ? Ring)

RARE UK GREAT EXPECTATIONS (PIP DL 023) DOUBLE LP PRESSING (1991) OF LOU REED'S INFAMOUS "Metal Machine Music" - ONE OF THE MOST NOTORIOUS RELEASES IN ROCK HISTORY
BOTH LPS ARE IN PRACTICALLY UNPLAYED CONDITION (played, or part played once or twice at most) AND DELIVER PERFECT MINT AUDIO THROUGHOUT (easy to understand why these records are practically unplayed as it would take a very brave soul indeed to sit through all 60+ minutes of this challenging/uncompromising/unlistenable/joke/masterpiece?? in one sitting)
THE LP WAS ORIGINALLY ISSUED IN THE USA BY RCA IN 1975 AND ONLY AVAILABLE AS AN IMPORT IN THE UK - THIS IS ACTUALLY THE FIRST UK PRESSING (1991)
MATRIX: PIP DL 023 A1 / PIP DL 023 B1 / PIP DL 023 C1 / PIP DL 023 D1

As a radical departure from the rest of Reed's catalogue, Metal Machine Music is generally considered to be either a joke, a grudging fulfilment 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 have invented heavy metal music and asserted that Metal Machine Music was the ultimate conclusion of that genre.
According to Reed (despite the original liner notes), the album entirely consists of guitar feedback played at different speeds. The two guitars were tuned in unusual ways and played with different reverb levels. He would then place the guitars in front of their amplifiers, and the feedback from the very large amps would vibrate the strings — the guitars were, effectively, playing themselves. He recorded the work on a four-track tape recorder in his New York apartment, mixing the four tracks for stereo. In its original form, each track occupied one side of an LP record and lasted exactly 16 minutes and 1 second, according to Reed although I have timed each side with a stopwatch and the lengths vary (see below)
A major influence on Reed's recording, and an important source for an understanding of Reed's seriousness with the album, was the mid-1960s drone music work of La Monte Young's Theater 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 Theater 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 important mid-sixties experimental work had on Reed ten years later.
In an interview with rock journalist Lester Bangs, Reed claimed that he had intentionally placed sonic allusions to classical works such 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; however, it is not clear if he was being serious, though he has repeated the latter claim in a 2007 interview.

Side 1: Metal Machine Music (Part I) 15:53
Side 2: Metal Machine Music (Part I) 15:37
Side 3: Metal Machine Music (Part III) 15:57
Side 4: Metal Machine Music (Part IV) 13:25

LABELS: CLEAN, BRIGHT and LIKE-NEW with barely a spindle mark to be seen - maybe played, or part played just once or twice. MINT(-)
VINYL Visual: All four vinyl surfaces retain their DEEP, GLOSSY SHEEN and are practically UNMARKED (some wispy light hairlines only which have NO audio consequence) - Visually NEAR MINT
VINYL Audio: I listed to all 60+ minutes of this work from beginning to end (honestly) and the audio reproduction is PERFCT throughout - NO clicks/pops, NO scratches or even any surface noise - although it would be pretty hard to detect any as this is a real aural assault with barely any let-up. But far from being totally unlistenable, after a while I found it becomes incredibly hypnotic and the densely and carefully constructed layers weave in and out of each other to fascinating effect (although I must admit I won't be sitting through it all again anytime soon). Graded MINT for audio
SLEEVE: EXCELLENT - The single sleeve (with extensive notes from Lou Reed) is CLEAN and UNMARKED with little evidence of storage edge or spine wear but there is record impression from the two LPs and some light creasing. The spine displays all text CLEAR and BOLD

PLEASE HAVE A LOOK AT MY PICTURES - I USUALLY TAKE QUITE A FEW SO YOU CAN GET A CLEAR INDICATION OF EVERY DETAIL OF THE ITEM
I HAVE UPLOADED AS MANY PICTURES AS I CAN BUT I WOULD BE MORE THAN HAPPY TO SUPPLY ANY ADDITIONAL PHOTOS ON REQUEST
EXCELLENT, AND SCARCE 1991 UK FIRST PRESSING OF THIS INFAMOUS WORK WHICH PLAYS FLAWLESSLY THROUGHOUT AND IF YOU WOULD LIKE TO HEAR A MINT PLAYING COPY OF THIS NOTORIOUS PIECE OF ROCK HISTORY ON VINYL THEN THIS IS THE ONE FOR YOU
AS WITH ALL MY RECORDS THIS HAS A LOW START PRICE AND NO RESERVE
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 308 (GS 5.3.7 (308))