[Review] Lou Reed: Metal Machine Music – The Amine β Ring (1975)
From La Monte Young’s dream comes Lou Reed’s 60-minute nightmare.
From La Monte Young’s dream comes Lou Reed’s 60-minute nightmare.
Lou Reed was the musical embodiment of New York City in all its various dichotomies: crass, intellectual, crazy, cunning, homosexual, heterosexual, senator, strung-out…
Loaded with leftovers from Velvet Underground, Lou Reed’s first is pretty eggcellent if not quite as electrifying as Transformer.
Lou Reed and half a Rhinoceros make a record, but it’s the lack of inspiration that serves as the elephant in the room.
Lou Reed and Iggy Pop, back on top? It was a fairy tale come true.
Reed recycles some old bits into a brilliant concept album about domestic abuse, produced by the king of the concept album, Bob Ezrin.
How cool does a song have to be to make you want to buy a Subaru Forrester? That’s how cool this song is.
Reed joins the ranks of the glammer twins (Bowie, Iggy) on this breakout album. A walk on the wild side, indeed.
Good enough to wash away from the bad feelings from his last record, this is the lamb offered after the lion’s slaughter.
Before Romeo had Juliette, we had this album from Lou Reed: funny, romantic, tragic and befitting a legend.
Oddly, either Legally Red or Brunette to a Crisp would be easier to defend.
The trouble with Mistrial, most Lou Reed albums really, is the appalling absence of horns. Apparently. So RCA released a Special AOR Remix…
This is Lou Reed’s From The Inside: scenes from a troubled mind set to a surprisingly melodic score.
Lou Reed’s greatest hit… plus ten other tracks that were apparently pulled out of a fancy French beret. Not his best side.
Epic renditions of V.U. classics including thirteen minutes of “Heroin.” You’re only getting five songs, but nearly 50 minutes of pure awesomeness.